Pedal Steel Guitar Instruction Books
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Manual V1.0B
An Impact Soundworks Instrument for Kontakt Player 5.7+ Produced by Dimitris Plagiannis User Manual v1.0b CONTENTS INTRODUCTION 2 INSTALLATION 3 USER INTERFACE 4 PERFORMANCE CONTROLS 5 VOICE MODE 5 ARTICULATION 5 FRET POSITION 6 TONIC 6 VOLUME PEDAL 6 VIBRATO MODE 7 VIBRATO DEPTH 7 AUTO VIBRATO DELAY 7 AUTO VIBRATO ATTACK 7 AUTO VIBRATO RELEASE 7 PREFERENCES 8 RELEASE VOLUME 8 NOISE VOLUME 8 NOISE CHANCE 9 POLY LEGATO THRESHOLD 9 POLY LEGATO PRIORITY 9 SAMPLE OFFSET 9 ROUND ROBIN 10 PITCH BEND RANGE 10 HUMANIZE PITCH 10 HUMANIZE TIMING 10 EXP > VOLUME TABLE 11 VEL > PORTA TABLE 11 VEL > HARM VOL TABLE 12 TEMPERAMENT TABLE 13 HARMONIZATION 13 HARMONY 14 CAPTIONS 14 OPERATION TIPS 14 CREDITS 15 TROUBLESHOOTING 15 COPYRIGHT & LICENSE AGREEMENT 15 OVERVIEW 15 AUTHORIZED USERS 16 A. INDIVIDUAL PURCHASE 16 B. CORPORATE, ACADEMIC, INSTITUTIONAL PURCHASE 16 SCOPE OF LICENSE 16 OWNERSHIP, RESALE, AND TRANSFER 17 INTRODUCTION The pedal steel guitar’s journey to Nashville began in the Hawaiian Islands. Islanders would take an old guitar, lose the frets, raise the strings, and then slide the dull edge of a steel knife to sound wavering chords up and down the strings. Further tinkering led to the invention of the Dobro, the classic bluegrass instrument. The Dobro eventually morphed into the lap steel, which when electrified was one of the first electric guitars, and along with the ukulele became one of the signature sounds of Hawaii. After pedals were added to the lap steel, pedal modifications developed until the standardized pedal steel was born. Unlike the lap steel, the pedal steel guitar is not limited in its voicings – it allows for an unlimited amount of inversions and chords. -
7 Lead Guitar Success Secrets Click Here
7 Lead Guitar Success Secrets Click Here >>> (Video Course) - 7 Lead Guitar Success Secrets - (Video Course) 7 Lead Guitar Success Secrets Disclaimer and Terms of Use: Your reliance upon information and content obtained by you at or through this publication is solely at your own risk. The author assumes no liability or responsibly for damage or injury to you, other persons, or property arising from any use of any product, information, idea, or instruction contained in the content provided to you through this report. This information is intended for individuals taking action to achieve higher musical awareness, and expand their lead guitar vocabulary. However, I can’t be responsible for loss or action to any individual or corporation acting, or not acting, as a result of the material presented here. Reproduction or translation of any part of this work by any means, electronic or mechanical, including photocopying, beyond that permitted by the copyright law, without the permission of the publisher, is unlawful. Much effort has been applied to assure this report is free from errors. These proven lead guitar success secrets are the result of 25 years of lead guitar playing, and teaching. You’re about to learn 7 extremely effective Lead Guitar Success Secrets to quickly ramp up your lead guitar playing. In moments, I'm going to reveal 7 highly important lead guitar success secrets, and you're going to focus upon them quite possibly more than you ever have in all your years of guitar playing. Say goodbye to stale lead guitar playing, and hello to an injection of fresh horsepower. -
Guitar Educator Resource Guide
GUITAR EDUCATOR RESOURCE GUIDE Introduction This guide is intended to assist precollege classroom guitar educators, studio guitar educators, curriculum administrators, and other stakeholders review the curricula, texts, materials, and supplements available and decide which are appropriate for their own students and educational setting. When considering a curriculum, resource, or text, it is important to consider standards in your own locale and district. For national, state, GFA, and professional standards, see the GFA website Education menu >> Education Standards. Contents Quick Reference Comprehensive Guitar Curricula for Classroom Use “Out-of-the-box” methods that include student text, teacher resources/materials, and a sequenced approach to multiple levels. These may also include ensemble and solo repertoire. Classroom Guitar Methods Methods for the classroom that include student text/materials only and/or for a single level General Guitar Methods Methods for general guitar instruction Graded Solo Repertoire Series Sequenced solo repertoire for individual student development. Online Guitar Education Publishers Online/digital publishers with a focus on educational content or application. General Guitar Publishers & Sheet Music Resources General publishers of guitar materials Guitar Educator’s Library Suggestions for reference materials from guitar educators and GFA Certified Schools Teaching Guitar Handbooks Professional Organizations and Professional Development for Guitar Educators Notes - Publisher Descriptions may be redacted for -
Lead Series Guitar Amps
G10, G20, G35FX, G100FX, G120 DSP, G120H DSP, G412A USER’S MANUAL G120H DSP G412A G100FX G120 DSP G10 G20 G35FX LEAD SERIES GUITAR AMPS www.acousticamplification.com IMPORTANT SAFETY INSTRUCTIONS Exposure to high noise levels may cause permanent hearing loss. Individuals vary considerably to noise-induced hearing loss but nearly everyone will lose some hearing if exposed to sufficiently intense noise over time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified the following permissible noise level exposures: DURATION PER DAY (HOURS) 8 6 4 3 2 1 According to OSHA, any exposure in the above permissible limits could result in some hearing loss. Hearing protection SOUND LEVEL (dB) 90 93 95 97 100 103 must be worn when operating this amplification system in order to prevent permanent hearing loss. This symbol is intended to alert the user to the presence of non-insulated “dangerous voltage” within the products enclosure. This symbol is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the unit. Apparatus shall not be exposed to dripping or splashing. Objects filled with liquids, such as vases, shall not be placed on the apparatus. • The apparatus shall not be exposed to dripping or splashing. Objects filled with liquids, such as vases, shall not be placed on the apparatus. L’appareil ne doit pas etreˆ exposé aux écoulements ou aux éclaboussures et aucun objet ne contenant de liquide, tel qu’un vase, ne doit etreˆ placé sur l’objet. • The main plug is used as disconnect device. -
For My Physics 398 Semester Project, I Built a Lap Steel Guitar from "Scratch"
For my Physics 398 semester project, I built a lap steel guitar from "scratch". When taking this approach to building a guitar, or any instrument for that matter, there are an infinite amount of design questions, both functional and cosmetic, that arise. For that reason, I decided to find an existing lap steel that I particularly liked and use it as a guide for construction. I ended up choosing a 1946 Fender Deluxe for my template. Many of the design questions were now answered for me, but some new ones arose as a result of me not being able to exactly replicate various elements of the Deluxe. Having chosen the style for my guitar there were many specific design choices to be made. What kind of wood should I use for the body? Should I use tuning machines that go through the headstock or mount on top? What should I use for the nut? How am I going to design the fret board? What kind of pickup and bridge should I use? Should I attach the strings to a tailpiece or mount them through the body? Where do I want the knobs and output jack? Needless to say there were many issues to address. First off, I started researching online about different woods for guitars and on the Hawaiian Steel Guitar Association's website I found this description of Honduras Mahogany...a Gibson EH-150 full, mellow midrange to slightly bass sound... which sounded pretty good to me, so Honduras Mahogany it was. I ordered a 30'' x 7 1/4'' x 1 3/4'' piece from www.rockler.com, which cost me about $45. -
Electric Guitars and Basses
About Electric Guitars and Basses Since the development of the Spanish six-string guitar in the early 1800s, guitar makers and players had searched for a way to make the guitar's sound louder. (See Acoustic Guitars for more info.) Big changes came at the beginning of the 20th century when a number of guitar players and designers experimented with electrical amplification. Major changes in guitar design began with the invention of the electromagnetic transducer commonly known as a "pickup." A pickup is a device placed underneath the strings of a guitar converting string vibrations into electrical energy. This energy is converted back into sound by an amplifier. The amplifier has knobs or switches that allow the player to increase or decrease the sound level of the guitar. (See section on Amplifiers for more info.) As early as the 1930s guitar players began installing pickups in their acoustic instruments. Although this helped make the sound louder, it created a whole new set of problems - especially "feedback" when the guitar was played at high volume. Several inventors developed a solution to this problem by experimenting with a solid body for the instrument by attaching a neck with strings to a solid block of wood. This solid wood body - not as resonant as a hollow body - created less feedback when amplified. By the 1950s solid body electric guitars were mass-produced to keep up with the increasing demand for these new instruments. First seen as just a novelty, electric guitars have become one of the most popular and influential instruments in modern music - used to play blues, jazz, rock & roll, country, and rhythm & blues styles. -
Guitar Virtuosity for the Everyday Man for Use with Guitar Freak Workstation
Guitar Virtuosity for the Everyday Man For use with Guitar Freak Workstation Sean Clancy 2nd Edition ©2009 Sean Clancy Enterprises Guitar Virtuosity for the Everyday Man Contents: Welcome to Guitar Freak Workstation with SightReader Master Extreme! 3 Lesson 1 -for beginners -the very basics 4 Lesson 2 -the guitar 6 Lesson 3 -Naturalization -the concept 10 Foundation course 12 Lesson 1 -Timing 13 Lesson 2 -strumming 19 Lesson 3 -strumming continued 21 Lesson 4 - Alternate Picking made easy 24 Lesson 5 - The major scale -playing it in timing subdivisions 27 Lesson 6 -Basic Chords 29 Lesson 7 -Learning a basic song 32 Lesson 8 -How chords and scales work (also a little on GFW Quick chords) 34 Chord Families -Introducing the Major, Minor and Dominant Families 38 Rhythm – chords level 1 (learning rock level chords, top 40 level, pop, country, blues) 40 Lesson 1 -Barre chords 41 Lesson 2 -Learning the notes on the E and A Strings (using GFW SightReader) 45 Lesson 3 -Learning songs by Ear 48 Lesson 4 -Finger Picking 53 Lesson 5 -Writing songs -song forms 56 Lesson 6 -Blues Structures and Rhythms 59 Lesson 7 -Working out chords for songs we may have heard but are in demand at an Impromptu jam 63 Lesson 8 -A list of popular songs to learn and steal forms from 67 Lead – level 1, (getting to learn lead playing, playing over songs, sounding great 69 Lesson 1 -Finger agility! 70 Lesson 2 -Laying chord shapes for your soloing 73 Lesson 3 -The Pentatonic Scale -part A - 77 Lesson 4 -Part B - 80 Lesson 5 -Breaking out of the box shapes - 83 Lesson 6 - Modes? I don’t need any stinking modes? 87 Lesson 7 -Rules for Soloing 90 1 Guitar Virtuosity for the Everyday Man Advanced Rhythm- 93 Lesson 1 -Stylistic Rhythms 94 Lesson 2 -Jazz Chords 99 Lesson 3 -The Metronome “Practice Chords, Scales and Licks 101 Lesson 4 -Know where the 3, 5, 7 and root are. -
Harpsichord 8' Delicate Harpsichord 8' Chorus Harpsichord 8' Spacey 2
iPiano Liste partielle des instruments, issue de http://www.ikmultimedia.com/products/igrandipad/ https://itunes.apple.com/fr/app/igrand-piano-for http://www.ikmultimedia.com/products/igrandipad/index.php?pp=igrand-piano-ipad-versions Piano Expansion Pack 1 1 Grand Piano 1 1 Baby Grand 2 Classical Piano 1 2 Bright Baby Grand 3 Jazz Piano 1 3 Classical Baby Grand 4 Rock Piano 1 4 Pop Baby Grand 5 Octave Piano 5 Grand Piano 2 6 Rich Upright 6 Mellow Grand 2 7 Rock Upright 7 Rock Piano 2 8 Soft Upright 8 Saloon Piano 9 Baby Grand 9 Grammophone Upright 10 Bright Baby Grand 11 Pop Baby Grand Piano Expansion Pack 2 12 Classical Baby Grand 1 Hollywood Piano 1 13 Grand Piano 2 2 Hollywood Piano 2 14 Mellow Grand 2 3 Hollywood Piano FX 15 Rock Piano 2 4 Piano and Strings 1 16 Saloon Piano 5 Piano and Strings 2 17 Grammophone Upright 6 Piano and Strings FX 18 Jazz Upright 7 7' Grand Piano 19 Hollywood Piano 1 8 7' Grand Piano CH 20 Hollywood Piano 2 9 7' Grand Piano FL 21 Hollywood Piano FX 10 7' Grand Piano PH 22 Piano and Strings 1 11 Alt Rock Upright 23 Piano and Strings 2 12 Deep Chorus Upright 24 Piano and Strings FX 13 Bright Pop Grand 25 7' Grand Piano 14 Chorused Pop Grand 26 7' Grand Piano CH 15 Real Tack Piano 27 7' Grand Piano FL 16 Saloon Tack Piano 28 7' Grand Piano PH 17 Harpsichord 8' 29 Alt Rock Upright 18 Harpsichord 8' Delicate 30 Deep Chorus Upright 19 Harpsichord 8' Chorus 31 Bright Pop Grand 20 Harpsichord 8' Spacey 32 Chorused Pop Grand 21 2-Octave Harpsichord 1 33 Real Tack Piano 22 2-Octave Harpsichord 2 34 Saloon Tack Piano -
Jaxon Bio Jaca New Color
Jaxon Williams Bios SHORT (~100 words) Hailed as a “Rising Star in the Guitar World” (Corvallis Arts Review), Jaxon Williams is an acclaimed classical guitarist and pedagogue. A former Fulbright Scholar and prizewinner in various international competitions, Jaxon is a sought after performer of both classical and flamenco guitar. Based in Los Angeles, CA, Jaxon also serves as regional director for California for the non-profit Lead Guitar (www.leadguitar.org), where he works to implement classical guitar programs in low-income schools and supervise the progress of existing programs. He is also one half of the duo Jâca (www.jacamusic.com), which actively performs on the concert stage worldwide. MED (~200 words) Hailed as a “Rising Star in the Guitar World” (Corvallis Arts Review), Jaxon Williams is an acclaimed classical guitarist and pedagogue. A prizewinner in various international competitions, Jaxon is praised as “a player of rare power and grace” (William Kanengiser, GRAMMY award winning LAGQ), having “a refined musicianship, solid technique, and an engaging stage presence” (Frank Koonce, guitar scholar and publisher), and is a sought after performer of the classical guitar. He is also a former Fulbright scholar, having studied in Spain, where he mastered the Spanish guitar repertoire and learned Flamenco guitar with maestros Paco Cortés and Adam del Monte. Currently based in Los Angeles, CA, Jaxon serves as California Regional Director for the non-profit Lead Guitar (www.leadguitar.org), where he implements classical guitar programs in low-income schools, trains new teachers, and supervises existing programs. He is also one half of the duo Jâca (www.jacamusic.com), which actively performs on the concert stage worldwide. -
Suppressed and Marginalised for Years, Dominican Bachata Music Counters Bitter Stories with the Sweetest of Melodies
° BACHATA ° BittersweetWORDS NED SUBLETTE • PHOTOS (UNLESS STATED) NED SUBLETTE AND BENJAMIN DE MENIL Suppressed and marginalised for years, Dominican bachata music counters bitter stories with the sweetest of melodies oan Soriano, ‘El Duque de la Bachata’ (the Duke of Bachata) is not a rich man. That’s how he prefers to explain it, anyway. His house in Villa Mella, the historic black district to the north of JSanto Domingo, has no running water or indoor plumbing. His roof is a slope of corrugated tin that doesn’t join the top of the walls but sits over them on beams. He gives you the neighbour’s phone number because he doesn’t have one. At night the bumpy, pitted streets have no lights except from the houses. The electricity goes out a lot. When it rains Benjamin de Menil has other options in life. He it’s a mess. doesn’t have to be here sleeping under a mosquito Still, 36-year-old Joan (pronounced ‘yo-an’) net in Soriano’s front room for three weeks, bathing Soriano doesn’t call himself poor, though he will tell out back with a bucket and a cup, humping water you that he grew up poor. The seventh of 15 from the cistern when the barrel goes empty. But children, he’s doing better than his parents did. He he’s going with the Villa Mella flow, not for the first makes his living singing and playing bachata, the time, while he produces Soriano’s record. most popular music in the Dominican Republic. At a time when it seems to make no commercial “I barely had a childhood,” he says. -
I Gotta Know (1956) Wanda Jackson
MUSC-21600: The Art of Rock Music Prof. Freeze I Gotta Know (1956) Wanda Jackson LISTEN FOR • Contrast of country and rock and roll instrumentation • Contrast of vocal style between verse and chorus • Contrast of country waltz and 12-bar blues forms and grooves CREATION Songwriters Thelma Blackmon Label Capitol 3485 Musicians Wanda Jackson(voice), Joe Maphis (lead guitar), Buck Owens (rhythm guitar), bass, drums, fiddle, steel guitar unknown Producer Ken Nelson Recording Capitol Studios (Hollywood); June 1956; mono Charts Country 15 MUSIC Genre Rockabilly, country Form Contrasting verse-chorus Key D Meter 3/4, 4/4 MUSC-21600 Listening Guide Freeze “I Gotta Know” (Wanda Jackson, 1956) LISTENING GUIDE Time Form Lyric Cue Listen For 0:00 Intro • Instrumental version of Chorus; country waltz featuring fiddle and steel guitar. 0:09 “Well!” • Waltz stops. 0:10 Verse 1 (12) “I thought that you” • Tempo picks up; meter changes to 4/4; 12-bar blues form; fiddle and steel guitar out. • Lead guitar plays rockabilly-style licks; strong backbeat with slapback echo on snare and rhythm guitar. 0:21 “I gotta know” • Stop-time; voice invokes Presley with stylized hiccups. 0:27 Chorus (4) “If our love’s the real thing” • Vocal styling emphasizes the shift to country; waltz again features fiddle and steel guitar. 0:35 “Yeah!” • Signals return to rock and roll. 0:36 Verse 2 (12) “We rocked and rolled” • Guitar licks become more prominent; otherwise similar to Verse 1. 0:52 Chorus (4) “If our love’s the real thing” • Country texture. 1:00 • Snare fill signals return to rock and roll. -
The Steel Guitar from Hawaii to the Honkytonk
| January 2011 IN FOCUS COMMENTARY THE MEANING OF MUSIC country music honky-tonks, the steel guitar is both Making a Film about a Sound an electro-mechanical and sign-producing machine. This duality corresponds to the iconic and index- The Steel Guitar from Hawaii to the Honky-Tonk ical forms of musical signification that Feld describes: “Music is the most stylized social form iconically linked J H discrete object of modern contemplation, abstraction, to cultural production of local identity, and indexi- P U replication and commodification (Sterne 2003). Across cally linked to contexts and occasions of commu- the increasingly insulated “soundscape of modernity” nity participation” (1995). Emphasizing Bosavi sound- This essay refers to the author’s eight-and-a-half-minute from built spaces to individual listening, sound isola- scapes, he analyzes how resemblances between sound film sample at www.princeton.edu/~jhimpele/steelmovie/ tion diminishes exterior noise and interior reverbera- icons and their referents enable a “non-arbitrary” affili- anthronews.html. tions to enable capitalist production and consumption ation between them to be naturalized, in both senses to be carried out more efficiently (Thompson 2002). (1994). In Hawaiian soundscapes, the fluid and undu- Starting Points Rather than replicating or excluding these powerful lating sounds of steel guitars summon images of trop- The fluid twang of the steel guitar sound: You have forces and domains, our project situates the steel guitar ical beaches, leisure, tranquility and hula dancing. heard it in music ranging from Hawaiian to swing, from within them by using film as a single, but multisen- In country music, the pedal steel evokes rural land- folk to 1960s and 1970s pop, from country to rock, and sory and compound, representational form to index scapes where the steel guitar cries with a singer’s lone- in TV cartoons from Looney Tunes to liness or exhilaration.