DOCSLIB.ORG

Foremost in Marching and Concert Percussion Literature” P.O

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Foremost in Marching and Concert Percussion Literature” P.O “Foremost In Marching And Concert Percussion Literature” P.O. Box 292671 l Nashville, TN 37229 l 1-800-624-8001 l FAX 1-615-885-0370 l www.rowloff.com Scare-a-diddle by Lorianne Keeney Easy-Medium - 2:53 / 12 - 14 Players Instrumentation Bells, Chimes, Xylophone, (2) Vibes, (2) Marimbas, Snare Drum, Floor Tom, Wind Chimes, Concert Bass Drum, Suspended Cymbal, Flexatone, Whip, Chains, Marching Machine, Crash Cymbals, (4) Timpani "SCARE-A-DIDDLE" by Lorianne Keeney © 2019 by Row-Loff Productions International Copyright Secured All Rights Reserved Scare-a-diddle (Don't be afraid of the Paradiddle) by Lorianne Keeney = 132 - 140 q 2 3 4 Bells 4 & 4 ∑ ∑ ∑ ∑ Chimes 4 & 4 ∑ ∑ ∑ ∑ Xylophone 4 & 4 ∑ ∑ ∑ ∑ Vibraphone 1 4 & 4 ∑ ∑ ∑ ∑ Vibraphone 2 4 & 4 ∑ ∑ w w F Marimba 1 4 & 4 ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ P Marimba 2 4 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ P œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 3 4 Snare Drum ÷ 4 ∑ ∑ ∑ ∑ Floor Tom ÷ 4 ∑ ∑ ∑ ∑ Percussion 1 Wind Chimes Bass Drum 4 Sus Cym ÷ 4 ∑ ∑ ∑ ∑ Percussion 2 Flexatone, Chains, Whip, Marching M, ÷ 4 ∑ ∑ ∑ ∑ Crash Cymbals 4 Timpani (A, C, D, E) 4 ? 4 ∑ ∑ ∑ ∑ "SCARE-A-DIDDLE" by Lorianne Keeney © 2019 by Row-Loff Productions International Copyright Secured All Rights Reserved Scare-a-diddle pg. 2 5 6 7 8 Bells & ∑ ∑ ∑ ∑ Chimes & ∑ ∑ ∑ ∑ Xylophone & ∑ ∑ ∑ ∑ Vibraphone 1 & ∑ ∑ ∑ ∑ Vibraphone 2 w w & w w Marimba 1 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Marimba 2 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 6 7 8 Snare Drum ÷ ∑ ∑ ∑ ∑ Floor Tom ÷ ∑ ∑ ∑ ∑ Percussion 1 Wind Chimes Bass Drum Sus Cym ÷ ∑ ∑ ∑ ∑ Percussion 2 Flexatone, Chains, Whip, Marching M, Crash Cymbals ÷ ∑ ∑ ∑ ∑ Timpani (A, C, D, E) ? ∑ ∑ ∑ ∑ Scare-a-diddle pg. 3 9 10 11 12 Bells & ∑ ∑ ∑ ∑ Chimes & ∑ ∑ ∑ ∑ Xylophone & ∑ ∑ ∑ ∑ w Vibraphone 1 w & ∑ ∑ F Vibraphone 2 & w w w w Marimba 1 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Marimba 2 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 9 10 11 12 Snare Drum ÷ ∑ ∑ ∑ ∑ Floor Tom ÷ ∑ ∑ ∑ ∑ wind chimes Percussion 1 Wind Chimes Bass Drum w Sus Cym ÷ ∑ ~~~~~~~~~~~ ∑ ∑ F flexatone Percussion 2 Flexatone, Chains, Whip, ˙ Marching M, . Crash Cymbals ÷ ∑ ∑ Œ ∑ f Timpani (A, C, D, E) ? ∑ ∑ ∑ ∑ Scare-a-diddle pg. 4 13 14 15 16 Bells & ∑ ∑ ∑ ∑ Chimes & ∑ ∑ ∑ ∑ Xylophone & ∑ ∑ ∑ ∑ w w Vibraphone 1 w w & Vibraphone 2 w w & w w Marimba 1 œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Marimba 2 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 13 14 15 16 Snare Drum ÷ ∑ ∑ ∑ ∑ Floor Tom ÷ ∑ ∑ ∑ ∑ Percussion 1 Wind Chimes Bass Drum Sus Cym ÷ ∑ ∑ ∑ ∑ Percussion 2 Flexatone, Chains, Whip, ˙ Marching M, . Crash Cymbals ÷ ∑ ∑ Œ ∑ Timpani (A, C, D, E) ? ∑ ∑ ∑ ∑ Scare-a-diddle pg. 5 A 17 18 19 20 Bells & ∑ ∑ ∑ ∑ Chimes & ∑ ∑ Œ ˙. ∑ f Xylophone & ∑ ∑ ∑ ∑ w w Vibraphone 1 w w & f Vibraphone 2 & w w w w f Marimba 1 & #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f Marimba 2 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f œ œ œ œ œ œ œ œ 17 18 19 20 j Snare Drum ÷ ∑ ∑ Œ œ œ Ó ∑ f Floor Tom ÷ ∑ ∑ Œ œ Ó ∑ f Percussion 1 Wind Chimes Bass Drum Sus Cym ÷ ∑ ∑ Œ ˙. w Percussion 2 Flexatone, Chains, Whip, Marching M, Crash Cymbals ÷ ∑ ∑ ∑ ∑ Timpani (A, C, D, E) ? ∑ ∑ Œ ˙. w f Scare-a-diddle pg. 6 21 22 23 24 Bells & ∑ ∑ ∑ ∑ Chimes & Œ ˙. ∑ Œ ˙. ∑ Xylophone & ∑ ∑ ∑ ∑ w w Vibraphone 1 w w & Vibraphone 2 w w & w w Marimba 1 œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Marimba 2 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 21 22 23 24 j j Snare Drum ÷ Œ œ œ Ó ∑ Œ œ œ Ó ∑ Floor Tom ÷ Œ œ Ó ∑ Œ œ Ó ∑ Percussion 1 Wind Chimes Bass Drum Sus Cym ÷ Œ ˙. w Œ ˙. w Percussion 2 Flexatone, Chains, Whip, Marching M, Crash Cymbals ÷ ∑ ∑ ∑ ∑ Timpani (A, C, D, E) ? Œ ˙. w Œ ˙. w Scare-a-diddle pg. 7 25 26 27 28 Bells ∑ ∑ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f Chimes & Œ #˙. ∑ Œ ˙. ∑ Xylophone & ∑ ∑ ∑ ∑ w w Vibraphone 1 w w & Vibraphone 2 & w w w w Marimba 1 & #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Marimba 2 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 25 26 27 28 j j Snare Drum ÷ Œ œ œ Ó ∑ Œ œ œ Ó ∑ Floor Tom ÷ Œ œ Ó ∑ Œ œ Ó ∑ Percussion 1 Wind Chimes Bass Drum Sus Cym ÷ Œ ˙. w Œ ˙. w Percussion 2 Flexatone, Chains, Whip, Marching M, Crash Cymbals ÷ ∑ ∑ ∑ ∑ Timpani (A, C, D, E) ? ˙ w Œ . Œ ˙. w Scare-a-diddle pg. 8 29 30 31 32 Bells œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ Chimes & Œ ˙. ∑ Œ ˙. ∑ Xylophone & ∑ ∑ ∑ ∑ w w Vibraphone 1 w w & Vibraphone 2 w w & w w Marimba 1 œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Marimba 2 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 29 30 31 32 j j Snare Drum ÷ Œ œ œ Ó ∑ Œ œ œ Ó ∑ Floor Tom ÷ Œ œ Ó ∑ Œ œ Ó ∑ Percussion 1 Wind Chimes Bass Drum Sus Cym ÷ Œ ˙. w Œ ˙. w Percussion 2 Flexatone, Chains, Whip, Marching M, Crash Cymbals ÷ ∑ ∑ ∑ ∑ Timpani (A, C, D, E) ? Œ ˙. w Œ ˙. w.
Load more

Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Brian Baldauff Treatise 11.9
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 The Percussion Music of Michael W. Udow: Composer Portrait and Performance Analysis of Selected Works Brian C. (Brian Christopher) Baldauff Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE PERCUSSION MUSIC OF MICHAEL W. UDOW: COMPOSER PORTRAIT AND PERFORMANCE ANALYSIS OF SELECTED WORKS By BRIAN C. BALDAUFF A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 Brian C. Baldauff defended this treatise on November 2, 2017. The members of the supervisory committee were: John W. Parks IV Professor Directing Treatise Frank Gunderson University Representative Christopher Moore Committee Member Patrick Dunnigan Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To Shirley. iii ACKNOWLEDGMENTS This document and degree would not have been possible without the support, guidance, and patience of numerous extraordinary individuals. My wife, Caitlin for her unwavering encouragement. Dr. John W. Parks IV, my major professor, Dr. Patrick Dunnigan, Dr. Christopher Moore, and Dr. Frank Gunderson for serving on my committee. All my friends and colleagues from The Florida State University, the University of Central Florida, the University of Michigan, West Liberty University, and the University of Wisconsin- Stevens Point for their advice and friendship. My parents Sharon and Joe, and all my family members for their love.
    [Show full text]
  • Guidelines for Percussion Writing
    GUIDELINES FOR PERCUSSION WRITING 1. INSTRUMENTATION The following instruments are available: Timpani (four, ranges D – B, F – d, A – f, d – bb) Bongos (two) Tom-toms (two) Large Concert Bass Drum (36”) Congas (two) Small Bass Drum (28” – pedal can be attached) Rototoms (three) Surdo Side Drum (snares on or off) Tambourim Piccolo side drum (snares on or off) Darbouka Bodhran Tenor Drum (no snares) Cowbells (three) Clash Cymbals (three pairs: 18” or 20” French, Agogo bells (two ‘pitches’) 20” Viennese) Alpenglocken (eight of various sizes) Suspended Cymbals (three: 14”, 18”, 20”) Mark tree (bell tree) Cymbal attached to bass drum Sleigh bells (two sets) Hi-Hat Cymbal with pedal Handbell (untuned) Antique (finger) cymbals (two pairs, unpitched) Anvil Tam-tam (30”) Maracas (two pairs) Gong (20”) Egg shakers Guiros (two) Triangles (six, various sizes and timbres) Reco Reco Cabasa Orchestral Tambourines (two: 10”, 12”) Chekere Rock Tambourine (no head) Vibraslap Flexatone Xylophone Rainsticks (two, one large, one small) Glockenspiel Claves (two pairs) Vibraphone Castanets (Machine and handle) Metal Castanets Tubular bells (1½ octave chromatic set, C – g) Sandpaper blocks Wood blocks (three ‘pitches’) Thunderdrum Temple blocks (five ‘pitches’) Thunder sheet Jam blocks (two ‘pitches’) Big Bom Miscellaneous whistles (referee, train, lighthouse) Apito (samba whistle) Wind chimes (bamboo) Slide whistle (swanee whistle) Whip / Clapper Bulbhorns (two: large - car, small - bicycle) Slapstick Kazoo Ratchet / Rattle Bird calls (nightingale, pigeon, cuckoo, quail, duck) If you require any additional instruments, they would have to be hired – please check with an Orchestra representative first. The most common items that fall into this category are: Piccolo Timpani (20” or smaller) (Rock/Jazz) Drumkit Timbales Cajon Crotales (low or high octave) Log Drum Bass bells (below middle C) Mahler Hammer Hang/Gubal Aluphone Steel Drum Boobams Marimba Keyed Glockenspiel Tubophone Please note that you should not take this list as an invitation to use it all – moderation is a good thing! II.
    [Show full text]
  • Relationship with Percussion Instruments
    Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument.
    [Show full text]
  • A Study of the Relationship Between Traditional Peking Opera and Contemporary Western Percussion Music in Mu Kuei-Yin in Percussion by Chien-Hui Hung
    A STUDY OF THE RELATIONSHIP BETWEEN TRADITIONAL PEKING OPERA AND CONTEMPORARY WESTERN PERCUSSION MUSIC IN MU KUEI-YIN IN PERCUSSION BY CHIEN-HUI HUNG Isabelle Huang Streng A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS December 2012 Committee: Roger Schupp, Advisor Fleming Fallon Graduate Faculty Representative Marilyn Shrude Kenneth Thompson © 2012 Isabelle Huang Streng All Rights Reserved iii ABSTRACT Roger Schupp, Advisor The art of traditional music has diminished in significance in educational and cultural institutions in Taiwan and has been gradually replaced by Western music in schools and concerts. Some artists in Taiwan have observed the potential impact of the loss of this vibrant art form and have tried new ways to regain the public’s attention. Taiwanese composer Chien-Hui Hung and the Ju Percussion Group have done numerous cross-cultural productions incorporating traditional arts with Western concert music as an effort to preserve and regain attention for Taiwanese culture. The aim of this study is to examine one of these endeavors to combine traditional arts and modern Western percussion music in Chien-Hui Hung’s Mu Kuei-Yin In Percussion. This doctoral document is the first to discuss Chien-Hui Hung’s music and her working relationship with Ju Percussion Group. Chapter One of this document consists of the author’s interview with the composer discussing her musical background, education, relationship with Ju Percussion Group, and her view of the current development of music in Taiwan – both Western and traditional.
    [Show full text]
  • Percussion Instruments
    Series In Popular Science - Vol. 3 SCIENCE OF PERCUSSION INSTRUMENTS THOMAS D. ROSSING World Scientific S C I E N C E O F PERCUSSION INSTRUMENTS SERIES IN POPULAR SCIENCE Editor-in-Chief: Richard J. Weiss Published Vol. 1 A Brief History of Light and Those That Lit the Way by Richard J. Weiss Vol. 2 The Discovery of Anti-matter: The Autobiography of Carl David Anderson, the Youngest Man to Win the Nobel Prize by C. D. Anderson Series in Popular Science - Vol. 3 SCIENCE O F PERCUSSION INSTRUMENTS THOMAS D. ROSSING Northern Illinois University World Scientific `1 Singapore • New Jersey. London • Hong Kong Published by World Scientific Publishing Co. Pte. Ltd. P O Box 128, Farrer Road, Singapore 912805 USA office: Suite 1B, 1060 Main Street, River Edge, NJ 07661 UK office: 57 Shelton Street, Covent Garden, London WC2H 9HE British Library Cataloguing -in-Publication Data A catalogue record for this book is available from the British Library. First published 2000 Reprinted 2001 SCIENCE OF PERCUSSION INSTRUMENTS Series in Popular Science - Volume 3 Copyright m 2000 by World Scientific Publishing Co. Pte. Ltd. All rights reserved. This book, or parts thereof may not be reproduced in anyform or by any means, electronic or mechanical, including photocopying, recording or any information storage and retrieval system now known or to be invented, without written permissionfrom the Publisher. For photocopying of material in this volume, please pay a copying fee through the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, USA. In this case permission to photocopy is not required from the publisher.
    [Show full text]
  • How to Purchase Concert Percussion Accessories Cymbals
    How To Purchase Concert Percussion Accessories by Neil W. Grover A more accurate title for this piece should be, “Concert Percussion Accessories; What To Purchase?” Buying is the easy part, deciding what to purchase is the task at hand. Acquiring a viable array of instruments for a student percussionist is an important, yet often neglected, part of a music educator’s core responsibilities. All too often, I encounter band rooms where quality percussion accessories are lacking, and unacceptable substitutes are used. For some reason, percussion accessories seem to be relegated to bottom of a music educator’s line item budget. Excuses like “my percussionists just don’t take care of the accessories” or “we already have a (rock) tambourine” breed an atmosphere whereby students are forced to play on inadequate instruments which would make even a pro like me sound unmusical! Playing musically is difficult enough with a good quality triangle, no less a cheap piece of junk! It’s important to realize that quality should not come at the expense of quantity. While being sensitive to budget restrictions is more important than ever, it is possible for the average music department to identify, and (over time), purchase an array of quality percussion accessories, which when cared for, provide many years of trouble free service. Percussion accessories run the gamut from whip to flexatone: triangle to log drum. For the purpose of this article, I will concentrate on those instruments which are most critical and basic to the educational percussion program. Cymbals Cymbals are instruments of great artistic expression. Just listen to a recording of Tchaikovsky’s “Romeo & Juliet Overture”, or Debussy’s tone poem “La Mer.” Ah, those glorious overtones, which can only be produced by a good set of cymbals.
    [Show full text]
  • UVI the Beast | Soundbank Manual
    Soundbank Manual Software Version 1.0 EN 160307 End-User License Agreement (EULA) Do not use this product until the following license agreement is understood and accepted. By using this product, or allowing anyone else to do so, you are accepting this agreement. This End-User License Agreement (EULA) represents the contractual conditions C- Protection of Software between you, the Licensee, and UVI, located 159 rue Amelot, 75011 Paris - France for You agree to take all reasonable steps to protect the Product and any accompanying the use of software, documentation and other materials created by UVI. documentation from unauthorized copying or use. You agree not to modify the Product to circumvent any method or means adopted or implemented by UVI to You should not register, install or use UVI Products until the following license protect against or discourage the unlicensed use or copying of the Product. agreement is understood and accepted. By using UVI Products, or allowing anyone else to do so, you are accepting this D- Ownership agreement. Ownership of, and title to, the enclosed digitally recorded sounds (including any copies) are held by UVI. A- License Grant Copies are provided to you only to enable you to exercise your rights under the 1. UVI grants to you, subject to the following terms and conditions, the non-exclusive license. right to use each authorized copy of the Product. 2. UVI Product license are granted only to a single user. You may use this product on E- Term up to three separate computers or iLok Dongles, which shall be owned and used by This agreement is effective from the date you open this package, and will remain in you exclusively.
    [Show full text]
  • (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
    FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard
    [Show full text]
  • The Physics of Musical Instruments
    The Physics of Musical Instruments Neville H. Fletcher Thomas D. Rossing The Physics of Musical Instruments With 408 Illustrations Springer-Verlag New York Berlin Heidelberg London Paris Tokyo Hong Kong Barcelona Budapest Neville H. Fletcher Thomas D. Rossing CSIRO Australia Department of Physics Research School of Physical Sciences Northern Illinois University Australian National University De Kalb, IL 60115 Canberra, A.c.T. 2601 USA Australia Library of Congress Cataloging-in-Publication Data Fletcher, Neville H. (Neville Horner) The physics of musical instruments/Neville H. Fletcher, Thomas D. Rossing. p. cm. Includes bibliographical references and indexes. ISBN-13:978-0-387 -94151-6 I. Music-Acoustics and physics. 2. Musical instruments- Construction. l. Rossing, Thomas D., 1929- II. Title. ML3805.F58 1993 784.19'OI'53-dc20 93-27442 Printed on acid-free paper. © 1991 by Springer-Verlag New York Inc. All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer-Verlag, 175 Fifth Avenue, New York, NY 10010, U.S.A.), except for brief excerpts in connection with reviews or scholarly analysis. Use in con­ nection 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 of general descriptive names, trade names, trademarks, etc., in this publication, even if the former are not especially identified, is not to be taken as a sign that such names, as understood by the Trade Marks and Merchandise Marks Act, may accordingly be used freely by anyone.
    [Show full text]
  • Flexatone 1 Flexatone
    Flexatone 1 Flexatone The flexatone is a modern percussion instrument (an indirectly struck idiophone) consisting of a small flexible metal sheet suspended in a wire frame ending in a handle. [1] History, construction and technique An invention for a flexatone occurs in the British Patent Records of 1922 and 1923. In 1924 the 'Flex-a-tone' was patented in the USA by the Playatone Company of New York. A wooden knob mounted on a strip of spring steel lies on each side of the metal sheet. The player holds the flexatone in one hand with the palm around the wire frame and the thumb on the free end of the spring steel. The player then shakes the instrument with a trembling movement which causes the beaters to strike the sides of the metal sheet. While shaking the handle, the musician makes a high- or low-pitched sound depending on the curve given to the blade by the Flexatone pressure from his thumb. A vibrato is thus produced. An alternate technique involves removing the two wooden knobs and their mounting springs, and then using a small metal rod (e.g., a triangle beater) held in the free hand striking the strip of spring steel. The pitch is altered in the same manner as the previous technique. This method of playing results in a different, more constrained sound. Uses The flexatone is sometimes heard in funk music, and occasionally in pop music for special effect. It is occasionally used in the soundtracks of films or cartoons to represent "ghosts" or other paranormal phenomena.
    [Show full text]
  • Season 2017-2018 the Philadelphia Orchestra
    Season 2017-2018 The Philadelphia Orchestra Friday, January 5, at 2:00 Saturday, January 6, at 8:00 Pablo Heras-Casado Conductor Jeffrey Khaner Flute Jones Flute Concerto I. Lament II. Interludio III. Dream Montage—The Great Bell: America Marching World premiere—Philadelphia Orchestra commission 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and impact through Research. is one of the preeminent the Orchestra continues The Orchestra’s award- orchestras in the world, to discover new and winning Collaborative renowned for its distinctive inventive ways to nurture Learning programs engage sound, desired for its its relationship with its over 50,000 students, keen ability to capture the loyal patrons at its home families, and community hearts and imaginations of in the Kimmel Center, members through programs audiences, and admired for and also with those who such as PlayINs, side-by- a legacy of imagination and enjoy the Orchestra’s area sides, PopUP concerts, innovation on and off the performances at the Mann free Neighborhood concert stage. The Orchestra Center, Penn’s Landing, Concerts, School Concerts, is inspiring the future and and other cultural, civic, and residency work in transforming its rich tradition and learning venues. The Philadelphia and abroad. of achievement, sustaining Orchestra maintains a strong Through concerts, tours, the highest level of artistic commitment to collaborations residencies, presentations, quality, but also challenging— with cultural and community and recordings, The and exceeding—that level, organizations on a regional Philadelphia Orchestra is by creating powerful musical and national level, all of which a global ambassador for experiences for audiences at create greater access and Philadelphia and for the home and around the world.
    [Show full text]