Percussion List Impuls Schallfeld

Total Page:16

File Type:pdf, Size:1020Kb

Percussion List Impuls Schallfeld Percussion list Schallfeld Ensemble/Manuel Alcaraz Clemente Updated March 2020 CATEGORIES Mallet instruments Drums Metal instruments (not tuned) Metal instruments Tuned Wooden instruments Shakers and maracas Chimes Sounds effects/wistle miscellaneous INSTRUMENT BRAND DETAILS MALLET INSTRUMENTS Marimba 5 Octaves Marimba One Vibraphone 4 Octaves Yamaha Golden Glockenspiel Deagan Bells US 1930 Deagan Glock DRUMS DRUMS Timpani 23'' Adams universal 2PAUFKH23D FS German 26'' Adams universal 2PAUFKH26D FS German 29'' Adams universal 2PAUFKH29D FS German Bass Drum Bass drum 28'' Adams natural/plastic skins Pedal bass drum 26'' DW pdp natural/plastic skins Tom toms Concert Tom 10'' NP natural/plastic skins Concert Tom 12'' NP natural/plastic skins Concert Tom 13'' NP natural/plastic skins Concert Tom 14'' NP natural/plastic skins Concert Tom 15'' NP natural/plastic skins Concert Tom 16'' NP natural/plastic skins Small tom 13'' DW pdp natural/plastic skins Floor tom 16'' DW pdp natural/plastic skins Drumset DW pdp concept classic 26'', 16'', 13'' Snare drums Pearl Piccolo 13'' Pearl wood/wooden rim/natur skin Snare drum NP 14'' NP Other drums Djembé ca. 13'' ca. 13'' Djembé c. 6'' Pearl primero Darbuka LP Bongos Stagg Bongos LP LP 201A-3 Generation III Tambourino REMO x2 Drum senegal traditional Taiko (japanese drum) Asian sound 15'' + 3/4 Conga 10" Meinl HC10VWB-M 10" Designer Conga 12" Meinl HC12VWB-M 12" Designer Udu Terre, Thomann Modell -034 METAL INSTRUMENTS (NO PITCH) Tam tams tam tam 70 Asian Sounds 70 cm tam tam 60 60 cm tam tam 45 Asian Sounds 45 cm tam tam 35 Asian Sounds 35 cm Wind gongs Wuhan wind gong 90 SchlagZu 90 cm (ARD 2019) Cymbals cymbal splash 8'' Istambul 8'' cymbal crash 14'' Zildjian 14'' cymbal crash 16'' Sabian 16'' cymbal crash 19'' Istambul 19'' hi hat cymbals 15'' Zultan Zultan 15" Raw Hi-Hat China cymbal 30 cm Asian sound 30cm china cymbal 50 cm Asian sound 50 cm (For P. Ablinger) china cymbal 50 cm Asian sound 50 cm Big Dome cymbal Asian sound 38 cm Thai splash cymbal Asian sound 24 cm Thai splash cymbal Asian sound 31 cm Generation X Drumbal Meinl 08" Cowbells (no tuned) Cowbells low MM cencerros not tuned ca. 33 cm x 13cm Triangles Triangle Grover Triangle Triangle M. Kinn Wien hand made Triangle M. Kinn Wien hand made Thunder sheet Thunder sheet 1 Kolberg Kolberg 80 cm x 120 cm Thunder sheet 2 OBI 60 cm x 100 cm Thunder sheet 3 OBI 25 cm x 50 cm Spring Coils Spring coil 1 Spring coil 2 Spring coil 3 Spring coil 4 Spring coil 5 Spring coil 6 Spring coil 7 Jingles LP CP374 Sleigh Bells LP Jingle Camerun Ankle bells 1 Asian sound SB-H/Schellenbund Ankle bells 2 Asian sound SBV-2/Schellenbund Ankle bells 3 Asian sound SBV-1/Schellenbund 150 Cyclops Tambourine BK LP Rock tambourine Various metal Flexatone LP plate bell Metal tube 1 Metal tube 2 Metal tube 3 Metal tube 4 Metal tube 5 Metal tube 6 Metal bar Metal bowl IKEA Metal bowl IKEA Metal sheet Pan Tibetan crotales Asian sound 5 tin can set Self made TUNED METAL INSTRUMENTS Crotales High Octave Zildjian Low Octave Zildjian Tuned Cowbells c1 Asian sound c#1 Asian sound d1 Asian sound d#1 Asian sound e1 Asian sound f1 Asian sound f#1 Asian sound g1 Asian sound g#1 Asian sound a1 Asian sound a#1 Asian sound h1 Asian sound c2 Asian sound c #2 Asian sound d2 Asian sound d#2 Asian sound e2 Asian sound f2 Asian sound f#2 Asian sound g2 Asian sound g#2 Asian sound a2 Asian sound a#2 Asian sound b2 Asian sound c3 Asian sound c#3 Asian sound d3 Asian sound d#3 Asian sound e3 Asian sound f3 Asian sound f#3 Asian sound g3 Asian sound g#3 Asian sound a3 Asian sound a#3 Asian sound h3 Asian sound c4 Asian sound Tuned Gongs c Asian sound a 443 c# Asian sound a 443 d Asian sound a 443 d# Asian sound a 443 e Asian sound a 443 f Asian sound a 443 f# Asian sound a 443 g Asian sound a 443 g# Asian sound a 443 a Asian sound a 443 a# Asian sound a 443 b Asian sound a 443 c1 Asian sound a 443 c#1 Asian sound a 443 c#1 Asian sound a 443 d1 Asian sound a 443 d#1 Asian sound a 443 e1 Asian sound a 443 f1 Asian sound a 443 f#1 Asian sound a 443 g1 Asian sound a 443 g#1 Asian sound a 443 a1 Asian sound a 443 a#1 Asian sound a 443 b1 Asian sound a 443 c2 Asian sound a 443 c#2 Asian sound a 443 c#2 Asian sound a 443 d2 Asian sound a 443 d#2 Asian sound a 443 e2 Asian sound a 443 f2 Asian sound a 443 f#2 Asian sound a 443 g2 Asian sound a 443 g#2 Asian sound a 443 a2 Asian sound a 443 a#2 Asian sound a 443 h2 Asian sound a 443 (as tuned tam tam) c3 Asian sound a 443 (as tuned tam tam) Tuned japanese Rins G#1 Asian sound A1 Asian sound A#1 Asian sound H1 Asian sound C2 Asian sound C#2 Asian sound D2 Asian sound D#2 Asian sound E2 Asian sound F2 Asian sound F#2 Asian sound G2 Asian sound G#2 Asian sound A2 Asian sound A#2 Asian sound H2 Asian sound C3 Asian sound Tuned Desk Bells c# Goldon d# Goldon f# Goldon g# Goldon a# Goldon WOODEN WOODEN INSTRUMENTS INSTRUMENTS Wood blocks Set 5 wood blocks Missom wood blocks C# Franz Schmuck wood block F# Franz Schmuck Wood Block Ron Vaughn Ron Vaughn N. 5/ 10,2 x 11,75 x 26,7 cm wood block LP x2 Polyblocks Kolberg Temple Blocks TB 1 Asian Sound 19cm TB 2 Asian Sound 15 cm TB 3 Asian Sound 13 cm TB4 Asian Sound 12 cm TB5 Asian Sound 10 cm Log Drum Log drum low Rythmes & Sons Log drum traditional traditional Africa Guiros Guiro cuban traditional Cuba Guiro mali Guiro frog Castagneten castagneten camerun traditional spanish castagneten dark wood spanish castagneten clear wood Various wood Ratchet Gonalca Stirring Xylophone African Balafon From Cameroon Vibraslap LP small Claves traditional Wooden cajon Whip Self made ca. 1m long SHAKERS AND MARACAS Shekere Maraca balls pair Cameroon Maraca balls pair Cameroon Maraca pair African maraca pair Maracas venezolanas Egg LP Egg Honsuy Cabalonga nuss shaker Afroton Caxixi traditional Metal shaker Meinl Samba shaker CHIMES Bamboo chimes Self made 50 bamboo tubes Bamboo chimes small/few tubes Glass chimes Self made Metal chimes/mark tree Shell chimes Self made ca. 200 shells Capiz shell chimes Self made ca. 450 shells Stones wind chimes Self made SOUND EFFECTS/WISTLE Sirene Acme Duck call Bird call wistle Horn x2 Wald teufel/Frog buzzer Terre x2 Harmonica 48 holes Thomann Blues Harmonica set (12) Harley Benton MISCELLANEOUS MISCELANEUS INSTRUMENTS Kalimba Afroton Kalimba Traditional Wine glasses Wine bottle x2 Glass bowls IKEA 2 ceramic Flowerpot OBI Broken particles glass Broken particles ceramic Broken particles wood Bucket 1 OBI Bucket 2 OBI Fire extintor Pan Wooden box Self made Sand paper blocks Self made/OBI Spring drum REMO low Plastic block LP Flower pot 10 cm Flower pot 12 cm Flower pot 13 cm Flower pot 20 cm Flower pot 30 cm Flower pot 35 cm Megaphone Thomann M25 230X370mm Boomwhackers Set 1 GEWA BW-JG Boomwhackers Set 2 GEWA BW-DG Updated March 2020 .
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]
  • TD-30 Data List
    Data List Preset Drum Kit List No. Name Pad pattern No. Name Pad pattern 1 Studio 41 RockGig 2 LA Metal 42 Hard BeBop 3 Swingin’ 43 Rock Solid 4 Burnin’ 44 2nd Line 5 Birch 45 ROBO TAP 6 Nashville 46 SATURATED 7 LoudRock 47 piccolo 8 JJ’s DnB 48 FAT 9 Djembe 49 BigHall 10 Stage 50 CoolGig LOOP 11 RockMaster 51 JazzSes LOOP 12 LoudJazz 52 7/4 Beat LOOP 13 Overhead 53 :neotype: 1SHOT, TAP 14 Looooose 54 FLA>n<GER 1SHOT, TAP 15 Fusion 55 CustomWood 16 Room 56 50s King 17 [RadioMIX] 57 BluesRock 18 R&B 58 2HH House 19 Brushes 59 TechFusion 20 Vision LOOP, TAP 60 BeBop 21 AstroNote 1SHOT 61 Crossover 22 acidfunk 62 Skanky 23 PunkRock 63 RoundBdge 24 OpenMaple 64 Metal\Core 25 70s Rock 65 JazzCombo 26 DrySound 66 Spark! 27 Flat&Shallow 67 80sMachine 28 Rvs!Trashy 68 =cosmic= 29 melodious TAP 69 1985 30 HARD n’BASS TAP 70 TR-808 31 BazzKicker 71 TR-909 32 FatPressed 72 LatinDrums 33 DrumnDubStep 73 Latin 34 ReMix-ulator 74 Brazil 35 Acoutronic 75 Cajon 36 HipHop 76 African 37 90sHouse 77 Ka-Rimba 38 D-N-B LOOP 78 Tabla TAP 39 SuperLoop TAP 79 Asian 40 >>process>>> 80 Orchestra TAP Copyright © 2012 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland and V-Drums are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries.
    [Show full text]
  • Microphone Techniques for Drums (English)
    MICROPHONE TECHNIQUES DRUMS A Shure Educational Publication Microphone Techniques Table of Contents for DRUMS General Rules . 4 Microphone Positions . 6 Overhead-Cymbals . 7 Snare drum . 7 Bass drum (kick drum) . 7 Tom-toms . 7 Hi-hat . 8 Snare, hi-hat and hi-tom . 8 Cymbals, floor tom and hi-tom . 8 Timbales, congas, bongos . 9 Tambourine . 9 Steel drums . 9 Xylophone, marimba, vibraphone . 9 Glockenspiel . 9 Glossary . 10 Microphone Selection Guide . 11 Drums 3 Microphone Techniques for DRUMS GENERAL RULES Microphone technique is largely a matter of personal taste — whatever method sounds right for the particular instrument, musician, and song is right. There is no one ideal microphone to use on any particular instrument. There is also no one ideal way to place a microphone. Place the microphone to get the sound you want. However, the desired sound can often be achieved more quickly and consistently by understanding basic microphone characteristics, sound-radiation properties of musical instruments, and acoustic fundamentals. Here are some suggestions to follow when miking musical instruments for sound reinforcement. • Try to get the sound source (instrument, voice, or amplifier) to sound good acoustically (“live”) before miking it. • Use a microphone with a frequency response that is limited to the frequency range of the instrument, if possible, or filter out frequencies below the lowest fundamental frequency of the instrument. • To determine a good starting microphone position, try closing one ear with your finger. Listen to the sound source with the other ear and move around until you find a spot that sounds good. Put the microphone there.
    [Show full text]
  • African Drumming in Drum Circles by Robert J
    African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle.
    [Show full text]
  • Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
    STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
    [Show full text]
  • The Craft of Fine Drum Making
    2 playDIXON.com 3 Dixon Conviction Dixon Drums is a full-line acoustic drum and hardware brand with over 35 years of manufacturing experience. Committed to quality and innovation, we embrace both sound and function to advance the art of drumming through the craft of fine drum making. A drummer-centric approach is at the core of everything we do, resonating throughout each one of our product lines. We have established a reputation for durability and reliability, while remaining nimble enough to respond to industry trends and player needs quickly and creatively. In this catalog, you will see a dynamic blend of time-tested, industry-standard configurations mixed with innovations in shell materials, cutting-edge hardware designs, and world-class signature artist models. Our ability to serve all styles of music (ranging from Jazz to Metal), deliver at all levels of playing (beginner to pro), and offer full customization of each aspect of the instrument (see our flagship Artisan Series), has made Dixon a rising star in today’s drum market. Join the Dixon family, and be a part of drum history in the making. 4 playDIXON.com 5 Committed to Quality Driven by Sound 06 / ARTISAN Series 18 / BLAZE Series 20 / FUSE Series 22 / SPARK Series 24 / JET SET Series 26 / SNARE Drums 36 / HARDWARE 53 / INVENTOR Series 6 Series playDIXON.com 7 Features Dixon understands that every drummer reaches a point when it all comes together and refined skills culminate in optimum results. We refer to this achievement as ARTISAN. Our flagship series delivers the very best our craftsmen have to offer, along with choices to personalize your instrument.
    [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]
  • Enjoy Playing Your Acoustic Guitar Accompanied by a Variety of Rhythms
    Enjoy playing your acoustic guitar accompanied by a variety of rhythms Owner’s Manual Enjoy Sounds Like These 2 Advanced Use (Settings) 13 Panel Descriptions 4 Appendices 20 Installing Batteries 5 USING THE UNIT SAFELY 22 Playing Rhythms 6 IMPORTANT NOTES 22 Saving Favorite Settings (Favorite) 8 Advanced Use (Performing) 10 Before using this unit, carefully read “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (the leaflet “USING THE UNIT SAFELY” and the Owner’s Manual (p. 22)). After reading, keep the document(s) where it will be available for immediate reference. © 2017 Roland Corporation Enjoy Sounds Like These Shaker, Maracas Bells Whistle Both contain tiny beads, and This instrument is shaken to This whistle (called an “apito” produce sound when shaken. produce sound. Since there are in Portuguese) is used in samba Frequently used in Latin music. many objects called bells that performance. By opening or Maracas are made using the are not used as instruments, closing the holes at the two fruit of the maraca tree, which these are also called “sleigh sides of the instrument while is a type of palm. Maracas is the bells.” blowing, you can change the plural form of “maraca.” pitch. Hand-claps, Bongo Paila Finger-snaps Conga This is a Cuban This is an ethnic ethnic instrument instrument with a head (skin) of Cuba that stretched over connects two This is the sound a barrel-shaped drums of different body. Originally, diameters. (performance technique) of its name differed The smaller drum striking the body depending on These are the is called the of the timbales.
    [Show full text]
  • Drum Kit List
    DRUM KIT LIST LISTE DES KITS DE BATTERIE LISTA DE CONJUNTOS DE BATERÍA DRUM KIT-LISTE Drum Kit List / Liste des kits de batterie/ Lista de conjuntos de batería / Drum Kit-Liste • Same as Standard Kit 1 • Comme pour Standard Kit 1 • No Sound • Absence de son • Each percussion voice uses one note. • Chaque sonorité de percussion utilise une note unique. Voice No. 117 118 119 120 121 122 Keyboard Standard Kit 1 Standard Kit 1 Indian Kit Arabic Kit SE Kit 1 SE Kit 2 Note# Note + Chinese Percussion C1 36 C 1 Seq Click H Baya ge Khaligi Clap 1 Cutting Noise 1 Phone Call C#1 37 C# 1Brush Tap Baya ke Arabic Zalgouta Open Cutting Noise 2 Door Squeak D1 38 D 1 Brush Swirl Baya ghe Khaligi Clap 2 Door Slam D#1 39 D# 1Brush Slap Baya ka Arabic Zalgouta Close String Slap Scratch Cut E1 40 E 1 Brush Tap Swirl Tabla na Arabic Hand Clap Scratch F1 41 F 1 Snare Roll Tabla tin Tabel Tak 1 Wind Chime F#1 42 F# 1Castanet Tablabaya dha Sagat 1 Telephone Ring G1 43 G 1 Snare Soft Dhol 1 Open Tabel Dom G#1 44 G# 1Sticks Dhol 1 Slap Sagat 2 A1 45 A 1 Bass Drum Soft Dhol 1 Mute Tabel Tak 2 A#1 46 A# 1 Open Rim Shot Dhol 1 Open Slap Sagat 3 B1 47 B 1 Bass Drum Hard Dhol 1 Roll Riq Tik 3 C2 48 C 2 Bass Drum Dandia Short Riq Tik 2 C#2 49 C# 2 Side Stick Dandia Long Riq Tik Hard 1 D2 50 D 2 Snare Chutki Riq Tik 1 D#2 51 D# 2 Hand Clap Chipri Riq Tik Hard 2 E2 52 E 2 Snare Tight Khanjira Open Riq Tik Hard 3 Flute Key Click Car Engine Ignition F2 53 F 2 Floor Tom L Khanjira Slap Riq Tish Car Tires Squeal F#2 54 F# 2 Hi-Hat Closed Khanjira Mute Riq Snouj 2 Car Passing
    [Show full text]
  • Universidade Estadual De Campinas Rodolfo Vilaggio
    UNIVERSIDADE ESTADUAL DE CAMPINAS RODOLFO VILAGGIO ARILHO ESTUDO INTERPRETATIVO DA OBRA VARIAÇÕES RÍTMICAS OPUS 15 DE MARLOS NOBRE CAMPINAS 2018 UNIVERSIDADE ESTADUAL DE CAMPINAS RODOLFO VILAGGIO ARILHO ESTUDO INTERPRETATIVO DA OBRA VARIAÇÕES RÍTMICAS OPUS 15 DE MARLOS NOBRE Tese de Doutorado apresentada a Pós- Graduação do Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Doutor em Música. Área de concentração: Música: Teoria, Criação e Prática. Orientador: Prof. Dr. Fernando Augusto de Almeida Hashimoto Este exemplar corresponde à versão final da tese defendida pelo aluno Rodolfo Vilaggio Arilho, e orientado pelo Prof. Dr. Fernando Augusto de Almeida Hashimoto. CAMPINAS 2018 15 Agência(s) de fomento e nº(s) de processo(s): Não se aplica. Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Artes Silvia Regina Shiroma - CRB 8/8180 Arilho, Rodolfo Vilaggio, 1979- Ar42e AriEstudo interpretativo da obra Variações Rítmicas opus 15 de Marlos Nobre / Rodolfo Vilaggio Arilho. – Campinas, SP : [s.n.], 2018. AriOrientador: Fernando Augusto de Almeida Hashimoto. AriTese (doutorado) – Universidade Estadual de Campinas, Instituto de Artes. Ari1. Nobre, Marlos, 1939-. 2. Percussão (Música). 3. Instrumentos de percussão. 4. Música brasileira. 5. Música - Interpretação (Fraseado, dinâmica, etc.). I. Hashimoto, Fernando Augusto de Almeida, 1972-. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. Informações para Biblioteca Digital
    [Show full text]
  • Vibraslap 1 Vibraslap
    Vibraslap 1 Vibraslap Vibraslap A Vibraslap manufactured by LP A vibraslap is a percussion instrument consisting of a piece of stiff wire (bent in a U shape) connecting a wood ball to a hollow box of wood with metal “teeth” inside. The percussionist holds the metal wire in one hand and strikes the ball (usually against the palm of their other hand). The box acts as a resonating body for a metal mechanism placed inside with a number of loosely fastened pins or rivets that vibrate and rattle against the box.[1] The instrument is a modern version of the jawbone. The Vibra-Slap was the first patent granted to the LP Vibraslap showing metal teeth instrument manufacturing company Latin Percussion.[2] The Vibra-Slap's inventor was Martin Cohen. Cohen was told by percussionist Bob Rosengarden, ‘If you want to make some money, make a jawbone that doesn’t break.' About the inventing process Cohen remembers, “I had never seen a jawbone before, but I had heard one on a Cal Tjader album. I found out that it was an animal skull that you would strike, and the sound would come from the teeth rattling in the loose sockets. So I took that concept and invented the Vibraslap, which was my first patent.” [3] The instrument is frequently used in Latin American music. The vibraslap was a ubiquitous part of jazz or pop-based film scores, primarily action films and television series, in the 1970s and early 1980s. It is also used extensively in the music of alternative rock band CAKE (as well as in "Weird Al" Yankovic’s “Close But No Cigar”, which is a parody of CAKE’s style).
    [Show full text]
  • 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: ! _________________________ __________________________
    [Show full text]