Introduction Into Playing the 12-String Tap-Guitar Text & Photos: Michael Koch
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ...................................................................................... -
Strategies for Managing Timbre and Interaction in Automatic
Strategies for Managing Timbre and Interaction in Automatic Improvisation Systems a b s t r a c t Earlier interactive improvisa- tion systems have mostly worked with note-level musical William Hsu events such as pitch, loudness and duration. Timbre is an integral component of the musi- cal language of many improvis- ers; some recent systems use timbral information in a variety of ways to enhance interactiv- ity. This article describes the imbre is an important structural element in tried to identify simple behavioral timbre-aware ARHS improvi- T mechanics that one might con- sation system, designed in free improvisation. When working with a saxophonist or other instrumentalist whose practice incorporates extended tech- sider desirable in a human im- collaboration with saxophonist John Butcher, in the context of niques and timbre variations, it is important to go beyond proviser and emulate them with recent improvisation systems note-level MIDI-like events when constructing useful descrip- some straightforward strategies. that incorporate timbral informa- tions of a performance. For example, a long tone may be held One novel aspect of my work is tion. Common practices in audio on a saxophone, with fairly stable pitch and loudness, but the the integral and dynamic part that feature extraction, performance state characterization and intensity of multiphonics is increased through embouchure timbre plays in sensing, analysis, management, response synthe- control. An experienced human improviser would perceive material generation and interaction sis and control of improvising and respond to this variation. decision-making. agents are summarized and In this paper, I will focus on systems designed to improvise Collins [9] observed that a ma- compared. -
Compound AABA Form and Style Distinction in Heavy Metal *
Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay . -
Robert Walser Published Titles My Music by Susan D
Running With the Devil : Power, Gender, title: and Madness in Heavy Metal Music Music/culture author: Walser, Robert. publisher: Wesleyan University Press isbn10 | asin: 0819562602 print isbn13: 9780819562609 ebook isbn13: 9780585372914 language: English Heavy metal (Music)--History and subject criticism. publication date: 1993 lcc: ML3534.W29 1993eb ddc: 781.66 Heavy metal (Music)--History and subject: criticism. Page i Running with the Devil Page ii MUSIC / CULTURE A series from Wesleyan University Press Edited by George Lipsitz, Susan McClary, and Robert Walser Published titles My Music by Susan D. Crafts, Daniel Cavicchi, Charles Keil, and the Music in Daily Life Project Running with the Devil: Power, Gender, and Madness in Heavy Metal Music by Robert Walser Subcultural Sounds: Micromusics of the West by Mark Slobin Page iii Running with the Devil Power, Gender, and Madness in Heavy Metal Music Robert Walser Page iv WESLEYAN UNIVERSITY PRESS Published by University Press of New England, Hanover, NH 03755 © 1993 by Robert Walser All rights reserved Printed in the United States of America 5 4 3 2 1 CIP data appear at the end of the book Acknowledgments for song lyrics quoted: "Electric Eye": Words and music by Glenn Tipton, Rob Halford, and K. K. Downing, © 1982 EMI APRIL MUSIC, INC. / CREWGLEN LTD. / EBONYTREE LTD. / GEARGATE LTD. All rights controlled and administered by EMI APRIL MUSIC, INC. International copyright secured. All rights reserved. Used by permission. "Suicide Solution": Words and music by John Osbourne, Robert Daisley, and Randy Rhoads, TRO© Copyright 1981 Essex Music International, Inc. and Kord Music Publishers, New York, N.Y. -
MB1 Easy Touch-Style Bassics 20070929
Easy Touch-Style Bassics The Rapid Route to ‘Rhythm Bass’ and more ASDFASDF FDSAFDSA An original method for rapid learning of two-handed tapping on electric bass guitar*1 and megatar*2-type instruments by Henri DuPont and Traktor Topaz _____________________________________________________________ MOBIUS MEGATAR, LTD. *1 electric bass guitar must have six to eight strings to effectively utilize the method of play presented in this instructional book. *2 megatar, noun An instrument designed for two-handed touch-style play with one group of strings for bass and another group of strings for melody. page 2 Easy Touch-Style Bassics Mobius Megatar, Ltd. USA Contact: Mobius Megatar USA Post Office Box 989 Mount Shasta, CA 96067 (530) 926-1961 www.megatar.com ______________________________________ First Published in USA by Mobius Megatar USA 1999 Copyright 1999 by Action Marketing, Carson City Nevada, on behalf of Mobius Megatar, Ltd. All rights reserved. PUBLISHER’S NOTE: This publication is designed to provide an easy and accessible method for playing the ‘touch-style’ or ‘two-handed tapping’ method on amplified electric fretted instruments such as guitar or bass or the ‘megatar’ type instruments which have two groups of strings on one fretboard. This method is designed specifically for instruments which have eight or more strings, and can only be adapted to instruments with lesser numbers of strings by means of diligent effort on the part of the student. This method is provided ‘as-is’ and is believed to be a reliable method providing musical results in typical musicians, and providing compara- tively rapid advancement in mastering useful and musical technique. -
Bass Talk Multi String Bass Master GARRY GOODMAN
Bass Talk 9 Jan, 06 > 15 Jan, 06 2 Jan, 06 > 8 Jan, 06 03/01/2006 Entries by Topic All topics « Multi String Bass Master GARRY GOODMAN Control Panel I remember when I saw my first multi string bass. It was back in 1984 at a Edit your Blog Guitar Center here in Chicago. It was a Alembic 6 string. I remember taking it Build a Blog off the wall, sitting with it thinking “how in the hell do you play this thing. 14 View other Blogs years later I find myself sitting in my living room with a 6 string Ibanez saying View Profile the same thing. After climbing that mountain I decide to go back to the 4 string. I guess that’s were my heart is. Bass Links Kenn Smith Website But there are others who have DR Strings taking the multi string bass to ActiveBass.com great heights. Great players National Guitar such as Anthony Jackson, Bill Workshop Dickens and this months interviewee, Garry Goodman. Check it out! Alphonso Johnson Garry began playing bass in Carl Carter 1964 at the age of nine. He Conklin Guitar and became a full-time Basses professional bassist in the Victor Wooton 1970's. His venture in to multi Marcus Miller string instruments started in 1975 with the Chapman Stick You are not logged in. and later in 1978 he which to Log in a 7-string bass. Currently Garry plays a Tobias 7-string, Warrior 9- string and Adler 11-string bass and has developed a unique playing technique called “Percussive Harmonics”, expanding the tonal possibilities of modern electric bass. -
Locating Experiential Richness in Doom Metal
UC San Diego UC San Diego Electronic Theses and Dissertations Title Locating experiential richness in doom metal Permalink https://escholarship.org/uc/item/7bq7387s Author Piper, Jonathan Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO LOCATING EXPERIENTIAL RICHNESS IN DOOM METAL A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Jonathan Nicholas Piper Committee in charge: Professor Nancy Guy, Chair Professor Anthony Burr, Co-Chair Professor Ricardo Dominguez Professor Eun-Young Jung Professor Katharina Rosenberger 2013 Copyright Jonathan Nicholas Piper, 2013 All rights reserved. The Dissertation of Jonathan Nicholas Piper is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Chair University of California, San Diego 2013 iii DEDICATION To Eleanor and Chris, Sophia and Spiros. iv TABLE OF CONTENTS Signature Page........................................................................................................ iii Dedication............................................................................................................... iv Table of Contents.................................................................................................... v List of Figures......................................................................................................... vii Acknowledgements............................................................................................... -
Downbeat.Com July 2015 U.K. £4.00
JULY 2015 2015 JULY U.K. £4.00 DOWNBEAT.COM DOWNBEAT ANTONIO SANCHEZ • KIRK WHALUM • JOHN PATITUCCI • HAROLD MABERN JULY 2015 JULY 2015 VOLUME 82 / NUMBER 7 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ĺDQHWDÎXQWRY£ Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Stephen Hall ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, -
Appendix I. Search Strategy Ovid MEDLINE(R) and Epub
BMJ Publishing Group Limited (BMJ) disclaims all liability and responsibility arising from any reliance Supplemental material placed on this supplemental material which has been supplied by the author(s) BMJ Open Appendix I. Search Strategy Ovid MEDLINE(R) and Epub Ahead of Print, In-Process & Other Non-Indexed Citations and Daily <1946 to July 12, 2019> Results =12 # Search Statement Results (((music or musical or harp or harps or recorder or recorders or synthesi?er* or tuba or tubas) adj3 (performer* or artist* or player* or student* or teacher* or instructor*)).mp. or ((Musician* or instrumentalist* or accordionist* or bagpiper* or bassist* or bassoonist or cellist* or conguera* or conguero* or drummer* or fiddler* or Flautist* or flutist or harpist* or guitarist* or keyboardist* or keytarist* or organist or organists or percussionist* or pipers or saxaphonist* or trumpeter or trumpeters or tubaist or tubist or vibraphonist* or vibraharpist* or violinist* or (Accordion* or alphorn* or alpenhorn* or alpine horn* or Bagpipe* or Balalaika or (Bandura* not (Bandura* adj4 (self efficacy or theor*))) or Banjo* or Bariton* or Bass guitar* or Bassoon* or Berimbau or Bongo or Bongos or Boom whacker* or boomwhacker* or Bouzouki* or Bugle* or Cello or Cellos or Chapman Stick* or Cimbalom or Clarinet* or Clavichord or Concertina* or (Conga not glycemi*) or Contrabass* or Cor anglais* or Cornet* or Cymbal or Cymbals or Didgeridoo* or Djembe or Double bass* or Drum or Drums or Dulcimer* or Euphoni* or Fiddle or Fiddles or Fifes or Flute or Flutes -
Bass Inside Magazine 2/1/04 2:16 PM
Garry Goodman in Bass Inside Magazine 2/1/04 2:16 PM No 18 February 2004 Garry Goodman Has He Created a Whole New Way of Doing Things? One of the by- products or effects of doing this magazine has had on me this past few years is that I have developed a strong hunger to find people who are actually doing something different, something innovative. Meeting that wish has not been easy. The Slap Technique is on 90% of all CD's we receive. As is the Yngwie Effect, with 6000 notes a minute, and of course the ever popular ‘Look How Very Smokin’ I Am Syndrome’. It is an old argument, stretching back to Paginini and beyond, I am sure. The pursuit for blinding technique and speed has throttled compositional skills. Attention and effort in trying to outplay everybody else, crowded out just plain fine song writing. And then along comes Garry Goodman. Has this gentleman perhaps developed a new way of doing things? Garry has a different way of playing bass that combines left hand tapping with http://www.bassinside.com/2004/february/garry.htm Page 1 of 11 Garry Goodman in Bass Inside Magazine 2/1/04 2:16 PM right hand tapping harmonics in an unsual fashion. The end reslt is different enough to take a serious look. Is the end effect of this technique the next step in the evolution of bass playing? Bass Inside: Would you say there are similarities between the touchstyle method of playing employed by players of the Chapman Stick and what you have developed here with Percussive Harmonics? If not, how is it different and how has it been adapted to the very different layout of the bass in comparison to the Stick itself? Garry: The technique I’ve developed is really nothing like the touch-style I would use on a Chapman Stick. -
PERFORMER ROLE CODES Role Code
PERFORMER ROLE CODES To help calculate the share of revenues that individual performers should receive from use of a sound recording, a performer is assigned a contributor category and role code. Role codes are split into a number of types – not all of which are eligible for payment. Each type is further sorted into different instrumental, vocal or studio personnel performances, so that it is easy to identify what each performer contributed to a sound recording. Payable roles are generally ones which provide an audible contribution to the final sound recording. Non-payable roles are generally studio activities which add no audible contribution to the final sound recording. PAYABLE ROLES There are a number of payable roles. These are broken down into groups depending on the activity or instrument being played. See below all of the roles within each group. BRASS Role Code Alphorn ALP Alto Horn ALH Alto Trombone ATR Alto Valve Trombone AVT Bankia BKA Bass Trombone BTR Bass Trumpet BTP Bass Tuba BTB Brass Bass BRB Bugle BUE Cornet CTO Corno Da Caccia CDC Dung-Chen DUN Euphonium EUP FanfareTrumpet FFT Flugelhorn FLH French Horn FRH Horn HRN Horn HOR Hunting Horn (Valved) HHN Piccolo Trumpet PCT Sackbut SCK Slide Trumpet STP Sousaphone SOU Tenor Horn TNH Trombone TRM Trompeta TOA Trumpet TRU Trumpet (Eflat) TEF Tuba TUB ValveTrombone VTR ELECTRONICS Role Code Barrel Organ BRO Barrel Piano BPN Beat Box BBX DJ D_J DJ (Scratcher) SCT Emulator EMU Fairground Organ FGO Hurdy Gurdy HUR Musical Box BOX Ondioline OND Optigan OPG Polyphon PPN Programmer -
Strum Pattern for Satisfaction
Strum Pattern For Satisfaction Is Perry lineolate or high-powered after pandurate Rolf rearises so stragglingly? Special Graig massaging shrinkingly, he kemps his perfectas very subsidiarily. Penniless Mattheus subcontracts snappishly and banally, she outgun her slayer inch extorsively. Everyday low prices and free delivery on eligible orders. What you strum patterns give you are getting my strums we had a satisfaction! Bob Marley at his best find my silly opinion. You really fair play this song if who want absolute entertainment for your friends. Beat, high notes, Commerce PDF Download. Index page for strumming pattern to satisfaction guaranteed quality guitar. Costco Shop Cards will be mailed to the mailing address provided to Costco at the reject of registration. This is real big response to playing small more will your favorite songs on the guitar. Love for strumming pattern will be assisted by step by dave giegerich has since the satisfaction tab: play at on coordinating your. How to satisfaction rolling stones tab was the secrets is designed to. We progress to strumming pattern for an experienced in which strums get the song are unhappy for night as well as. Please try strumming pattern for his most crucial concepts to strum down strums to potential for the videos were i first. Welcome to strum pattern for your goals for women wife pui. First pattern for sale due dates, strum up with a satisfaction is held at. God thaw our music. It for strumming! Of sea glass, it is a brief content. Palak Muchhal and composed by Amaal Mallik with lyrics just by Manoj Yadav.