Selecting a Snare Drum Head Sound, Response and Durability
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The Percussion Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine). -
Owner S Manual
HD-4 Owner s Manual Virgin Musical Instruments Precaution Thank you for purchasing this electronic instrument.For perfect operation and security, please read the manual carefully and keep it for future reference. Safety Precautions CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltage”within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance(servicing) instructions in the literature accompanying the product. Important Safety Instructions 1) Read these instructions. apparatus. When a cart is used, use caution when 2) Keep these instructions. moving the cart/apparatus combination to avoid 3) Heed all warnings. injury from tip-over(Figure 1). 4) Follow all instructions. (Figure 1) 13) Unplug this apparatus during lightning storms 5) Do not use this apparatus near water. or when unused for a long periods fo time. 6) Clean only with dry cloth. 14) Refer all servicing to qualified service personnel. 7) Do not block any ventilation openings, install in Servicing is required when the apparatus has been accordance with the manufacturer s instructions. damaged in any way, such as power-supply cord or 8) Do not install near the heat sources such as plug is damaged, liquid has been spilled or objects radiators, heat registers, stoves, or other apparatus have fallen into the apparatus, the apparatus has (including amplifiers) that produce heat. -
Owner's Manual 5057870-B
OWNER’S MANUAL WARRANTY We at DigiTech® are very proud of our products and back-up each one we sell with the following warranty: 1. Please register online at digitech.com within ten days of purchase to validate this warranty. This warranty is valid only in the United States. 2. DigiTech warrants this product, when purchased new from an authorized U.S. DigiTech dealer and used solely within the U.S., to be free from defects in materials and workmanship under normal use and service. This warranty is valid to the original purchaser only and is non-transferable. 3. DigiTech liability under this warranty is limited to repairing or replacing defective materials that show evidence of defect, provided the product is returned to DigiTech WITH RETURN AUTHORIZATION, where all parts and labor will be covered up to a period of one year. A Return Authorization number may be obtained by contacting DigiTech. The company shall not be liable for any consequential damage as a result of the product’s use in any circuit or assembly. 4. Proof-of-purchase is considered to be the responsibility of the consumer. A copy of the original purchase receipt must be provided for any warranty service. 5. DigiTech reserves the right to make changes in design, or make additions to, or improvements upon this product without incurring any obligation to install the same on products previously manufactured. 6. The consumer forfeits the benefits of this warranty if the product’s main assembly is opened and tampered with by anyone other than a certified DigiTech technician or, if the product is used with AC voltages outside of the range suggested by the manufacturer. -
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. -
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. -
Basic Snare Drum Tuning
Basic Snare Drum Tuning by Tom Freer Please follow these simple and basic instructions for tuning and adjusting your Pearl snare drum. In order for you to get and maintain the best possible sound out of your instrument, it will be important to save this sheet so that you can "tune up" the drum as the heads become broken in, and replace heads when necessary. YOU WILL NEED THE FOLLOWING TOOLS TO PROCEED: 1. DRUM KEY 2. RULER STEP ONE: Loosen the top head completely. Place the drum on a flat surface and unscrew all the tension rods so that there is no tension on the top head. You don't need to take them out, just loosen them all the way. Next, begin to tighten down each rod just until they touch the counter hoop (or rim) WITHOUT PULLING IT DOWN. Just screw the tension rod down until it just touches. Go across the drum and do the same to the opposite tension rod and repeat, always working across the drum head in opposites, this keeps the head very even. When all the tension rods are seated and just touching the counter hoop, take your ruler and beginning with the tension rod directly beside the strainer, measure the distance from underneath the counter hoop to the top of the lug. Repeat this process with the lug directly across the drum and repeat until all measurements are the same. Remember we are not concerned with how tight the head is right now, just how even the tension is. Now that the head is evenly tensioned, bring the top head up to pitch. -
2006 Adams Timpani and Mallet Catalog
Adams Soft Cases & Accessories Trust the safety of your prized instruments to the feature 8 soft bags sets, the 4.3 octave marimbas bags feature company that knows them best, Adams. Each cover 6 soft bag sets, and the 4.0 or 3.5 octave xylophone bags and bag is designed to fit perfectly and securely to feature 3 soft bags sets. These bags are the perfect ensure years of service. Our Marimba soft bags instrument compliment and enable the performer to protect compliment the unique breakdown design of all Adams their instrument during transport. Voyager Frames. The 5.0 and 4.6 octave marimba bags Timpani and Mallet Instruments Long Timpani Cover Short Timpani Cover PM-100 Timpani Key MLBK Chime Mallet Universal Timpani Soft Bag Marimba Soft Bags Product and specifications are subject to change without notice. ©Copyright 2006. Printed in the U.S. Adams Percussion Instruments are proudly distributed in the U.S. by Pearl Corporation. For more information contact any Pearl Educational Percussion Dealer, or write to Pearl Corporation, 549 Metroplex Drive, Nashville, TN 37211. Adams Percussion Instruments can also be found on the web at www.pearldrum.com ITEM # ADM106 THE SOUND OF QUALITY Philharmonic Light Timpani Cloyd Duff Model Dresden Style Original Berlin Style Philharmonic Light Timpani Philharmonic Light Timpani dams Philharmonic Light Timpani represent the ultimate expression of quality in timpani sound and design. Two he classic European style of the Adams Frame, in combination with the latest computer aided machine technology, distinct models are available, distinguished by a choice between our original Berlin style pedal, or our Cloyd results in timpani frame construction that is unmatched in precision, quality and attention to detail. -
Instrument: Tabla, Classical Kettledrums for Meditation Country
ROOTS OF RHYTHM - CHAPTER 14: THE TABLA FROM INDIA Instrument: Tabla, classical kettledrums for meditation Country: India Flag: The flag has three equal horizontal bands with saffron, a subdued orange, on the top, white in the middle, and green at the bottom. A blue chakra (sha-krah) or 24-spoked wheel is centered in the white band. Size and Population: The country has an area of 179,744 square miles with 1,858,243 square miles of land surface and 196,500 square miles of water. India has 4375 miles of coastline and is slightly more than one- third the size of the US. The population of India is estimated at 1,220,800,359 as of July 2013; ranked 2nd in the world. Geography and Climate: India’s landscape contains great variety including a desert, tropical forests, lowlands, mighty rivers, fertile plains and the world’s highest mountain ranges, the Himalayas. With the enormous wall of the Himalayas on the north, the triangular-shaped subcontinent of India borders the Bay of Bengal to the east, the Arabian Sea to the west, and the India Ocean to the south. From the Chinese border on the north, India extends 2000 miles to its southern tip, where the island nation of Sri Lanka is located. Going northeast of the Himalaya mountain range, India’s borders constrict to a small channel that passes between Nepal, Tibet, Bangladesh, and Bhutan, then spreads out again to meet Burma in an area called the “eastern triangle.” India’s western border is with Pakistan. India has three main land regions: the Himalaya, the Northern Plains, and the Deccan or Southern Plateau. -
HD-17 Mako E-Drum Set
HD-17 Mako e-drum set user manual Musikhaus Thomann Thomann GmbH Hans-Thomann-Straße 1 96138 Burgebrach Germany Telephone: +49 (0) 9546 9223-0 E-mail: [email protected] Internet: www.thomann.de 08.01.2019, ID: 429328 Table of contents Table of contents 1 General information.............................................................................................................. 4 1.1 Further information........................................................................................................ 4 1.2 Notational conventions................................................................................................. 4 1.3 Symbols and signal words........................................................................................... 5 2 Safety instructions................................................................................................................. 6 3 Features....................................................................................................................................... 8 4 Scope of delivery..................................................................................................................... 9 5 Assembly.................................................................................................................................. 10 6 Drum seat assembly (option)......................................................................................... 14 7 Installation............................................................................................................................. -
Carlton Barrett
! 2/,!.$ 4$ + 6 02/3%2)%3 f $25-+)4 7 6!,5%$!4 x]Ó -* Ê " /",½-Ê--1 t 4HE7ORLDS$RUM-AGAZINE !UGUST , -Ê Ê," -/ 9 ,""6 - "*Ê/ Ê /-]Ê /Ê/ Ê-"1 -] Ê , Ê "1/Ê/ Ê - "Ê Ê ,1 i>ÌÕÀ} " Ê, 9½-#!2,4/."!22%44 / Ê-// -½,,/9$+.)"" 7 Ê /-½'),3(!2/.% - " ½-Ê0(),,)0h&)3(v&)3(%2 "Ê "1 /½-!$2)!.9/5.' *ÕÃ -ODERN$RUMMERCOM -9Ê 1 , - /Ê 6- 9Ê `ÊÕV ÊÀit Volume 36, Number 8 • Cover photo by Adrian Boot © Fifty-Six Hope Road Music, Ltd CONTENTS 30 CARLTON BARRETT 54 WILLIE STEWART The songs of Bob Marley and the Wailers spoke a passionate mes- He spent decades turning global audiences on to the sage of political and social justice in a world of grinding inequality. magic of Third World’s reggae rhythms. These days his But it took a powerful engine to deliver the message, to help peo- focus is decidedly more grassroots. But his passion is as ple to believe and find hope. That engine was the beat of the infectious as ever. drummer known to his many admirers as “Field Marshal.” 56 STEVE NISBETT 36 JAMAICAN DRUMMING He barely knew what to do with a reggae groove when he THE EVOLUTION OF A STYLE started his climb to the top of the pops with Steel Pulse. He must have been a fast learner, though, because it wouldn’t Jamaican drumming expert and 2012 MD Pro Panelist Gil be long before the man known as Grizzly would become one Sharone schools us on the history and techniques of the of British reggae’s most identifiable figures. -
Reason Drum Kits Operation Manual
REASON DRUM KITS 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. ©2019 Propellerhead Software and its licensors. All specifications subject to change without notice. Reason, Reason Intro, Reason Lite 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. Reason Drum Kits Introduction The Reason Drum Kits instrument is a Rack Extension version of the mighty popular Reason Drum Kits ReFill. Anyone with experience in professional studio work will tell you that recording drums is the most difficult and demanding part of any project. Hands down. Drum recording is a craft which takes decades to learn, yet never gets any easier. It's exhausting. It's expensive. It can make or break an entire production. Due to these challenging demands, the means for capturing the ultimate drum sound have always been out of reach for everyone except those who never get cold sweats from the tick tock of the studio clock. Until now. We took care of the hard part, and the result is Reason Drum Kits - a powerful and versatile drum tool that tears down the last barrier between the virtual studio workspace and the real drum recording studio, and closes the quality gap between “merely” professional and world class! Be the drummer - and the engineer! Traditionally, the structure of computer based drum tools has been dictated by the anatomy of the drum kit. -
Basic Snare Drum Technique by Thom Hannum
Basic Snare Drum Technique By Thom Hannum There are a number of effective methods for learning basic snare drum technique. So be open to suggestions and seek a teacher to help guide you through the fundamentals. Below are some guidelines to get you started. Have fun! Stand Assembly and Instrument Position 1. Spread the base of the stand far enough to create a stable platform. 2. Insert the top into the base of the stand. 3. Place the drum into the basket while avoiding contact with the snare strainer. 4. The drum should be at about waist level and slightly angled for your comfort. 5. Tighten all stand wing nuts. Step 1 Step 2 Step 3 Step 4 Step 5 Tuning and Stick Selection Now it’s time to tune the drum for the best possible sound. I recommend following the steps outlined in Tom Freer’s Pearl article, Basic Snare Drum Tuning, which can be found at Pearl’s website (www.pearldrum.com). Have your teacher help select snare sticks that work for you. Something equivalent to a 2B or a 5B usually works fine. The balance point is 1/3 of the way up from the butt end of the stick. Grip the stick near this point for the best response and bounce. Grip Guidelines and Posture Learning to hold the sticks properly is essential for improving technique. Use the photos as a guide and make sure to memorize the feel of the following guidelines: #1 Fulcrum (thumb and first two fingers), #2 Finger contact (comfortably wrap all fingers around the stick; not too tight), #3 Bead placement (as close together as possible for an even sound) and then striking area (center of the drum head), #4 Wrist motion (down position and up position).