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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). -
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. -
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 -
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). -
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: ! _________________________ __________________________ -
Guidelines for Percussion Writing
GUIDELINES FOR PERCUSSION WRITING 1. INSTRUMENTATION The following instruments are available: Timpani (four, ranges D – B, F – d, A – f, d – bb) Bongos (two) Tom-toms (two) Large Concert Bass Drum (36”) Congas (two) Small Bass Drum (28” – pedal can be attached) Rototoms (three) Surdo Side Drum (snares on or off) Tambourim Piccolo side drum (snares on or off) Darbouka Bodhran Tenor Drum (no snares) Cowbells (three) Clash Cymbals (three pairs: 18” or 20” French, Agogo bells (two ‘pitches’) 20” Viennese) Alpenglocken (eight of various sizes) Suspended Cymbals (three: 14”, 18”, 20”) Mark tree (bell tree) Cymbal attached to bass drum Sleigh bells (two sets) Hi-Hat Cymbal with pedal Handbell (untuned) Antique (finger) cymbals (two pairs, unpitched) Anvil Tam-tam (30”) Maracas (two pairs) Gong (20”) Egg shakers Guiros (two) Triangles (six, various sizes and timbres) Reco Reco Cabasa Orchestral Tambourines (two: 10”, 12”) Chekere Rock Tambourine (no head) Vibraslap Flexatone Xylophone Rainsticks (two, one large, one small) Glockenspiel Claves (two pairs) Vibraphone Castanets (Machine and handle) Metal Castanets Tubular bells (1½ octave chromatic set, C – g) Sandpaper blocks Wood blocks (three ‘pitches’) Thunderdrum Temple blocks (five ‘pitches’) Thunder sheet Jam blocks (two ‘pitches’) Big Bom Miscellaneous whistles (referee, train, lighthouse) Apito (samba whistle) Wind chimes (bamboo) Slide whistle (swanee whistle) Whip / Clapper Bulbhorns (two: large - car, small - bicycle) Slapstick Kazoo Ratchet / Rattle Bird calls (nightingale, pigeon, cuckoo, quail, duck) If you require any additional instruments, they would have to be hired – please check with an Orchestra representative first. The most common items that fall into this category are: Piccolo Timpani (20” or smaller) (Rock/Jazz) Drumkit Timbales Cajon Crotales (low or high octave) Log Drum Bass bells (below middle C) Mahler Hammer Hang/Gubal Aluphone Steel Drum Boobams Marimba Keyed Glockenspiel Tubophone Please note that you should not take this list as an invitation to use it all – moderation is a good thing! II. -
Legal Use Requires Purchase
Grade Level: 1½ (Easy) In Search of Yeti Kirk Vogel Sasquatch, Bigfoot, the Abominable Snowman, Voormi, or Yeti—whatever the name, stories have persisted from the Arctic to the Himalayas of an ape-like creature taller than an average human being living comfortably in harsh conditions associated with snowy terrain. The scientific community has generally regarded these stories as a legend but that hasn’t stopped the search for Yeti. In Search of Yeti, written in C minor and E major, allows for studying b phrase length including two, three, and four measure phrases. Also included are individual lines allowing for development of independent playing. Varied articulations and dynamics challenge all players. INSTRUMENTATION 1 � Conductor Score 2 � Baritone T.C. SUPPLEMENTAL and 10 � Flute 2 � Tuba WORLD PARTS available for download from 2 � Oboe Percussion � 7 players: www.alfred.com/supplemental 6 � 1st B Clarinet 2 � Mallet Percussion b E Alto Clarinet 6 � 2nd B Clarinet (Bells/Xylophone) b b E Horn 2 � B Bass Clarinet 2 � Percussion 1 b b (Snare Drum, Bass Drum) Trombone in B T.C. 2 � 1st E Alto Saxophone b b 7 � Percussion 2 Trombone in B B.C. 2 � 2nd E Alto Saxophone b b (Vibraslap/Tambourine/ Baritone in B B.C. 2 � B Tenor Saxophone b b Suspended Cymbal, Tuba in B T.C. 1 � E Baritone Saxophone Flexatone/Tom-Toms/ b b Tuba in B B.C. 4 � 1st B Trumpet Ratchet/Crash Cymbals) b b Tuba in E T.C. 4 � 2nd B Trumpet 2 � Timpani Tuba in Eb B.C. -
Relationship with Percussion Instruments
Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument. -
November 1987
EDUCATION DRIVER'S SEAT Playing In Two or Four by Ed Shaughnessy 48 IN THE STUDIO Those First Sessions by Craig Krampf 50 ROCK 'N' JAZZ CLINIC Two-Surface Riding: Part 1 by Rod Morgenstein 52 CORPS SCENE Flim-Flams by Dennis DeLucia 66 MASTER CLASS Portraits in Rhythm: Etude #9 by Anthony J. Cirone 76 ELECTRONIC INSIGHTS MIDI System Interconnections by Jim Fiore 78 ROCK CHARTS Carl Palmer: "Brain Salad Surgery" by William F. Miller 80 Cover Photo by Michael S. Jachles ROCK PERSPECTIVES Ringo Starr: The Middle Period by Kenny Aronoff 90 RANDY CASTILLO JAZZ DRUMMERS' WORKSHOP Imagine this: You are at home with a broken leg, and you get a Your Drum Setup call to audition for Ozzy Osbourne. That happened to Randy by Peter Erskine 94 Castillo, and he got the gig. Here, he discusses such topics as SOUTH OF THE BORDER his double bass drum work and showmanship in drumming. Latin Rhythms On Drumset by John Santos 96 by Robyn Flans 16 CONCEPTS The Natural Drummer CURT CRESS by Roy Burns 104 Known for his work in Germany's recording studios and his CLUB SCENE playing with the band Passport, Curt Cress has also recorded Hecklers And Hasslers with Freddie Mercury, Meatloaf, and Billy Squier. Curt by Rick Van Horn 106 explains why the German approach is attracting British and EQUIPMENT American artists and producers. SHOP TALK by Simon Goodwin 22 Evaluating Your Present Drumset by Patrick Foley 68 PRODUCT CLOSE-UP DRUMMERS OF Pearl MLX/BLX Pro Series Drumkits by Bob Saydlowski, Jr 110 CONTEMPORARY ELECTRONIC REVIEW Korg DDD-1 Drum Machine CHRISTIAN MUSIC: by Rick Mattingly 112 NEW AND NOTABLE 124 PART 1 PROFILES John Gates, Art Noble, and Keith Thibodeaux discuss their PORTRAITS work with a variety of Christian music bands, and clarify what Thurman Barker Christian music is and what it is not. -
KP120A User's Manual
KP120A PANEL DISPLAY INDICATIONS Your instrument features a large multi-function display (MULTI DISPLAY) that shows all important settings for the instrument. The section below briefly explains the various icons and indications in the display. (1) Message Display - This section displays the demo song, voice or style name and number you have selected. (2) Active Input - When you play the instrument, you need to change the voice, style, demo. The arrow point to which is the active section. (3) Finger Select - This arrow tells you which finger mode is selected and if the keyboard is split into two parts or not. (4) Note Display - When you play a key on the keyboard, the note will be displayed. (5) Voice Effect - These icons display the Dual, Sustain, Touch and Effect function is turned ON/OFF. (6) Track Volume - It displays the volume of each track dynamically when the demo song or style is played. (7) Transpose - Display the current transpose status of the keyboard. The number 00 indicates No transpose. (8) Chord Type - Display current chord type you play on the keyboard accompaniment section when the keyboard is in the Single or Fingered mode. (9) Measure - Display the measure of the demo song, style or record/play back have played. (10) Tempo - Display the tempo of the demo song, lesson, style or record/play. (11) Song Memory - Display the record and play track during recording and play back. (12) Record and Play - Display the record and play status. (13) Demo - Display the demo is playing. (14) Style - Display the accompaniment is playing. -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
Strike Multipad Kit & Instrument List
Kit & Instrument List Version 1.0 Kits 001-Power Duel 009-Good Ol' Rock 017-Xonga Set 025-Mult Sidesnare 002-Cash Money Kit 010-Latin Loops 018-Drum Circle 026-Marimba 003-Knife Jogger 011-Jazz Kit 019-Orchestra 027-Bowed Celeste 004-Piper Shuffle 012-Jeff's Solo 020- Kit of India 2 028-Xylophone 005-Ham & Beans 013-Drum Corp 021-Toy Chest 029-Timpani 006-Pink Tom Phils 014-Kit of India 1 022-Mi Casa 030-Bells 007-Pluck This! 015-Synth Loops 023-Perc Table 008-Randojon 016-Hat Grease Kit 024-Jo's Drums Instruments Chinas Acoustic Sab08ChKang a SabBwellBow a Wu17Stick a Zil18OrientalEdge a Sab08ChKang b SabBwellBow b Wu17Stick b Zil18OrientalEdge b Sab18Mallet a SabBwellEdge a Wu18Stick a Zil18TrashBow a Sab18Mallet b SabBwellEdge b Wu18Stick b Zil18TrashBow b Sab18Stick a SabBwellMallet a Wu20Stick 4a Zil18TrashEdge a Sab18Stick b SabBwellMallet b Wu20Stick 4b Zil18TrashEdge b Sab20XStreme a Wu17Brush a Zil18OrientalBow a ZilK17 a Sab20XStreme b Wu17Brush b Zil18OrientalBow b Crashes Acoustic 17KDBrush 4a Trad18Bow b Z16MedBrush a Z17MedStick b 17KDBrush 4b Trad18Edge a Z16MedBrush b Z18Bow a FlangeStacker a Trad18Edge b Z16MedMallet a Z18Bow b FlangeStacker b Z16ACBrush a Z16MedMallet b Z18DarkBow a MVint18Bow a Z16ACBrush b Z16MedStick a Z18DarkBow b MVint18Bow b Z16ACMallet a Z16MedStick b Z18DarkEdge a MVint18Edge a Z16ACMallet b Z17KDMallet a Z18DarkEdge b Kit & Instrument List Page 1 Crashes Acoustic (continued) PSSab Stacker a Z16ACStick b Z17KDStick a Z18Edge b PSSab Stacker b Z16DarkBrush a Z17KDStick b Z18MedBrush a Smashed17in