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The Guitar, the Steamship and the Picnic: England on the Move Transcript
The Guitar, the Steamship and the Picnic: England on the Move Transcript Date: Thursday, 11 December 2014 - 1:00PM Location: St. Sepulchre Without Newgate 11 December 2014 The Guitar, the Steamship and the Picnic: England on the Move Professor Christopher Page I would like to begin with a poem by William Blake, first published in his collection Songs of Innocence in 1789. Many of you will know it; it is entitled The Chimney Sweeper, and you have it, in Blake’s illustrated copy, on the first page of your handout: When my mother died I was very young, And my father sold me while yet my tongue Could scarcely cry weep! weep! weep! weep! So your chimneys I sweep & in soot I sleep. There’s little Tom Dacre, who cried when his head That curled like a lamb’s back, was shaved, so I said, “Hush, Tom! never mind it, for when your head’s bare, You know that the soot cannot spoil your white hair.” And so he was quiet, and that very night, As Tom was a-sleeping he had such a sight! That thousands of sweepers, Dick, Joe, Ned, & Jack, Were all of them locked up in coffins of black; And by came an Angel who had a bright key, And he opened the coffins & set them all free; Then down a green plain, leaping, laughing they run, And wash in a river and shine in the Sun. Then naked and white, all their bags left behind, They rise upon clouds, and sport in the wind. And the Angel told Tom, if he’d be a good boy, He'd have God for his father & never want joy. -
Leo Carrillo California History & Art Program
LEO CARRILLO CALIFORNIA HISTORY & ART PROGRAM PROJECT TITLE: Fine-Tuning Guitar Art THEME: Spanish Guitar AGE: Fourth Grade PROJECT INTRODUCTION: Students will learn about the history of the classical Spanish guitar that was a part of the lifestyle at the Leo Carrillo Ranch. Students will be introduced to the famous Mexican folksong “La Golondrina”, a melody played on the guitar and cherished by Leo Carrillo. Students will create and design their own Spanish guitar inspired work of art through mixed media using collage and illustration, personalizing their artwork with intentional images and meaning. ART PROJECT INSPIRATION: SPANISH GUITAR The guitar is one of the most popular and widespread musical instruments played today. It is actually the second most played instrument, with the first being the piano. A person who makes guitars is called a “luthier”. A person who plays the guitar is called a “guitarist”. Guitarists play the guitar by plucking or strumming the strings with their fingers, fingernails, or a pick. There are several types of guitars: Classical, Electric, Steel, Flamenco, 12 String and many more. It was the classical guitar, also known as the Spanish guitar that had a special presence at the Leo Carrillo Ranch. Music played on the Spanish guitar reminded Leo Carrillo of his family history and was very much a part of the life he experienced as a child growing up. The word guitar was adopted into English from the Spanish word “guitarra” in the 1600’s. The country of Spain has had an extraordinary impact on the development of the classical guitar. Spaniards in Andalusia during the 1790’s took the guitar to new heights when they added a sixth string to it. -
UIUC Physics 406 Library Books
\\phyugclu\www\courses\phys406\References\P406POM_Library.doc Last Updated: January 20, 2015 UIUC Physics 406 Library Books • Please Note: All of these books are S. Errede’s personal property…. • You are welcome/encouraged to sign them out & read them! • Please take good care of them! • Please return them promptly when done, so that others in the class may also read & enjoy them, and e.g. for next semester’s students! • Please write your name & date beneath the book you signed out (below). • When returning the book, please write in the date you returned the book. • If you have any (brief) comments about the book - put them in here! Example: Great Guitar Amps I Have Known - R.P. Filabuster Steve Errede Out - 9/14/00 Returned - 9/21/00 Steve Clayton Out - 9/22/00 Returned - 9/30/00 1. The Acoustical Foundations of Music - J. Backus 2. American Guitars - Tom Wheeler 3. The Amp Book - Donald Brosnac 4. Amps! The Other Half of Rock ‘N’ Roll - Ritchie Fliegler 5. The Art of the Amplifier - Michael Doyle 6. The Art of Electronics - P. Horowitz and W. Hill 7. The Art of Inlay - Larry Robinson 8. The Beauty of the ‘Burst - Yasuhiko Iwanade 9. A Desktop Reference of Hip Vintage Guitar Amps - Gerald Weber 10. Digital and Analog Data Conversions – H. Malmstadt, C. Enke & S. Crouch 11. Electric Guitars and Basses - George Gruhn and Walter Carter 12. Electronics - J. Millman and S. Seely 1 13. Electronic Transformers and Circuits - 3rd Ed. R. Lee, L. Wilson & C. Carter 14. Fender Amps - The First 50 Years - John Teagle & John Sprung 15. -
Designing and Building an Electric Baritone Guitar
Hendrik Gideonse Audio Research December 14, 2008 Designing an Electric Baritone Guitar 0 Anatomy of a Guitar ................................................................................................... 2 1 Introduction ................................................................................................................. 3 2 Baritone History .......................................................................................................... 3 3 Problems with Existing Designs ................................................................................. 5 3.1 String Tension ..................................................................................................... 5 3.2 Balance, Ease of Playing 1st Position Chords and Bridge Position .................... 7 3.3 Rigidity for Tone and Sustain ........................................................................... 11 4 Designing the Baritone Guitar .................................................................................. 12 4.1 Woods, Tone and Rigidity ................................................................................ 13 4.2 Angled Headstock and ‘V’ Neck Contour ........................................................ 16 4.3 Headstock Shapes ............................................................................................. 19 4.4 Joining the Neck to the Body ............................................................................ 24 4.5 Body Shape ...................................................................................................... -
Aloh a Drea M
oohhaa AAll aamm DDrree September 2009 Vol. 7. Issue 3. Contents 1. Lava Tube Beach Moon” by Ben Saber 2. Contents Page 3. Welcome. The Editor’s usual flummoxed verbiage 4. The Chanos International Steel Guitar Festival 5. “ “ “ “ “ “ 6. “ “ “ “ “ “ 7. “ “ “ “ “ “ 8. European Steel Guitar Hall of Fame The Medal” 9. “ “ “ “ “ “ “ 10. Brecon - 16th Hawaiian Guitarsts’ Convention and Luau by Beryl Lavinia 11. “ “ Pictures 12. “ “ Pictures 13. Steelin’ Tricks of the Trade / The Conspiracy 14. Tablature - Sweet Georgia Brown 15. “ “ “ “ 16. Pedal Steel in Hawaiian Music 17. Malcolm Rockwell - A ‘phone interview 18. “ “ “ “ “ “ “ “ 19. “ “ “ “ “ “ “ “ 20. 21. The Steel Guitar in Early Country Music by Anthony Lis: Pt 2 Ch 4 section 2 22. “ “ “ “ “ “ “ “ “ “ “ 23. “ “ “ “ “ “ “ “ “ “ “ 24. “ “ “ “ “ “ “ “ “ “ “ 25. Penny Points to Paradise” By John Marsden 26. Readers Letters 27. “ “ 28. Birthday Bash Shustoke Sailng Club All ads and enquires to :- Editorial and design:- Pat and Basil Henriques Honorary members Pat Henrick Subscriptions:- Pat Jones (Wales.) Morgan & Thorne U.K. £16:00 per year 28-30 The Square Keith Grant (Japan) Europe 25:00€ Aldridge ----------------------------- Overseas $35:00 Walsall WS9 8QS Hawaiian Musicologists (U.S. dollars or equivalent) West Midlands. John Marsden (U.K.) All include P+P (S+H) Phone No:- 0182 770 4110. Prof. Anthony Lis E Mail - [email protected] Payment by UK cheque, cash or web page www.waikiki-islanders.com money order payable to:- Pat Henrick” Published in the U.K. by Waikiki Islanders Aloha Dream Magazine Copyright 2009 2 AAlloohhaa ttoo yyoouu aallll Well here we are late again, I did think of combining this issue with December’s it’s that late. -
Show Catalogue 2016
PRESENTS Live Love Guitars BERLIN OCT 8+9 2016 C4 C3 C2 C1 DEMO CONCERTS SHOW OFFICE SOUND CABINS SOUND CABINS EXHIBITOR SERVICES 5 Cabins: 5 Cabins: Restricted access Testing electric Testing electric guitars & basses guitars, basses & acoustic guitars STAGE SOUND CABINS 4 Cabins: Testing acoustic guitars FOYER ESTREL HALL Exhibitors Exhibitors 66-137 1-65 Bathrooms Show Entrance & Exit Restaurant PASSAGE area Ticket Counter Wardrobe Smoking Area Reception ROOM PARIS ROOM LYON ROOM STRAßBURG Entrance Estrel PUBLIC LOUNGE DEMO CONCERTS LECTURES TAXI Ziegrastraße THE HOLY GRAIL GUITAR SHOW 2016 October 8 & 9, 2016 Estrel Berlin Sonnenallee 225 12057 Berlin ► PUBLIC HOURS: ► DEMO CONCERTS & LECTURES: Saturday, October 8, 2016 • 10:00 - 18:00 First-come, first-served; once all seats are taken doors will close. Sunday, October 9, 2016 • 10:00 - 17:00 Doors will remain closed during concerts and lectures. The schedule is subject to change without notice. ► TICKETS*: Free of ChArge for TiCkeT hOlDerS 1-day ticket € 20 Weekend ticket € 30 ► DISCOUNTED 1-DAY ticKETS*: Disabled persons, seniors ( 65 and older), students € 12 Child (ages 6-14) free * All prices include 19 % VAT The Holy Grail Guitar Show is organized by the European Guitar Builders e.V. (EGB). An important part of the EGB’s mission is the promotion of the luthier-built guitar among the guitar playing public. 3 i n today’s connected have large budgets to advertise widely, or pay endorsers to world we can browse create this ‘mimetic desire’ that drives most of the market. On WELCOME TO the internet and find the face of it we are at a distinct disadvantage compared to the out about builders all large companies, which are able to generate it in spades. -
A-List Electric Guitarist
A-LIST ELECTRIC GUITARIST - POP CHORDS 2.0 OPERATION MANUAL The information in this document is subject to change without notice and does not represent a commitment on the part of Propellerhead Software AB. The software described herein is subject to a License Agreement and may not be copied to any other media except as specifically allowed in the License Agreement. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Propellerhead Software AB. ©2016 Propellerhead Software and its licensors. All specifications subject to change without notice. Reason, Reason Essentials and Rack Extension are trademarks of Propellerhead Software. All other commercial symbols are protected trademarks and trade names of their respective holders. All rights reserved. A-List Electric Guitarist - Pop Chords 2.0 Introduction Electric Guitarist - Pop Chords is the third Rack Extension instrument in the A-List series for Propellerhead Reason and Reason Essentials - after Acoustic Guitarist and Electric Guitarist "Power Chords". Think of Electric Guitarist - Pop Chords as a professional session guitarist, playing electric rhythm guitar on a top-notch instrument hooked up to hand-selected vintage amps and cabinets, and performing exactly as you wish, while giving you full control over musical performance and mix. Whether you want to add realistic rhythm guitar tracks to your productions, use it as an inspiration for writing songs on a train or plane, or as source material for creative sound design - it will get you from idea to result as fast as possible. At the core of Electric Guitarist - Pop Chords - and all instruments in the Propellerhead A-List series - is the idea that you can create professional sounding instrument tracks exactly the way you would get them from an A-List player in the studio. -
Music-Theory-For-Guitar-4.9.Pdf
Music Theory for Guitar By: Catherine Schmidt-Jones Music Theory for Guitar By: Catherine Schmidt-Jones Online: < http://cnx.org/content/col12060/1.4/ > This selection and arrangement of content as a collection is copyrighted by Catherine Schmidt-Jones. It is licensed under the Creative Commons Attribution License 4.0 (http://creativecommons.org/licenses/by/4.0/). Collection structure revised: September 18, 2016 PDF generated: August 7, 2020 For copyright and attribution information for the modules contained in this collection, see p. 73. Table of Contents 1 Learning by Doing: An Introduction ............................................................1 2 Music Theory for Guitar: Course Introduction ................................................7 3 Theory for Guitar 1: Repetition in Music and the Guitar as a Rhythm Instrument ...................................................................................15 4 Theory for Guitar 2: Melodic Phrases and Chord Changes .................................23 5 Theory for Guitar 3: Form in Guitar Music ...................................................31 6 Theory for Guitar 4: Functional Harmony and Chord Progressions ........................37 7 Theory for Guitar 5: Major Chords in Major Keys ..........................................41 8 Theory for Guitar 6: Changing Key by Transposing Chords ................................53 9 Theory for Guitar 7: Minor Chords in Major Keys ..........................................59 10 Theory for Guitar 8: An Introduction to Chord Function in Minor Keys -
The 50 Greatest Rhythm Guitarists 12/25/11 9:25 AM
GuitarPlayer: The 50 Greatest Rhythm Guitarists 12/25/11 9:25 AM | Sign-In | GO HOME NEWS ARTISTS LESSONS GEAR VIDEO COMMUNITY SUBSCRIBE The 50 Greatest Rhythm Guitarists Darrin Fox Tweet 1 Share Like 21 print ShareThis rss It’s pretty simple really: Whatever style of music you play— if your rhythm stinks, you stink. And deserving or not, guitarists have a reputation for having less-than-perfect time. But it’s not as if perfect meter makes you a perfect rhythm player. There’s something else. Something elusive. A swing, a feel, or a groove—you know it when you hear it, or feel it. Each player on this list has “it,” regardless of genre, and if there’s one lesson all of these players espouse it’s never take rhythm for granted. Ever. Deciding who made the list was not easy, however. In fact, at times it seemed downright impossible. What was eventually agreed upon was Hey Jazz Guy, October that the players included had to have a visceral impact on the music via 2011 their rhythm chops. Good riffs alone weren’t enough. An artist’s influence The Bluesy Beauty of Bent was also factored in, as many players on this list single-handedly Unisons changed the course of music with their guitar and a groove. As this list David Grissom’s Badass proves, rhythm guitar encompasses a multitude of musical disciplines. Bends There isn’t one “right” way to play rhythm, but there is one truism: If it feels good, it is good. The Fabulous Fretwork of Jon Herington David Grissom’s Awesome Open Strings Chuck Berry I don"t believe it A little trick for guitar chords on mandolin MERRY, MERRY Steve Howe is having a Chuck Berry changed the rhythmic landscape of popular music forever. -
Extending Generalizations About the Disposition of Meaningful
ASSOCIATION FOR CONSUMER RESEARCH Labovitz School of Business & Economics, University of Minnesota Duluth, 11 E. Superior Street, Suite 210, Duluth, MN 55802 Extending Generalizations About the Disposition of Meaningful Possessions to Buyers With a Shared Self John Lastovicka, Arizona State University USA Karen Fernandez, University of Auckland NZ We extend Lastovicka and Fernandez’ (2005) naturalistic study of garage sales to an on-line setting, and offer prescriptions for both buyers and sellers of meaningful possessions. It has been argued that it is in buyers’best interests to appear uncommitted in their enthusiasm about products when negotiating with a seller. In contrast, our field research with on-line auction buyers suggests the opposite. In the case of a consumer disposing of a meaningful possession through selling—when a shared self is sensed between the buyer and the seller—our results show such disclosure is a benefit to the buyer. [to cite]: John Lastovicka and Karen Fernandez (2006) ,"Extending Generalizations About the Disposition of Meaningful Possessions to Buyers With a Shared Self", in AP - Asia-Pacific Advances in Consumer Research Volume 7, eds. Margaret Craig Lees, Teresa Davis, and Gary Gregory, Sydney, Australia : Association for Consumer Research, Pages: 105-107. [url]: http://www.acrwebsite.org/volumes/13013/volumes/ap07/AP-07 [copyright notice]: This work is copyrighted by The Association for Consumer Research. For permission to copy or use this work in whole or in part, please contact the Copyright Clearance Center at http://www.copyright.com/. DISPOSING MEANINGFUL POSSESSIONS TO BUYERS WITH A SHARED SELF John Lastovicka Arizona State University Karen Fernandez University of Auckland ABSTRACT attachments to their instruments. -
Alexander Technique and Body Mapping for Guitarists Alma Sehic University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2014 The onscC ious Guitarist: Alexander Technique and Body Mapping for Guitarists Alma Sehic University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Sehic, A.(2014). The Conscious Guitarist: Alexander Technique and Body Mapping for Guitarists. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3570 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. THE CONSCIOUS GUITARIST: ALEXANDER TECHNIQUE AND BODY MAPPING FOR GUITARISTS by Alma Sehic Bachelor of Arts William Carey College, 2006 Master of Music Appalachian State University, 2008 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2014 Accepted by: Christopher Berg, Major Professor Laury Christie, Committee Member Rebecca Hunter, Committee Member Robert Jesselson, Committee Member Lacy Ford, Vice Provost and Dean of Graduate Studies © Copyright by Alma Sehic, 2014 All Rights Reserved. ii ACKNOWLEDGEMENTS First of all, I would like to acknowledge the USC SPARC (Support to Promote Research and Creativity) Fellowship—for awarding funds to my project: Body Mapping for Guitarists. The project is featured under the body mapping chapters (chapters 4–8). As a trainee in Body Mapping, I would like to acknowledge the Andover Educators’ (AE) training sources used in this dissertation. These are the AE training manuals (based on the book and related course: What Every Musician Needs to Know About the Body by Barbara Conable); and William Conable’s images (anatomical charts) from the same book—available to trainees and licensed Andover Educators only. -
How High the Moon” –Les Paul & Mary Ford (1951) Added to the National Registry: 2002 Essay by Dave Hunter (Guest Post)*
“How High The Moon” –Les Paul & Mary Ford (1951) Added to the National Registry: 2002 Essay by Dave Hunter (guest post)* Les Paul and Mary Ford Original label American popular culture was bopping along at a fast pace by the mid to late 1940s, with the World War over and both industry and entertainment on the home front booming from an influx of new energy and inspiration. The decade proved a hotbed of innovation as the arts and the artisans that equipped them joined forces to advance the means by which their diversions were delivered to the masses. Popular music embraced such progress even more than most realms of popular culture, and no work better exhibits the confluence of musical and technical artistry than Les Paul & Mary Ford’s 1951 recording of “How High The Moon.” A massive hit in its day, it was also a milestone in the evolution of popular music, and one that set a course that we are still navigating. Perhaps he is best known today for the Gibson electric guitar that carries his name, but Les Paul was one of popular music’s biggest stars of the early part of the mid-20th century, and he and Mary Ford (to whom he was married for 15 years) formed a superstar pairing to rival any for hits and popular recognition. Paul and Ford met in 1946— introduced by Gene Autry, as legend has it, for whom she was working as a back-up singer—and through the late ’40s developed a close relationship that was both personal and professional, marrying in 1949.