DOCSLIB.ORG

Viola Caipira

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Viola Caipira The physics of the viola caipira Guilherme O. Paiva [email protected] Acoustics Laboratory of the University of Maine, Le Mans, France School of Mechanical Engineering, DMC, Unicamp, Campinas, Brazil Turbonius – Research & Development, Campinas, Brazil June, 2020. I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions I.Introduction 2 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions What is a viola caipira ? • It is a typical Brazilian guitar • Instrument little studied in musical acoustics Not every BRAZILIAN GUITAR is aVIOLA CAIPIRA Examples of Brazilian guitars: Viola Machete Viola Nordestina Viola de Buriti Viola de Fandango Viola de Cocho • Variations of geometries, materials, string arrangements, tuning types, etc… The viola caipira (or the violas caipiras? ) 3 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions Fernando Sodré performing Luzeiro from Almir Sater 4 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions Musical acoustics context Viola caipira Folk guitar Classical guitar Sounds Structural characteristics RELATIONSHIP ? Objective approach: Perceptive approach: Physical parameters to describe Sensory experience of the individual. the instrument and its sounds. • This research: objective approach to study the viola caipira. 5 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions Objectives of the thesis • Identification and study of the vibrational and acoustical specificities of the viola caipira. 1. Experimental study A. High-speed camera analysis B. Vibration analysis C. Sound analysis • Development of a sound synthesis model able to reproduce the specificities of the viola caipira. 2. Numerical study A. Physical modelling B. Sound simulations 6 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions II. Experimental study of the viola caipira 7 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions The studied viola caipira: a representative exemplar • Rozini brand, Ponteio Profissional model. • Smaller body with a narrower waist than those of classical guitars. • Tuning: Rio Abaixo • Wood types • Soundboard: Sitka Spruce • Back and sides: Indian Rosewood • Neck: Indian Rosewood • Fretboard: Ebony 8 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions A. High speed camera analysis: experimental setup High speed camera: Photron, FASTCAM SA-X2 • 1024 × 768 pixels of resolution • 5000 frames/sec 9 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions A. High speed camera analysis • Particular double pluck • Non-planar motions • Collisions between strings 12String/stringNon-planarstndpluckpluck after motions collisions ~14 ms 10 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions A. High speed camera analysis • String sympathetic resonances due to the bridge motion. 11 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions B. Sound analysis • Sympathetic resonances and beating due to the strings coupling through the bridge. 1 free string 10 free strings Beating associated to the two orthogonal transverse motions. Sound halo: Effect due to the string sympathetic vibrations Only one string is plucked Beating associated to the interaction of multiple strings. 12 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions C. Vibration analysis of the body • Global vibration map: Operating deflection shapes (ODSs) f = 129.7 Hz f = 264.1 Hz f = 356.3 Hz f = 751.6 Hz A0 T T T 1 2 3 Scanning laser vibrometer Measured receptance 13 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions C. Vibration analysis of the body • ODSs along the bridge using a laser vibrometer 1 2 3 4 5 6 7 8 9 10 z y 10 string/body coupling points f = 134 Hz, A0 f = 267 Hz, T1 f = 351 Hz, T2 • At some frequencies, the mobility at the 10 points are significantly different. f = 751 Hz, T3 • These ODSs reveal the coupling between strings due to the bridge motion. f = 1794 Hz 14 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions III. Mobility measurements using the wire-breaking method 15 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions Mobility: definition and why measuring • Definition: transfer function (ω) (ω) = (ω) • The mobility measured at the bridge quantifies the conversion of string force into bridge velocity (degree of coupling between strings and body ) • Powerful sound Large Mobility Strong coupling • Fast decay • Less powerful sound Small Mobility Weak coupling • Slower decay 16 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions Mobility measurement using the hammer method (classical method) 17 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions Mobility measurement using the wire-breaking method 18 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions Mobility: Replaces the impact hammer method: 퐴 ω Wire breaking force 푌 ω = Excitation at the coupling point 푓 Excitation in different directions Low cost (suitable for makers) Measurement of 푓 is required 19 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions Wire-breaking method vs. Hammer method 20 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions Calibration of mobility from ퟎ measurement • Wire diameter: 100 μm 10 measures 5 Wire 4 Wire 3 2 1 Force Force (N) 0 -1 Fixed force transductor -2 0.44 0.46 0.48 0.5 0.52 0.54 Time (s) ퟎ -10 calibrated hammer -20 calibrated wire -30 -40 -50 ퟎ Mobility (dB) -60 -70 -80 0 500 1000 1500 2000 2500 3000 Frequency (Hz) 21 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions The “Roving Wire-Breaking Technique”: modal analysis procedure • Excitation positions: 0 1 to 5 2 1 5 4 3 • Excitation normal and parallel to the soundboard • Response position: 0 • Wire diameter: 100 μm x • Instrument on a guitar stand Accelerometer z position 0 y Wire holder • 12 inertance curves • Single-Input-Multiple-Output High-resolution modal analysis 1st step. Estimation of poles: ESPRIT (Roy & Kailath, 1989) 2nd step. Estimation of the mode shapes components • Time domain method • Fit in the frequency domain (collocated mobility) Signal subspace 푗ω 푲 Noise subspace 푌, ω = 퐴 ω +ω + 푗2ξωω () 푠 푛 = 푎푒 푒 + 푤 푛 퐴 =ϕ,ϕ, 퐻 ω , computed from poles! Constraint 1: 퐴 is positive • The signal subspace verifies the rotational invariance property: Constraint 2: 퐴 is real 푾↑ 2퐾 = 푾↓ 2퐾 푹(2퐾) • Non-Negative Least Square Procedure (NNLS) 푻 푾 2퐾 : basis of the signal subspace min 푪풙 − 풅 풙 =[퐴 … 퐴] , 푥 ≥ 0 ∀푘 풙 푹(2퐾): matrix whose eigenvalues are the poles 푧 = 푒 - Provides intrinsically the modal order • Other modal amplitudes: Standard Least Square 23 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions The “Roving Wire-Breaking Technique”: modal analysis procedure Modal fit Modal identification • 47 modes between 50 Hz and 3000 Hz Mode shapes at the string/body coupling points A0 T1 T2 f = 133.9 Hz f = 264.4 Hz f = 355.4 Hz 23 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions VI. Physical modelling 24 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions Principle of the model: hybrid modal approach 25 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions Simplified case: 1 string,1 polarization String displacement String motion equation (modal) 풆 풄 At the string/bridge coupling point, x = L: Bridge displacement Bridge motion equation (modal) 풃 풄 27 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions Fully coupled system:10 strings, 2 polarizations Strings 푧 (푥, 푡) 푦 (푥, 푡) 휱(푥) Bridge 푧(푝 , 푡) 푦(푝 , 푡) 휱(푥) • Resolution in time domain • Centered finite differences • Explicit matricial formulation 28 I. Introduction II. Experimental study III. Wire-breaking method IV. Modelling V. Sound synthesis VI. Application VII. Conclusions String/string
Load more

Recommended publications
  • Viola Brasileira, Qual Delas?
    VIOLA BRASILEIRA, QUAL DELAS? BRAZILIAN VIOLA, WHICH ONE? André Moraes Universidade de São Paulo [email protected] Resumo No Brasil existem diversos instrumentos de cordas dedilhadas que são denominados viola, muitas vezes referindo-se ao mesmo instrumento, porém com nomes diferentes: viola caipira, viola sertaneja, viola cabocla, viola nordestina, viola de festa, viola de feira, viola de fandango, viola de folia, viola de dez cordas, viola brasileira. Para uma possível classificação hierárquica dos termos e dos instrumentos, buscamos a contribuição do campo da ciência da informação, sobretudo a terminologia. O estudo da ciência da informação nos revelou diversas possibilidades de representação e organização para um determinado domínio. Optamos neste caso por classificar o termo viola brasileira (termo genérico TG) e seus (termos específicos TE) viola de cocho, viola nordestina, viola de arame, viola de buriti, viola caiçara utilizando o conceito da terminologia e documentação analisado por Maria Teresa Cabré e Lídia Almeida Barros. Palavra-chave: terminologia; ciência da informação; organização do conhecimento; viola; viola caipira; viola brasileira. Abstract In Brazil there are several strumming instruments that are called viola, often referring to the same instrument, but with different names: country guitar, country guitar, cabocla guitar, northeastern guitar, party guitar, fair guitar, Fandango Viola, Folio Viola, Ten String Viola, Brazilian Viola. For a possible hierarchical classification of terms and instruments, we seek the contribution of the field of information science, especially the terminology. The study of information science has revealed to us several 9 REV. TULHA, RIBEIRÃO PRETO, v. 6, n. 1, pp. 9-35, jan.–jun. 2020 possibilities of representation and organization for a given domain.
    [Show full text]
  • INTERNATIONAL Made in China Products
    INTERNATIONAL Made in China Products giannini.com.br 1 ACOUSTIC GUITARS NYLONSTRINGS ACOUSTIC GUITARS NYLONSTRINGS NR Classical Guitar Nylon Strings. Size 30” N-14 •Linden top Classical Guitar Nylon Strings. 39” Size •Linden back and sides •Linden top •Chinese Solid Wood neck •Linden back and sides •Color: Natural (N) and Black (BK) •Chinese Solid Wood neck with truss rod •Maple (black dyed) fingerboard •Colors: Natural (N), Black (BK), Pink (PK) and Purple (PP) BK N PP N BK PK NF-14 CEQ Acoustic-Electric Nylon String Cutaway Classical Guitar. Size 39” •Linden top •Linden back and sides •Chinese Solid Wood neck with double action truss rod •Maple (black dyed) fingerboard N •Nickel tuners BK PK •Preamp 3-Band with digital tuner PP N4 •Color: Natural (N) and Black (B) Classical Guitar Nylon Strings. Size 34” •Linden top •Linden back and sides •Chinese Solid Wood neck •Colors: Natural (N), Black (BK), Pink (PK) and Purple (PP) PK PP N TS BK BK GN-15 N Classical Nylon String. 39” Size N6 •Spruce Stika top (N and TS) or Linden top (BK) Classical Guitar Nylon Strings. Size 36” N •Linden back and sides •Linden top BK •Solid Wood neck with truss rod •Linden back and sides •Rosewood bridge and fingerboard •Chinese Solid Wood neck •Colors: Natural (N), Black (BK) and Tobacco Sunburst (TS) •Colors: Natural (N), Black (BK), Pink (PK) and Purple (PP) 2 giannini.com.br 3 ACOUSTIC GUITARS NYLONSTRINGS NSNS BK NG BK NG BRB GNFLE CEQ GNF-1D CEQ Acoustic-Electric Nylon String Cutaway Mini Jumbo Cutaway Acoustic Electric Guitar Nylon Strings Classical Guitar
    [Show full text]
  • Universidade Federal Da Bahia Viola Nos Sambas Do Recôncavo Baiano
    UNIVERSIDADE FEDERAL DA BAHIA ESCOLA DE MÚSICA PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA CÁSSIO LEONARDO NOBRE DE SOUZA LIMA VIOLA NOS SAMBAS DO RECÔNCAVO BAIANO Salvador 2008 CÁSSIO LEONARDO NOBRE DE SOUZA LIMA VIOLA NOS SAMBAS DO RECÔNCAVO BAIANO Dissertação submetida ao Programa de Pós- Graduação em Música, Escola de Música, Universidade Federal da Bahia, como requisito parcial para a obtenção do grau de Mestre em Música. Área de concentração: Etnomusicologia Orientador (a): Prof. Dr.(a) Sônia Maria Chada Garcia Salvador 2008 © Copyright by Cássio Nobre Dezembro, 2008 TERMO DE APROVAÇÃO Para Bia, Loa, Margarida e Trajano, por todo o amor cultivado. v RESUMO Viola nos Sambas do Recôncavo Baiano é um estudo etnomusicológico sobre o instrumento musical de cordas popularmente conhecido como “viola”, introduzido no Brasil por europeus, e que na região do Recôncavo Baiano (Bahia, Brasil) está associado a formas de expressão musical tradicionais em comunidades caracterizadas por fortes remanescentes culturais de matriz africana. Estas expressões populares estão organizadas em torno de alguns grupos musicais existentes em certas localidades do Recôncavo atual, conhecidos genericamente como sendo grupos de “samba de roda”. Tais grupos contam com a presença da viola na formação instrumental dos seus conjuntos musicais, que executa “modalidades” de samba localmente reconhecidas como sendo “samba-chula”, “samba de viola” ou “barravento”, dentre outras denominações. A viola é, reconhecidamente, um dos mais fortes símbolos de “tradição” nesta região. Neste sentido, o objetivo principal de Viola nos Sambas do Recôncavo Baiano é levantar informações e relatos sobre a presença de violas e a participação de violeiros em alguns grupos de samba com viola observados, descrevendo suas características principais, bem como usos e funções sonoras e simbólicas de ambos.
    [Show full text]
  • Modal Analysis of a Brazilian Guitar Body G
    ISMA 2014, Le Mans, France Modal Analysis of a Brazilian Guitar Body G. Paiva and J.M.C. Dos Santos University of Campinas, Rua Mendeleyev, 200, Cidade Universitaria´ ZeferinoVaz, 13083-860 Campinas, Brazil [email protected] 233 ISMA 2014, Le Mans, France The Brazilian guitar is a countryside musical instrument and presents different characteristics that vary regionally by configuring as a sparse group of string musical instruments. Basically, the instrument diversity comes from different geometries of resonance box, shapes of sound hole, types of wood, different tunings, and number and arrangement of strings. This paper intends to present the numerical and experimental modal analysis of a Brazilian guitar, without strings, in a free boundary condition. The modal analysis technique is applied in the determination of the natural frequencies and the corresponding mode shapes. The main dimensions of an actual Brazilian guitar body are used to build the computational model geometry. The numerical modal analysis uses finite element method (FEM) to determine the dynamic behavior of the vibroacoustic system, which is composed by the structural and acoustic systems coupled. The experimental modal analysis is carried out in an actual Brazilian guitar body, where the structural modal parameters (frequency and mode shape) are extracted and used to update the numerical model. Finally, numerical and experimental results are compared and discussed. 1 Introduction of soundhole, types of wood, different tunings, and number and arrangement of strings. However, this diversity regards The relationship between measurable physical to different Brazilian cultural expressions in which this properties of a musical instrument and the subjective musical instrument is seen as a ritualistic tool.
    [Show full text]
  • Made in China Products
    USA Made in China Products gianniniguitars.com 1 Nylon Strings NR Classical Guitar Nylon Strings. Size 30” | Linden top Linden back and sides | Chinese Solid Wood Neck Color: Natural (N) N4 Classical Guitar Nylon Strings. Size 34” | Linden top Linden back and sides | Chinese Solid Wood Neck Colors: Natural(N), Black (BK) and Pink (PK) N BK PK NF-14 CEQ Acoustic-Electric Nylon String Cutaway PK Classical Guitar. Size 39” | Linden top | Linden N back and sides | Chinese Solid Wood neck with BK double action truss rod | Maple (black dyed) Fingerboard | Nickel Tuners | Preamp 3-Band N6 with digital Tuner | Color: Natural (N) Classical Guitar Nylon Strings. Size 36” | Linden top Linden back and sides | Chinese Solid Wood Neck Colors: Natural (N), Black (BK) and Pink (PK) TS BK N N BK PK GN-15 N-14 Classical Nylon String. 39” Size | Spruce Stika top (N and TS) or Linden Classical Guitar Nylon Strings. 39” Size | Linden top | Linden back and sides top (BK) | Linden back and sides | Solid Wood Neck with truss rod Chinese Solid Wood neck with truss rod | Maple (black dyed) Fingerboard Rosewood Bridge and fingerboard | Colors: Natural (N), Black (BK) and Colors: Natural (N), Black (BK) and Pink (PK) Tobacco Sunburst (TS) 2 gianniniguitars.com gianniniguitars.com 3 GNC-10/7 SPC Classical Nylon String. 7-Strings | Solid Spruce top | Rosewood back and sides | Okoume neck with Rosewood bridge and fingerboard | Color: Natural (N) | Available in Electric Version with Fishman® Isys+ Tuner/Preamp System CDR-PRO THIN CEQ GN-17 SPC Classical Nylon String,
    [Show full text]
  • Universidade Federal Do Estado Do Rio De Janeiro Centro De Letras E Artes Programa De Pós-Graduação Em Música Mestrado E Doutorado Em Música
    UNIVERSIDADE FEDERAL DO ESTADO DO RIO DE JANEIRO CENTRO DE LETRAS E ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA MESTRADO E DOUTORADO EM MÚSICA VIOLA? VIOLÃO? GUITARRA? PROPOSTA DE ORGANIZAÇÃO CONCEITUAL DE INSTRUMENTOS MUSICAIS DE CORDAS DEDILHADAS LUSO-BRASILEIROS NO SÉCULO XIX Adriana Olinto Ballesté 2009 ii VIOLA? VIOLÃO? GUITARRA? PROPOSTA DE ORGANIZAÇÃO CONCEITUAL DE INSTRUMENTOS MUSICAIS DE CORDAS DEDILHADAS LUSO-BRASILEIROS NO SÉCULO XIX por ADRIANA OLINTO BALLESTÉ Tese submetida ao Programa de Pós- Graduação em Música do Centro de Letras e Artes da UNIRIO, como requisito parcial para a obtenção do grau de Doutor, sob a orientação da Professora Dra. Martha Ulhôa e do co-orientador Professor Dr. Marcos Luiz Cavalcanti de Miranda. Banca Examinadora: Profª. Drª. Vera Dodebei Prof. Dr. José Augusto Mannis Profª. Drª. Márcia Ermelindo Taborda Rio de Janeiro, novembro de 2009 iii Ballesté, Adriana Olinto. B191 Viola? Violão? Guitarra? Proposta de organização conceitual de instru- mentos musicais de cordas dedilhadas luso-brasileiros no século XIX / Adriana Olinto Ballesté, 2009. xiii, 302f. Orientador: Martha Tupinambá Ulhôa. Co-orientador: Marcos Luiz Cavancanti de Miranda. Tese (Doutorado em Música) – Universidade Federal do Estado do Rio de Janeiro, Rio de Janeiro, 2009. 1. Instrumentos musicais de cordas dedilhdas – Organização conceitual. 2. Instrumentos musicais de cordas dedilhadas – Séc. XIX. 3. Viola – Ter- minologia. 4. Violão – Terminologia. 5. Guitarra – Terminologia. 6. Musico- logia.7. Organização do conhecimento. I. Ulhôa, Martha Tupinambá. II. Miranda, Marcos Luiz Cavancanti de. III. Universidade Federal do Estado do Rio de Janeiro (2003-). Centro de Letras e Artes. Curso de Doutorado em Música. IV.Título. CDD – 787 Autorizo a cópia da minha tese para fins didáticos.
    [Show full text]
  • CHAPTER 5 Expressing Southern Brazilian Identity
    CHAPTER 5 Expressing Southern Brazilian Identity Throughout Chapter 5, the author describes several styles and genres of Brazilian music. As students read this chapter, have them to create a reference guide for these styles. Handout 5.1 in the Supplementary Materials section may be used for this assignment. The sample guide below contains examples of information students may glean from the text and enter into the Style/Genre Reference Guide. Handout 5.1 Chapter 5 Style/Genre Reference Chart Origins Purpose Description/Characteristics /Function Música Southern Music for Christmas Music for processionals includes four-line caipira Brazilian small season reenactments verses in two-part vocal harmony to the towns and of the journey of the accompaniment of the instruments that the Magi neighborhoods Three Kings and themselves are said to have played: viola, guitar in larger cities secular events called with five double-coursed strings tuned to a triad; with large Catira caixa, snare drum; and pandeiro. Music for numbers of secular dance events, vocal duos, accompanied rural by viola and violão, sings long narrative songs immigrants called modas-de-viola that are punctuated by rhythmic instrumental interludes. Música Southern Outgrowth of Música Vocal duo sings songs full of romantic longing sertaneja Brazil caipira modernizing and nostalgia for rural ways, backed by guitars, musical style, yet bass, keyboards, drums, and sometimes by retaining essential rabeca, accordion, steel guitar, and strings. The values. style of this music would strike a North American listener as almost identical to U.S. country music if not for the lyrics in Portuguese Música Far southern Sustain gaúcho Lyrics celebrate gaúcho culture: performers gaúcha states of Brazil, traditions— often appear in stylized gaúcho clothing.
    [Show full text]
  • Casio PX-S3000 Built-In Music Data Lists
    PXS3000APD-WL-1A.fm 1 ページ ２０１８年１１月１９日 月曜日 午後１２時２２分 1/4 056 VERSATILE NYLON GUITAR 24 8 PIPE 280 VEENA 1 104 36 394 GM CHOIR AAHS 52 0 057 VERSATILE STEEL GUITAR 25 8 168 SOLO FLUTE 1 73 32 281 VEENA 2 104 37 395 GM VOICE DOO 53 0 058 VERSATILE SINGLE COIL E.GUITAR 27 9 169 SOLO FLUTE 2 73 33 282 SHANAI 111 1 396 GM SYNTH-VOICE 54 0 JA/EN/ES/DE/FR/NL/IT/SV/PT/CN/TW/RU/TR BASS 1 170 FLUTE 1 73 1 283 BANSURI 72 9 397 GM ORCHESTRA HIT 55 0 059 ACOUSTIC BASS 1 32 1 171 FLUTE 2 73 36 284 PUNGI 111 8 398 GM TRUMPET 56 0 060 ACOUSTIC BASS 2 32 32 DSP 172 JAZZ FLUTE 1 73 2 285 TABLA 116 41 399 GM TROMBONE 57 0 内蔵音楽データ一覧 • Built-in Music Data Lists • Listas de datos de 061 RIDE BASS 32 33 173 JAZZ FLUTE 2 73 37 DSP 286 ANGKLUNG TREM. 12 40 400 GM TUBA 58 0 062 FINGERED BASS 1 33 6 174 PICCOLO 72 32 287 GENDER 11 40 401 GM MUTE TRUMPET 59 0 063 FINGERED BASS 2 33 5 175 RECORDER 74 32 288 CAK 25 12 402 GM FRENCH HORN 60 0 música incorporados • Listen der vorinstallierten Musikdaten • Listes des 064 FINGERED BASS VELO.SLAP 1 33 33 176 PAN FLUTE 1 75 32 289 CUK 24 40 403 GM BRASS 61 0 065 FINGERED BASS VELO.SLAP 2 33 32 177 PAN FLUTE 2 75 33 290 CELLO FINGERED 32 12 404 GM SYNTH-BRASS 1 62 0 066 FINGERED BASS 3 33 1 178 BOTTLE BLOW 76 32 291 SASANDO 46 40 405 GM SYNTH-BRASS 2 63 0 données de musique intégrées • Ingebouwde muziekgegevenslijsten • Liste 067 FINGERED BASS 4 33 2 179 WHISTLE 78 1 292 SHORT SULING 77 40 GM TONES 2 (65～128) 068 FINGERED BASS 5 33 3 180 OCARINA 79 32 293 SULING BAMBOO 1 77 41 406 GM SOPRANO SAX 64 0 069 FINGERED BASS 6 33
    [Show full text]
  • BROUWER BELLINATI 7 (B
    Leo BROUWER The Book of Signs Paulo BELLINATI Concerto Caboclo Brasil Guitar Duo Delaware Symphony Orchestra David Amado WORLD PREMIERE RECORDINGS Leo Brouwer (b. 1939) as no surprise, given the well-documented nationalistic proven himself to be a true craftsman, combining his The Book of Signs feelings of these major composers. Unaligned with any absolute control of traditional forms and compositional musical movement, and yet an authority on most Brazilian techniques that range across virtually all periods of music Paulo Bellinati (b. 1950) rhythms, Bellinati creates here a concerto highlighted by history with the profound musical inheritance of his Afro- Concerto Caboclo inspired melodic ideas and clever orchestration, which Cuban heritage. In so doing, he has created a personal During the early part of the 20th century, the guitar duo Coming from a long and rich tradition of guitar com- allows for the notably transparent sound of two guitars. style that is recognisable from the opening notes of any of repertoire suffered from the same problem as that of the posers from Brazil, Paulo Bellinati is a true ambassador for The Toada (a song in moderate tempo written over a his compositions. Brouwer is a seasoned writer of guitar solo guitar: a pronounced lack of post-Romantic works the guitar in his country, and continues the legacy of João rhythm similar to baião), with its two cadenzas, was concertos, with more than twelve titles under his name. The written by non-guitar composers. The Presti-Lagoya duo – Pernambuco, Anibal Augusto Sardinha aka Garoto, originally conceived as the concerto’s second movement, Book of Signs is his tenth, but it is the first for two guitars much like Andrés Segovia who was so vital in establishing Dilermando Reis, and Baden Powell, to name a few.
    [Show full text]
  • An Arrangement of Bachianas Brasileiras No. 1 by Heitor
    Broadening the Repertoire for Guitar and Piano: An Arrangement of Bachianas Brasileiras No. 1 by Heitor Villa-Lobos by Fabio Figueiredo Bartoloni A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved November 2016 by the Graduate Supervisory Committee: Frank Koonce, Chair Kotoka Suzuki Thomas Landschoot ARIZONA STATE UNIVERSITY December 2016 ABSTRACT The repertoire for guitar and piano duo is small in comparison with other chamber music instrumentation; therefore, it is important to broaden this repertoire. In addition to creating original compositions, arrangements of existing works contribute to this expansion. This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A. i DEDICATION This work is dedicated to my wife Daniela, to my parents Laura and Giacomo, my parents-in-law Ana Maria and José Antonio and my brothers Bruno and Felipe, with immense love. ii ACKNOWLEDGMENTS I would like to express my sincere gratitude to Professor Frank Koonce for his support and advice, and also to the members of my graduate committee, Kotoka Suzuki and Thomas Landschoot.
    [Show full text]
  • Fretted Instrument Octave Designation Diagram & Charts
    ks•Ca oo bo B t t B From the: o o b o a k s C • • C s a k b o o o CB t B B t o o o Series b k a s • C THE MUSICIAN’S WORKBOOK VI Fretted Instrument Octave Designation Diagram & Charts Compiled by Tobe A.Richards FRETTED INSTRUMENT TUNING CHART The comprehesive tuning chart below features each string reading from left to right as if the in- strument was standing up vertically in front of you. Generally, the strings on the left will be lower pitched than those on the right, but there are variations including the mountain dulcimer, where the higher melody strings precede their lower pitched counterparts. The note names are listed in scientific pitch notation as used by The Acoustical Society of Amer- ica. If you need know their Helmholtz equivalents we have a free downloadable/printable ver- sion with both systems and their piano keyboard positioning in Volume VI of our Music Workbook series. You’ll find this in the ‘Freebies’ section of FFM. When discussing the configuration of an instrument’s stringing arrangement, you’ll find they are often referred to by the number of strings or by the number of courses. A course is simply a series of strings tuned to the same note (albeit often an octave apart) to be fretted by one finger at the same time. To give an example of this, the mandolin has 8 strings or 4 courses of strings. Steel strings in particular give a ringing or jangly sound when they are arranged in double, triple or quad- ruple courses.
    [Show full text]
  • COMPUTATIONAL EVALUATION of the INFLUENCE of the SOUNDHOLE SIZE on the DYNAMIC BEHAVIOUR of the PORTUGUESE GUITAR 1 Introduction
    Invited paper COMPUTATIONAL EVALUATION OF THE INFLUENCE OF THE SOUNDHOLE SIZE ON THE DYNAMIC BEHAVIOUR OF THE PORTUGUESE GUITAR M. Vieira1, V. Infante1, P. Serrão1, A. M. R. Ribeiro1 1 IDMEC, Instituto Superior Técnico, Universidade de Lisboa, Av. Rovisco Pais, 1, 1049-001 Lisboa, Portugal Abstract The Portuguese guitar is a pear-shaped plucked chordophone particularly known for its role in Fado, the most distinctive traditional Portuguese musical style. The acknowledgment of the dynamic behavior of the Portuguese guitar, specifically of its modal and mode shape response, has been the focus of different authors. In this research, a computational evaluation of the influence of the soundhole size is produced, in order to evaluate the influence of this geometrical parameter on the dynamic behavior of the Portuguese guitar. The presented results allow for a better comprehension of these parameters and are of relevant importance for luthiers. Keywords: Portuguese Guitar, Dynamic Behaviour, Coupled Model, Soundhole. PACS no. 43.40.+s, 43.75.Gh 1 Introduction Guitars have been the focus of several researchers and scientific projects over the last decades, much due to its widespread use around the world. The aim of this intense research is to understand the dynamic coupling between guitars’ individual components and the relevance of each one to the radiated sound, which is, ultimately, the fundamental mission of a guitar. This comprehension of the dynamic behavior of the guitar represents a strong asset to luthiers and its crave to produce better musical instruments, and may be done in varied ways, ranging from experimental modal analysis to numerical models.
    [Show full text]