Woodblock (Instrument)
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Bid Awarded Item List
Bid Awarded Item List 1810 2018-2019 Music Bid Commodity Unit of Awarded Extended Code Description Vendor Measure Price Qty Price 18000010 Drum Heads: 16" MS1 White Bass, Evans, No substitutions BD16MS1W 233310-STEVE WEISS MUSIC EACH $21.31 1 $21.31 18000015 Drum Heads: 16" MX1 Black Bass, Evans, No substitutions BD16MX1BDH34516B 123468-CASCIO INTERSTATE MUSIC EACH $30.24 1 $30.24 18000020 Drum Heads: 16" MX1 White Bass, Evans, No substitutions BD16MX1WDH34516 123468-CASCIO INTERSTATE MUSIC EACH $26.94 1 $26.94 18000025 Drum Heads: 18" MS1 White Bass, Evans, No substitutions BD18MS1WDH52118 123468-CASCIO INTERSTATE MUSIC EACH $21.74 1 $21.74 18000030 Drum Heads: 18" MX1 Black Bass, Evans, No substitutions BD18MX1BDH34518B 123468-CASCIO INTERSTATE MUSIC EACH $32.24 1 $32.24 18000035 Drum Heads: 18" MX1 White Bass, Evans, No substitutions BD18MX1WDH34518 123468-CASCIO INTERSTATE MUSIC EACH $28.94 1 $28.94 18000040 Drum Heads: 20" MS1 White Bass, Evans, No substitutions BD20MS1WDH52120 123468-CASCIO INTERSTATE MUSIC EACH $23.24 1 $23.24 18000045 Drum Heads: 20" MX1 Black Bass, Evans, No substitutions BD20MX1BDH34520B 123468-CASCIO INTERSTATE MUSIC EACH $33.94 1 $33.94 18000050 Drum Heads: 20" MX1 White Bass, Evans, No substitutions BD20MX1WDH34520 123468-CASCIO INTERSTATE MUSIC EACH $30.94 1 $30.94 18000055 Drum Heads: 22" MS1 White Bass, Evans, No substitutions BD22MS1WDH52122 123468-CASCIO INTERSTATE MUSIC EACH $25.44 1 $25.44 18000060 Drum Heads: 22" MX1 Black Bass, Evans, No substitutions BD22MX1BDH34522B 123468-CASCIO INTERSTATE MUSIC -
Jam Block 1 Jam Block
Jam block 1 Jam block Jam Block Classification Hand percussion Playing range Single note Related instruments slit drum, temple blocks, Log drums, muyu, wood block A jam block is a modern, hard plastic version of the more fragile wood block, and is sometimes referred to as a "clave block", "gock block" or "tempo block". It is sturdy, designed for hard hitting and is becoming more and more popular with modern drummers and percussionists, due to its durability and sound. Jam blocks are usually attached to timbales and drum kits or are used as stand alone orchestra instruments. These blocks are often used in Salsa, Cuban, and Latin American music, although some modern drummers have made use of them in rock songs. Jam Blocks are often used in the marching percussion idiom as well. There are several manufacturers of jam blocks, though they sell them under different names. The main manufacturers include LP, Pearl, Meinl and Toca. There are various different colours of block, these colours usually represent the pitch and are different for each manufacturer. Many cheaper manufacturers use LP's Blue-Red classification system. Larger jam blocks have a lower pitch than smaller ones. Other variations of this instrument include the stealth jam block and the guiro jam block, a combination of the guiro and low pitch jam block, blast blocks, sambango bells and granite blocks. Article Sources and Contributors 2 Article Sources and Contributors Jam block Source: http://en.wikipedia.org/w/index.php?oldid=405900166 Contributors: Anty5, BigHaz, Drmies, EvanSeeds, -
Wood Block 1 Wood Block
Wood block 1 Wood block This article is about the musical instrument. See woodblock for other meanings of the term. Woodblock Classification Hand percussion Playing range Single note. Related instruments slit drum, temple blocks, Log drums, muyu, Jam block A woodblock is essentially a small piece of slit drum made from a single piece of wood and used as a percussion instrument. It is struck with a stick, making a characteristically percussive sound. East Asian musics use a variety of wood blocks ranging from small hand-held instruments to enormous (often immovable) temple blocks which may be sounded by swinging a large log against them. Log drums made from hollowed logs, and slit drums made from bamboo, are used in Africa and the Pacific Islands. The muyu (simplified Chinese: 木鱼; traditional Chinese: 木魚; pinyin: mùyú) is a rounded woodblock carved in the shape of a fish and struck with a wooden stick. It is made in various sizes and is often used in Buddhist Tubular wood block chanting, in China as well as in other Asian nations including Japan, Korea, and Vietnam. Also in China, a small, rectangular, high-pitched wood block called bangzi (梆子) is used. In Vietnam, a slit drum called song lang is widely used. The orchestral wood-block instrument of the West is generally made from teak or another hardwood. The dimensions of this instrument vary considerably, although it is always a rectangular block of wood with one or sometimes two longitudinal cavities. It is played by striking it with a stick. Article Sources and Contributors 2 Article -
Multi-Percussion in the Undergraduate Percussion Curriculum Benjamin A
University of Miami Scholarly Repository Open Access Dissertations Electronic Theses and Dissertations 2014-12 Multi-percussion in the Undergraduate Percussion Curriculum Benjamin A. Charles University of Miami, [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations Recommended Citation Charles, Benjamin A., "Multi-percussion in the Undergraduate Percussion Curriculum" (2014). Open Access Dissertations. Paper 1324. This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact [email protected]. ! ! UNIVERSITY OF MIAMI ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM ! By Benjamin Andrew Charles ! A DOCTORAL ESSAY ! ! Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ! ! ! ! ! ! ! ! ! Coral Gables,! Florida ! December 2014 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©2014 Benjamin Andrew Charles ! All Rights Reserved UNIVERSITY! OF MIAMI ! ! A doctoral essay proposal submitted in partial fulfillment of the requirements for the degree of Doctor of Musical! Arts ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM! ! Benjamin Andrew Charles ! ! !Approved: ! _________________________ __________________________ -
Philippe LEROUX Y R a L a E H P O T S I R H C
Philippe LEROUX y r a l A e h p o t s i r h C : o t o h P Gérard Billaudot Éditeur Octobre 2014 P h i l i p p e L E R O U X ( 1 9 5 9 ) CATALOGUE DES ŒUVRES C ATALOGUE OF WORKS W ERKVERZEICHNIS C ATALOGO DE OBRAS 14 rue de l’Échiquier - 75010 PARIS - FRANCE Tél. : (33) 01.47.70.14.46 - Télécopie : (33) 01.45.23.22.54 www.billaudot.com [email protected] - [email protected] B I O G R A P H I E P H I L I P P E L E RO U X ( 1 9 5 9 ) Philippe Leroux entre au Conservatoire National Supérieur de Musique de Paris en 1978 dans les classes d'Ivo Malec, Claude Ballif, Pierre Schäeffer et Guy Reibel où il obtient trois premiers prix. Durant cette période, il étudie également avec Olivier Messiaen, Franco Donatoni, Betsy Jolas, Jean-Claude Eloy et Iannis Xénakis. En 1993, il est nommé pensionnaire à la Villa Médicis où il séjourne jusqu'en octobre 1995. Il est l'auteur d'une soixantaine d'œuvres, symphoniques, acousmatiques, vocales, pour dispositifs électroniques, et de musique de chambre. Celles-ci lui ont été commandées par le Ministère français de la Culture, l'Orchestre Philharmonique de Radio-France, la Südwestfunk Baden-Baden, l'IRCAM, Les Percussions de Strasbourg, l'Ensemble Intercontemporain, l'Ensemble 2e2m, l'INA-GRM, le Nouvel Ensemble Moderne de Montreal, l'Ensemble Ictus, le Festival Musica, l'Ensemble BIT 20, la fondation Koussevitsky, l'Ensemble San Francisco Contemporary Music Players, l'Ensemble Athelas, l'Orchestre National de Lorraine, l'Orchestre Philharmonique de Nice, le CIRM, INTEGRA, le Festival Berlioz, ainsi que par d'autres institutions françaises et étrangères. -
Library of Congress Medium of Performance Terms for Music
A clarinet (soprano) albogue anzhad USE clarinet BT double reed instrument USE imzad a-jaeng alghōzā Appalachian dulcimer USE ajaeng USE algōjā UF American dulcimer accordeon alg̲hozah Appalachian mountain dulcimer USE accordion USE algōjā dulcimer, American accordion algōjā dulcimer, Appalachian UF accordeon A pair of end-blown flutes played simultaneously, dulcimer, Kentucky garmon widespread in the Indian subcontinent. dulcimer, lap piano accordion UF alghōzā dulcimer, mountain BT free reed instrument alg̲hozah dulcimer, plucked NT button-key accordion algōzā Kentucky dulcimer lõõtspill bīnõn mountain dulcimer accordion band do nally lap dulcimer An ensemble consisting of two or more accordions, jorhi plucked dulcimer with or without percussion and other instruments. jorī BT plucked string instrument UF accordion orchestra ngoze zither BT instrumental ensemble pāvā Appalachian mountain dulcimer accordion orchestra pāwā USE Appalachian dulcimer USE accordion band satāra arame, viola da acoustic bass guitar BT duct flute USE viola d'arame UF bass guitar, acoustic algōzā arará folk bass guitar USE algōjā A drum constructed by the Arará people of Cuba. BT guitar alpenhorn BT drum acoustic guitar USE alphorn arched-top guitar USE guitar alphorn USE guitar acoustic guitar, electric UF alpenhorn archicembalo USE electric guitar alpine horn USE arcicembalo actor BT natural horn archiluth An actor in a non-singing role who is explicitly alpine horn USE archlute required for the performance of a musical USE alphorn composition that is not in a traditionally dramatic archiphone form. alto (singer) A microtonal electronic organ first built in 1970 in the Netherlands. BT performer USE alto voice adufo alto clarinet BT electronic organ An alto member of the clarinet family that is USE tambourine archlute associated with Western art music and is normally An extended-neck lute with two peg boxes that aenas pitched in E♭. -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
Orff-Schulwerk the Instruments
DESCRIPTIONS AND PLAYING TECHNIQUE Bar Instruments The glockenspiel has a clear, bright silvery sound that can be heard through a full background of other instruments. The refined steel STUDIO 49 bars last longer in sound than the wooden bars of a xylophone and are therefore less well suited for very fast passages. As with all bar instruments the sound quality can be varied by using different textures of mallets. As a rule the glockenspiel mallets are made of hard wood or rubber. We distinguish between soprano and alto glockenspiels, single row (diatonic) and double row (chromatic). The xylophone has a distinctive gentle sound and is one of the most versatile instruments of all. We separate them into three voices: soprano, alto and bass, covering a range of almost four octaves. The most useful and suitable for childrens' voices is the alto xylophone with its compass of c1 - a2. It is a choice solo instrument but can also be used in unlimited numbers with all other instruments. In short it is the most ideal musical instrument for group music making, an instrument with rich, dynamic possibilities for expression with no problems of playing technique, suitable for all ages from preschool to senior citizens. The soprano xylophone sounds an octave higher, and has a somewhat sharper and drier sound. The bass xylophone is notated from c1 - a2, but sounds an octave lower (C - a1.. Music is very often notated today in the bass clef "at pitch." The bass xylophone has a very important function in our "orchestra." It is the foundation, the sustaining basis on which all other instruments can build. -
Left Foot Son Clave Ostinato
Sound Enhanced Hear the music examples marked in the Members Only section of the PAS Web site at www.pas.org Left Foot Son Clave Ostinato BY ROB LEYTHAM emember when all you had to do with your feet on the 2. Practice each of the following ride cymbal patterns over drumset was play the bass drum and hi-hat? Then, about the foot ostinato. Start with the straight eighth-note pattern at Rtwenty years ago, a second pedal was added next to the a slow, workable tempo. When that is comfortable to play, then hi-hat pedal so you could play double bass patterns on a single practice the two sixteenth-note ride patterns, adding the bell of bass drum. Now the bar has been raised again, with drummers the ride cymbal where notated to create a nice groove. like Horacio Hernandez, Akira Jimbo, Alex Acuna, and Gregg Bissonette playing a Jam Block or cowbell with the left foot. It 2a is becoming more common to have three pedals on the left side, creating greater independence and challenging patterns. When students come to me wanting to learn how to develop 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ . this independence, I give them a series of exercises. These clave ã4 . ostinato exercises can be practiced with the left foot playing ei- —. —œ ‰ — ‰ — œ — ther cowbell, Jam Block, or hi-hat. J Key 2b< < < < Ride¿ Cym. Cym.<¿ Bell ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ã œ 4 . — œ ã4—. —œ ‰ — ‰ — œ — Cowbell Snare Drum Bass Drum J Jam Block or Hi-Hat 2c < < < < 1. Learn the ostinato with the left foot playing the 3:2 son clave. -
2013 Featured Product Guide Make It There
2013 featured product guide Make it there. Make it ANYWHERE. Nearly fifty years ago a young mechanical engineer and avid photographer from the Bronx named Martin Cohen happened upon New York's famous Birdland Jazz Club. He walked in and was immediately captivated by the sounds of Latin jazz. Cohen was so taken with the infectious music that he became a regular at the Monday night jam sessions. Cohen became a student of New York's 1960s Latin scene and wanted his own set of bongos. Unfortunately, high quality, Cuban-made bongos were not available in the United States, so the passionate, young Cohen put his engineering skills to use and began creating his own set of bongos. After months of testing and refinement based on the feedback from the city's most popular Latin musicians, Cohen had successfully built some of the finest bongos the world had ever seen. Soon Cohen was delivering bongos and cowbells to musicians in brown paper bags, continuously soliciting feedback and using the New York's Latin nightclubs as his research and development labs. Cohen's self-described "love affair" with Latin music led to a tradition still practiced at LP; the needs of performing musicians are placed ahead of everything else. It was from these humble beginnings that Cohen had begun to grow Latin Percussion beyond the geographical boundaries of New York City. LP musical instruments were also playing a pivotal role in LP DURIAN WOOD CONGAS AND BONGOS expanding the popularity of all types of Latin music to Durian Wood, LP's latest discovery, comes from the Durian fruit tree that grows throughout the a much broader audience. -
Export Prices 2010
Prisliste vinter 2010/11 Art.nr. Beskrivelse Nok inkl.mva MS1091 Set 5 Hand Chimes kr 1 360 MS1414 Bass Instrument STAND kr 3 340 PP001 Soprano Diatonic GLOCKENSPIEL - PP001 kr 899 PP002 Soprano Chromatic Half GLOCK - PP002 kr 730 PP003 Alto Diatonic GLOCKENSPIEL - PP003 kr 1 220 PP004 Alto Chromatic Half GLOCK - PP004 kr 980 PP006 Soprano Chromatic GLOCK - PP006 kr 1 403 PP007 Alto Full Chromatic GLOCK - PP007 kr 1 840 PP009 Educ CHIMES Diat set of 8 - PP009 kr 1 928 PP010 Educ CHIMES Chrom set of 5 - PP010 kr 1 230 PP011 Educ CHIME FRAME - PP011 kr 3 398 PP012 Educ Chimes MALLET - PP012 kr 162 PP014 FRAME CHIMES (TUBULAR BELLS) PP014 kr 2 160 PP017 Soprano Diatonic METALLOPHONE - PP017 kr 3 146 PP018 Soprano Chromatic Half METALLO - PP018 kr 2 033 PP019 Alto Diatonic METALLOPHONE - PP019 kr 4 070 PP020 Alto Chromatic Half METALLO - PP020 kr 2 720 PP021 Bass Diatonic METALLOPHONE - PP021 kr 7 976 PP022 Bass Chromatic Half METALLO - PP022 kr 5 183 PP023 Soprano Diatonic XYLOPHONE - PP023 kr 3 060 PP024 Soprano Chromatic Half XYLO - PP024 kr 1 880 PP025 Alto Diatonic XYLOPHONE - PP025 kr 3 600 PP026 Alto Chromatic Half XYLO - PP026 kr 2 390 PP027 Bass Diatonic XYLOPHONE - PP027 kr 7 080 PP028 Bass Chromatic Half XYLO - PP028 kr 4 868 PP030 RAINTUBE - PP030 kr 920 PP032 6" (15) TRIANGLE Concert - PP032 kr 198 PP034 6"(15) TAMBOUR Wood shell - PP034 kr 263 PP035 8"(20) TAMBOUR Wood shell - PP035 kr 286 PP036 10"(25) TAMBOUR Wood shell - PP036 kr 298 PP038 6"(15) TAMBOURINE Wood shell - PP038 kr 337 PP040 8"(20) TAMBOURINE Wood shell - PP040 -
Internet Search 1999
Internet Research On Rhythm Bones October 1999 Steve Wixson 1060 Lower Brow Road Signal Mountain, TN 37377 423/886-1744 [email protected] Introduction This document presents the current state of 'bone playing' and includes the results of a web search using several search engines for 'rhythm bones', 'rattling bones' and 'bone playing'. It is fairly extensive, but obviously not complete. The web addresses are accurate at the time of the search, but they can go out of date quickly. Web information pertaining to bones was extracted from each website. Some of this information may be copyrighted, so anyone using it should check that out. Text in italics is from e-mail and telephone conversations. We would appreciate additions - please send to name at end of this document. The following is William Sidney Mount's 'The Bone Player.' A. General 1. http://mcowett.home.mindspring.com/BoneFest.html. 'DEM BONES, 'DEM BONES, 'DEM RHYTHM BONES! Welcome to Rhythm Bones Central The 1997 Bones Festival. Saturday September 20, 1997 was just another normal day at "the ranch". The flag was run up the pole at dawn, but wait -----, bones were hanging on the mail box. What gives? This turns out to be the 1st Annual Bones Festival (of the century maybe). Eleven bones-players (bone-player, boner, bonist, bonesist, osyonist, we can't agree on the name) and spouses or significant others had gathered by 1:00 PM to share bones-playing techniques, instruments and instrument construction material, musical preferences, to harmonize and to have great fun and fellowship. All objectives were met beyond expectations.