The a Brief Survey of Plucked Wire
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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers. -
Ron Block Hogan's House of Music Liner Notes Smartville (Ron Block
Ron Block Hogan’s House of Music Liner Notes Smartville (Ron Block, Moonlight Canyon Publishing, BMI) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Tim Crouch - fiddle Jerry Douglas - Dobro Stuart Duncan – fiddle Clay Hess - rhythm guitar Adam Steffey – mandolin Hogan’s House of Boogie (Ron Block, Moonlight Canyon Publishing, BMI) Ron Block – banjo, rhythm and lead guitar Sam Bush - mandolin Jerry Douglas – Dobro Byron House - bass Dan Tyminski – rhythm guitar Lynn Williams – snare Wolves A-Howling (Traditional) Barry Bales - bass Ron Block - banjo Stuart Duncan - fiddle Adam Steffey - mandolin Dan Tyminski - rhythm guitar The Spotted Pony (Traditional, arr. Ron Block, Moonlight Canyon Publishing, BMI) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Stuart Duncan – fiddle Sierra Hull – octave mandolin Alison Krauss - fiddle Adam Steffey – mandolin Dan Tyminski - rhythm guitar Lynn Williams – snare Clinch Mountain Backstep (Ralph Stanley) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Stuart Duncan – fiddle Clay Hess - rhythm guitar Adam Steffey – mandolin Gentle Annie (Stephen Foster) Ron Block – banjo, guitar Tim Crouch – fiddles, cello, bowed bass Mark Fain - bass Sierra Hull – octave mandolins Mooney Flat Road (Ron Block, Moonlight Canyon Publishing, BMI) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Stuart Duncan – fiddle Sierra Hull – octave mandolin Alison Krauss - fiddle Adam Steffey – mandolin Jeff Taylor - accordion Dan Tyminski - rhythm guitar Lynn Williams – snare Mollie -
What Is a Musical Instrument?
What is a musical instrument? What is a musical instrument? By Tellef Kvifte Introduction The development of new electronic and computer-based music-making tools is a challenge to traditional concepts of musical instruments. We hear new sounds, we see familiar sounds coming out of unfamiliar devices, and unfamiliar sounds com- ing out of familiar interfaces. Also, the relations between composing, improvising, performing and playing recordings are being blurred: scores can be made to sound without human musicians, and sound can (to a certain extent) be made into score without a human transcriber. In this situation, one may want to call for new defini- tions of several of the basic concepts connected to music and music-making. In this paper, I will focus on the concept of musical instrument . I will, however, not suggest new definitions. I want to show that the concept has never been well defined, and has been understood in many ways. I will argue that there is no need for new definitions, but rather for a more detailed understanding of the many aspects of the concept. Definitions of musical instruments The literature on musical instruments, including works on classification, seldom goes deeply into basic definitions of the core concept of ‘instrument’. A basic defini- tion like ‘device made to play music’ seems to be taken more or less for granted. Such a definition will usually suffice in most situations, but all concepts mentioned — ‘de- vice’, ‘play’ and ‘music’ — may be questioned, clarified or confused. While there are some explicit definitions in the literature, Grove’s online dictionary of music tries to evade the question with the following: ‘Musical instrument’ is a self-explanatory term for an observer in his own society; it is less easy to apply on a worldwide scale because the notion of music itself in such a wide context escapes definition. -
Shin Akimoto Alan Bibey Sharon Gilchrist
Class list is preliminary- subject to change Shin Akimoto Monroe Style (I) Rhythm Playing (AB) Bluegrass in Japan (All) Alan Bibey No, you backup (AB-I) Playing fills and how to play behind a vocalist Classic Bluegrass Mandolin breaks (I-A) Road to improv (I-A) Classic Monroe licks (AB-I) Spice Up your playing with triplets (I-A) Sharon Gilchrist Closed Position Fingering for Playing Melodies in All 12-Keys: (AB-I) Learn a couple of easy patterns on the fretboard that allow you to play melodies in all 12 keys easily. This is what a lot of mandolin players are using all the time and it's easy! Closed Position means using no open strings. Basic Double Stop Series: (AB-I) Double stops are one of the mandolin's signature sounds. In this class, we will learn a basic double stop series that moves up and down the neck for both major and minor chords. Freeing Up the Right Hand (B-I) This class is geared towards folks who have learned a number of fiddle tunes and have gotten pretty comfortable playing those melodies but are wondering how to speed them up a bit or breathe a little more life into them now. It is also for folks who might have been playing for a while but still struggle with speed and flow in performance of their tunes. Backing Up a Singer: (I-A) Using double stops and licks to create back up that allows the lead vocal to remain front and center while enhancing the story of the song. -
A Brief Survey of Plucked Wire-Strung Instruments, 15Th-18Th Centuries - Part Two
The Wire Connection By Andrew Hartig A Brief Survey of Plucked Wire-Strung Instruments, 15th-18th Centuries - Part Two Wire-Strung Instruments in the 16th Century ment and was used in a multitude of countries and regions. Al- Most of the wire-strung instruments from the 15th century though most players today think of the cittern as a single type of discussed in part one — such as the harpsichord, psaltery, and instrument, there were in fact many different types, each signifi- Irish harp — continued to be used on a regular basis throughout cantly different enough from the others so as to constitute separate the 16th century (and they would continue to be used into the 18th). instruments. However, almost all citterns have in common a tuning The major exception to this was the Italian cetra, which disap- characterized by the intervals of a 5th between the third and second peared at the end of the 15th century only to evolve into many dif- courses and a major 2nd between the second and first courses, and ferent forms of citterns. one or more re-entrantly tuned strings. Historically, the 16th century heralds the beginning of ma- jor shifts in thinking that led to experimentation and innovation Diatonic 6- and 7-Course Cittern in many aspects of life. Times were changing: from the discovery This was the earliest form of cittern used, possibly devel- of the “New World” that had begun at the end of the 15th century, oped from the cetra late in the 15th or early in the 16th century, and to the shifts in politics, power, religion, and gender roles that oc- it was definitely still in use into the 17th century. -
Common and Noteworthy Instruments from 1750S-1800S' Eastern
Common and Noteworthy Instruments from 1750s-1800s’ Eastern USA Emory Jacobs Faculty Sponsor: Dr. Scott Marosek Department of Music During the 1700s and 1800s, residents of the eastern seaboard of North America enjoyed a wide variety of instruments, many of them built for “contrast and variety.”1 Availability, on the other hand, was a different story. While few accounts of the musical scene in that time period exist for more rural settings, records of the area and the events of the period from 1750 through the 1800s paint an interesting picture of how specific social classes and needs determined an instrument’s popularity. At the time, instruments were highly controversial, especially among specific religious groups.2 The religious restrictions on music occurred in relatively isolated sub- cultures in America, whereas notable sources from Germany would spend a novel’s worth of pages praising how perfect the organ was and would carefully list the detail of instruments’ tuning, mechanisms, and origins.3 When comparing these European instrument lists or collections with confirmed colonial instruments, one finds that very few of the elaborate, most prized instruments were exported to North America. Even outside America’s religious institutions, instruments were sometimes considered profane.4 While some instruments and some musical styles escaped such stigma, other instruments and styles had more ominous ties or were considered inelegant; the violin and fiddle offer one illustration.5 The phenomenon suggests that American society’s acceptance of music may have been a sensitive or subtle affair, as the difference between the violin and fiddle is often described as the fiddle being a poorly crafted violin or, in some cases, as a different musical style performed on the violin. -
The Applachian Mountain Dulcimer: Examining the Creation of an “American Tradition”
CFA MU 755, Boston University Steve Eulberg The Applachian Mountain Dulcimer: Examining the Creation of an “American Tradition” In a nation composed dominantly of immigrants, or people who are not “from” here, one can expect the cultural heritage in general, and the musical heritage in particular, to be based on the many strands of immigrant tradition. At some point, however, that which was brought from the old country begins to “belong” to the children of the immigrants, who pass this heritage on to their children. These strands are the woof that is woven into the warp of the new land—a process that continues until the tradition rightly belongs to the new setting as well. This is the case for the Applachian Mountain (or fretted, lap, plucked, strummed1) dulcimer. This instrument has been called by some “The Original American Folk Instrument.”2 Because other instruments have also laid claim to this appellation (most notably the banjo), this paper will explore whether or not it deserves such a name by describing the dulcimer, exploring its antecedent instruments, or “cousins”, tracing its construction and use by some people associated with the dulcimer, and examining samples of the music played on the instrument from 3 distinct periods of its use in the 20th century. What is the dulcimer? The Appalachian Mountain Dulcimer3 consists of a diatonic fretboard which is mounted on top of a soundbox. It is generally strung with three or four strings arranged in a pattern of three (with one pair of strings doubled and close together, to be played as one.) Its strings are strummed or plucked either with the fingers or a plectrum while the other hand is fretting the strings at different frets using either fingers or a wooden stick called a “noter.” The shape of the body or soundbox varies from hourglass, boat, diamond and lozenge, to teardrop and rectangular box style. -
8Th RESIDENTIAL SUMMER MUSIC ACADEMY
13th – 20th July 2013 CANDILI, EUBOEA, GREECE 8th RESIDENTIAL SUMMER MUSIC ACADEMY Applications are invited to Singers and Lute Players, to attend a week of Masterclasses, Lessons, Concerts, and related activities, with the Counter-Tenor, Michael Chance, in the historic and stunning setting of Candili, on the Island of Euboea (Εύβοια), Greece. As in the past, there will be a range of musical activity, with ample opportunity to attend classes, have private tuition, work with accompanists, perform daily, and enjoy leisure time on the famed estate. The landscape around Candili is idyllic, with natural forest, mountains, and beaches all close by. Michael Chance We are delighted to welcome our distinguished friends, Lyric Soprano Lynne Dawson, Head of the School of Vocal Studies at RNCM, Manchester, UK, Lutenist Paul Beier, with whom Michael regularly performs, and the experienced Alexander Technique teacher Fiona Tree, of the Royal Conservatorium in The Hague, Holland. There will be harpsichord and piano accompaniment available for singers in lessons and classes. The cost will be 700 Euros for the full week or 350 Euros for the final days (Thursday morning, 18th July – Saturday evening, 20th July), during which the final concert will take place. This covers Lynne Dawson accommodation, three daily meals, and all tuition. Single rooms may be possible by arrangement. The cost for non-participating partners, or friends, will be 65 Euros per day, on a room-sharing basis. You are invited to send your application, using the form at http://www.michaelchancecountertenor.co.uk/masterclasses/ Please include a short biography, and singing experience. Successful applicants will then receive more details about the content of the course, and the request to pay a registration fee of 50 Euros, by bank transfer. -
Fretted Instruments, Frets Are Metal Strips Inserted Into the Fingerboard
Fret A fret is a raised element on the neck of a stringed instrument. Frets usually extend across the full width of the neck. On most modern western fretted instruments, frets are metal strips inserted into the fingerboard. On some historical instruments and non-European instruments, frets are made of pieces of string tied around the neck. Frets divide the neck into fixed segments at intervals related to a musical framework. On instruments such as guitars, each fret represents one semitone in the standard western system, in which one octave is divided into twelve semitones. Fret is often used as a verb, meaning simply "to press down the string behind a fret". Fretting often refers to the frets and/or their system of placement. The neck of a guitar showing the nut (in the background, coloured white) Contents and first four metal frets Explanation Variations Semi-fretted instruments Fret intonation Fret wear Fret buzz Fret Repair See also References External links Explanation Pressing the string against the fret reduces the vibrating length of the string to that between the bridge and the next fret between the fretting finger and the bridge. This is damped if the string were stopped with the soft fingertip on a fretless fingerboard. Frets make it much easier for a player to achieve an acceptable standard of intonation, since the frets determine the positions for the correct notes. Furthermore, a fretted fingerboard makes it easier to play chords accurately. A disadvantage of frets is that they restrict pitches to the temperament defined by the fret positions. -
E-Guitar Making
E-Guitar making from practitioner to practitioner Bearbeitet von Norbert Waldy 1. Auflage 2014. Taschenbuch. 144 S. Paperback ISBN 978 3 8495 7669 1 Format (B x L): 14 x 21 cm Weitere Fachgebiete > Musik, Darstellende Künste, Film > Musikinstrumente > Saiteninstrumente Zu Inhaltsverzeichnis schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. www.tredition.de www.tredition.de Author, Norbert Waldy This book shall provide you with the basis and the knowledge to build your own electric guitar. It has been created for be- ginners and for advanced practitioners, focusing on the essential. If you build a guitar on your own, you should en- joy working with wood, sawing, sanding, refining, soldering, assembling and adjusting your master- work. I wish you to enjoy this book and much more, to accomplish your own electric guitar. [email protected] Translator: Rose Mary Herren-Gleeson International experience Translation services German-English German-French [email protected] www.tredition.de © 2014 Norbert Waldy Auflage: 2014 Verlag: tredition GmbH, Hamburg ISBN: 978-3-8495-7669-1 Printed in Germany Das Werk, einschließlich seiner Teile, ist urheberrechtlich ge- schützt. Jede Verwertung ist ohne Zustimmung des Verlages und des Autors unzulässig. Dies gilt insbesondere für die elektronische oder sonstige Vervielfältigung, Übersetzung, Verbreitung und öf- fentliche Zugänglichmachung. Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Da- ten sind im Internet über http://dnb.d-nb.de abrufbar. -
572178Bk Johnson US 17/8/10 13:15 Page 4
572178bk Johnson US 17/8/10 13:15 Page 4 Nigel North Born in London, Nigel North has been Professor of Lute at the Early Music Institute, Indiana University, Bloomington since 1999. Initially inspired into music, at the age of seven, by the early 1960s instrumental pop group The Shadows, he studied classical music through the Robert violin and guitar, eventually discovering his real path in life, the lute, when he was fifteen. Basically self taught on the lute, he has since JOHNSON 1976 developed a unique musical life which embraces activities as a teacher, accompanist, soloist, director and writer. His principal music passions apart from teaching are accompanying singers, the solo lute repertoires of Elizabethan England and late German Baroque music of Bach and Weiss. Recordings include a 4 CD box set Bach on the Lute (Linn Records) and 4 CDs of the Lute Music of John Dowland (Naxos The Prince’s 8.557586, 8.557862, 8.570449 and 8.570284). Photograph: Sophie North Almain and other Dances for Lute Nigel North, Lute 8.572178 4 572178bk Johnson US 17/8/10 13:15 Page 2 Robert Johnson (c. 1583–1633) contemporaries such as Ferrabosco, with its tightly same hall in 1611, had an antimasque which contained Lute Music woven counterpoint. Sadly Johnson left us only one. He The Fairies’ Dance and The Satyre’s Dance. The lute was most prolific in the Almain, leaving us ten version of the latter has not survived so the recorded The illustrious dedicatee of The Prince’s Almain is (also known as Lord Hunsdon) who oversaw his examples.