Michael Kelly Guitars Patriot Decree
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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Classic Bass Series Bass Pickups Please Check Our Website T E N
July 2005 PICKUPS AND ELECTRONICS PBF guitar pickups and Classic Bass series bass pickups Please check our website t e n www.bartolini.net . i Links from our Sales page will take you to the Product Description and n i e l p a Price Lists page. The Quick Price List shows which models are most o h t s r r easily available. a e k PBF Series c Older Humbuckers b . u b V92C-B warm HumBucker for neck or bright bridge w m u w h V94-D warmer HB for bridge - near PAF output PBF-49 Vintage neck humbucker d r w a 1CTA equal coil / unequal response / high clarity d n PBF-51 Vintage bridge humbucker S S a t 1D-01 deep & bright HB for bridge s C C I PBF-55 Special Jazz Guitar neck humbucker I S S N PBF-57 Special Jazz bridge humbucker N P P Older Strat* size single coils O O R 3XQ - N or S very clear, smooth, near Vintage tone single coil PBF-77D High Output Distortion humbucker R U U T 3X - N or S clear, smooth, full range single coil T C Creamy, smooth treble C K K 3XR - N or S deeper tone, high power, bridge pos. single coil E Excellent mids E 3D-01 N or S bright & deep single coil of 1D-01 L L C C Crisply defined bass response I I E E e p Jazz Guitar (Johnny Smith type) from bright Vintage neck PAF tone (PBF-49) D D a P P h s 5J smooth, clear dual coil - end of fingerboard bracket to the creamiest Jazz bridge humbucker tone (PBF-57) N N t a r t A 5JNB smooth, clear dual coil without mounting bracket to the raunchiest (but smooth) distortion A S R R d r S of an outstanding rock ’n’ roll bridge pickup (PBF-77D) S a d P P A A Large Humbuckers for 7 string guitar n a Available in Gold, Nickel and Chrome stamped metal shells t U U s T T 492C/B 7 string version of V92C/B and also in Black or White ABS shells. -
Ron Block Hogan's House of Music Liner Notes Smartville (Ron Block
Ron Block Hogan’s House of Music Liner Notes Smartville (Ron Block, Moonlight Canyon Publishing, BMI) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Tim Crouch - fiddle Jerry Douglas - Dobro Stuart Duncan – fiddle Clay Hess - rhythm guitar Adam Steffey – mandolin Hogan’s House of Boogie (Ron Block, Moonlight Canyon Publishing, BMI) Ron Block – banjo, rhythm and lead guitar Sam Bush - mandolin Jerry Douglas – Dobro Byron House - bass Dan Tyminski – rhythm guitar Lynn Williams – snare Wolves A-Howling (Traditional) Barry Bales - bass Ron Block - banjo Stuart Duncan - fiddle Adam Steffey - mandolin Dan Tyminski - rhythm guitar The Spotted Pony (Traditional, arr. Ron Block, Moonlight Canyon Publishing, BMI) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Stuart Duncan – fiddle Sierra Hull – octave mandolin Alison Krauss - fiddle Adam Steffey – mandolin Dan Tyminski - rhythm guitar Lynn Williams – snare Clinch Mountain Backstep (Ralph Stanley) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Stuart Duncan – fiddle Clay Hess - rhythm guitar Adam Steffey – mandolin Gentle Annie (Stephen Foster) Ron Block – banjo, guitar Tim Crouch – fiddles, cello, bowed bass Mark Fain - bass Sierra Hull – octave mandolins Mooney Flat Road (Ron Block, Moonlight Canyon Publishing, BMI) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Stuart Duncan – fiddle Sierra Hull – octave mandolin Alison Krauss - fiddle Adam Steffey – mandolin Jeff Taylor - accordion Dan Tyminski - rhythm guitar Lynn Williams – snare Mollie -
Shin Akimoto Alan Bibey Sharon Gilchrist
Class list is preliminary- subject to change Shin Akimoto Monroe Style (I) Rhythm Playing (AB) Bluegrass in Japan (All) Alan Bibey No, you backup (AB-I) Playing fills and how to play behind a vocalist Classic Bluegrass Mandolin breaks (I-A) Road to improv (I-A) Classic Monroe licks (AB-I) Spice Up your playing with triplets (I-A) Sharon Gilchrist Closed Position Fingering for Playing Melodies in All 12-Keys: (AB-I) Learn a couple of easy patterns on the fretboard that allow you to play melodies in all 12 keys easily. This is what a lot of mandolin players are using all the time and it's easy! Closed Position means using no open strings. Basic Double Stop Series: (AB-I) Double stops are one of the mandolin's signature sounds. In this class, we will learn a basic double stop series that moves up and down the neck for both major and minor chords. Freeing Up the Right Hand (B-I) This class is geared towards folks who have learned a number of fiddle tunes and have gotten pretty comfortable playing those melodies but are wondering how to speed them up a bit or breathe a little more life into them now. It is also for folks who might have been playing for a while but still struggle with speed and flow in performance of their tunes. Backing Up a Singer: (I-A) Using double stops and licks to create back up that allows the lead vocal to remain front and center while enhancing the story of the song. -
Electric Octave Mandolin Conversion
Search Conversion of an electric mini-guitar to electric octave Where is it? mandolin by Randy Cordle Active Completed electric octave mandolin Expand All | Contract All A B C D E F G H I Shown is an electric octave mandolin that started its life as a $99 mini-guitar. Total cost J was approximately $200 with the additional cost of items used in the conversion. The K conversion process is fairly simple, and can be done with the information given here if L you have some basic woodworking skills and a few basic power tools. A drill press and 4" M tabletop belt sander were the primary tools that I used that may not be in everyone's shop, N but the project could be done using other methods. O P–Q Electric octave mandolin specifications R 22-7/8" scale S GG-DD-AA-EE unison pair tuning T Width of neck at nut is 36mm, 12th fret width is 47mm U–V Width between outer string pairs at bridge is 52mm String pair center distance is 3mm W–X Y–Z Additional parts and where they were obtained Inactive Schaller A-style mandolin tuners - $40, First Quality Musical Supplies, also Expand All | Contract All available from Stewart-McDonald .090" white pick guard material - $9, Stewart-McDonald A Switchcraft output jack (don't use the cheap existing jack) - $5, Stewart-McDonald B 1/8" bone nut blank - $4, Stewart-McDonald C Straplok strap hardware...not necessary, but they find their way on most of my stage D instruments - $13, Stewart-McDonald Testor's "make your own decals with your ink-jet printer" kit - $6, Wal-Mart E Tru-oil gunstock finish - $6, Wal-Mart -
Patented Electric Guitar Pickups and the Creation of Modern Music Genres
2016] 1007 PATENTED ELECTRIC GUITAR PICKUPS AND THE CREATION OF MODERN MUSIC GENRES Sean M. O’Connor* INTRODUCTION The electric guitar is iconic for rock and roll music. And yet, it also played a defining role in the development of many other twentieth-century musical genres. Jump bands, electric blues and country, rockabilly, pop, and, later, soul, funk, rhythm and blues (“R&B”), and fusion, all were cen- tered in many ways around the distinctive, constantly evolving sound of the electric guitar. Add in the electric bass, which operated with an amplifica- tion model similar to that of the electric guitar, and these two new instru- ments created the tonal and stylistic backbone of the vast majority of twen- tieth-century popular music.1 At the heart of why the electric guitar sounds so different from an acoustic guitar (even when amplified by a microphone) is the “pickup”: a curious bit of very early twentieth-century electromagnetic technology.2 Rather than relying on mechanical vibrations in a wire coil to create an analogous (“analog”) electrical energy wave as employed by the micro- phone, “pickups” used nonmechanical “induction” of fluctuating current in a wire coil resulting from the vibration of a metallic object in the coil’s magnetized field.3 This faint, induced electrical signal could then be sent to an amplifier that would turn it into a much more powerful signal: one that could, for example, drive a loudspeaker. For readers unfamiliar with elec- tromagnetic principles, these concepts will be explained further in Part I below. * Boeing International Professor and Chair, Center for Advanced Studies and Research on Inno- vation Policy (CASRIP), University of Washington School of Law (Seattle); Senior Scholar, Center for the Protection of Intellectual Property (CPIP), George Mason University School of Law. -
A History of Mandolin Construction
1 - Mandolin History Chapter 1 - A History of Mandolin Construction here is a considerable amount written about the history of the mandolin, but littleT that looks at the way the instrument e marvellous has been built, rather than how it has been 16 string ullinger played, across the 300 years or so of its mandolin from 1925 existence. photo courtesy of ose interested in the classical mandolin ony ingham, ondon have tended to concentrate on the European bowlback mandolin with scant regard to the past century of American carved instruments. Similarly many American writers don’t pay great attention to anything that happened before Orville Gibson, so this introductory chapter is an attempt to give equal weight to developments on both sides of the Atlantic and to see the story of the mandolin as one of continuing evolution with the odd revolutionary change along the way. e history of the mandolin is not of a straightforward, lineal development, but one which intertwines with the stories of guitars, lutes and other stringed instruments over the past 1000 years. e formal, musicological definition of a (usually called the Neapolitan mandolin); mandolin is that of a chordophone of the instruments with a flat soundboard and short-necked lute family with four double back (sometimes known as a Portuguese courses of metal strings tuned g’-d’-a”-e”. style); and those with a carved soundboard ese are fixed to the end of the body using and back as developed by the Gibson a floating bridge and with a string length of company a century ago. -
Course Outline: Guitar & Mandolin Orchestra
Course Outline: Guitar & Mandolin Orchestra Guitar & Mandolin Orchestra (G&MO) is a large ensemble that performs music on acoustic guitars, bass guitars, mandolins, mandolas and mandocellos. Activities involving performance techniques, general musicianship and creative/critical thinking are emphasized during rehearsals. Membership satisfies the participation requirement for regional and all-state honors ensembles. Course prerequisites: because the ensemble is focused on performing music in a selective and balanced setting, all students must audition. NOTE: students who have successfully auditioned for BCA Orchestra on the following instruments may register without an audition: violin, viola, cello, bass. Course Goals and Objectives Ultimately, students in Guitar & Mandolin Orchestra present several performances throughout the academic year. Importantly, members explore various styles of music including: classical, jazz, international, and folk music. Through exploration, students will experience several techniques and interpretive practices necessary to perform these styles. Creative strategies are utilized in order to expose students to a variety of related musical concepts including history, foreign language, improvisation, critique, conducting, and music theory. Grading, Assessment and Course Responsibilities Grades are based on the average of all class sessions, dress rehearsals, and performances. Points are awarded based on assessment for preparation, participation, attendance and team work- because they foster responsible adult practices. A = 93 -100 A- = 90 – 92 B+ = 87 - 89 B = 83 - 86 B- = 80 - 82 C+ = 77 - 79 C = 73 - 76 C- = 70 - 72 D+ = 63 - 69 D = 60 - 62 F = 0 - 59 Preparation (approx. 70%): Students who are present and prepared earn 3 points each class session as follows: 2 points for bringing instrument and individual copy of sheet music, 1 point for preparing any assigned material and/or participating in class activities. -
DAKOTA OCTAVE MANDOLIN KIT and MANDOCELLO KIT
DAKOTA OCTAVE MANDOLIN KIT and MANDOCELLO KIT MUSICMAKER’S KITS, INC PO Box 2117 Stillwater, MN 55082 651-439-9120 harpkit.comcom WOOD PARTS: DAKOTA OCTAVE MANDOLIN KIT A - Neck B - Fretboard C - Heel Block Z R D - Tail Block E - 2 Heel Ribs F - 2 Side Ribs G - 2 Tail Ribs A P H - 4 Corner Blocks I B I - Back Panel J - 3 Cross-Braces for Back K - 2 Flat Braces for Back L L - Front (Soundboard) N M - 10 Braces for Front (Soundboard) O N - 6 Inner Kerfing Strips O - Bridge (with Saddle & 8 pegs) X V P - Bridge Clamp, w/4 machine screws, 2 washers, 2 wing nuts U Q - Bridge Plate E T R - 4 Clamping Wedges C E S - Spacer Block T - 6 Binding Strips, walnut HH U - Heel Cap Y V - Truss Rod Cover (with 3 screws) F F HARDWARE: S K J M W - 48 Inches Fretwire X - 1 White Side Marker Rod 5/64”” X 2” Y - 8 Black Geared Tuners H H w/8 sleeves, 8 washers & 8 tiny screws Z - Double Truss Rod, with allen wrench 8 - Pearl Marking Dots, 1/4” dia. Q 1 - Heavy Fretwire, 2” long, for #0 fret G G 1 - Set of 8 Strings D 1 - Black Wood Nut Fig 1 W 1 - Hex Bolt, 1/4” X 2”, with washer 2 - Tiny Nails If you have any questions about the assembly of your 1 - Drill Bit, 1/16” for tiny screws 1 - Drill Bit, 5/64” for Side Markers kit - please visit our online Builder’s Forum 1 - Drill Bit, 3/16” for bridge www.harpkit.com/forum Assembly Instructions A NOTE ABOUT GLUE We recommend assembling this kit with standard woodworker’s glue (such as Elmer’s Carpenters Glue or Titebond Wood Glue). -
Banjo, Mandolin, Guitar
Vol.XX[ MAY, 1929 No . 11 A frett ed instrument monthly for BANJO, MANDOLIN, GUITAR so let's think of Proposed P lan o f Fr etted Instrum ent Prom o tion ~" " plll(<' S Th e Ameri can Guild of B . M. & G . Th e "Bad Boy" of Plectrum Instrum ents •er pal(" ZI PUD Ll6HC D DY H. F . ODELL COMPA NY 20 Cents Per Copy COPYR I GHT Int-A LL ft l GHTS RIEU:RVED $2 .00 P er Year [NT [lt[D AS SECOND CU.IS MATTIER JUNE I.'"'· AT T H[ POST orrtC[ .. T BOSTON. MASSACHU IIE TI I . UND[R ACT or MAIICH l. 1171 Prlmtd I ■ U.L A, I 100 BOOKS FOR PLAYERS AND TEACHERS OF I 5 F~~!!~12E~~~J:~~l~!~~! •~_•! INSTRUMENT MUSIC IN T HE WORLD TENOR BANJO BANJO _ E. Z. Tenor-Banjo MethOd ....... .. $ .35 (C Not ation ) -F oden's Chords for T enor -Banjo . .50 _ Paramou nt Tenor-Banjo Method . .75 - Smith's Banjo Gems (Finge r ) ..... 1.00 __ 'fe n Originn l Tenor-Bnnjo Duets . .75 - Smi th's Songs for Banjo (Finger) ... 1.00 _ Favor ite Tenor- Banjo Selections . .76 _ Paramount Banjo Method (F inger) . .75 __ Plea.sing Tenor-Ba njo Duets . .76 - Bradbury's Banjo Method (Finger) 1.2 5 _ Moyer's Tenor-Banjo Met hod . .. • •.• 1.00 -13radbury 's Plectrum Method . 1.25 _ Smith's Songs for Teno r- Banjo . .... 1.00 _ Fodcn's Chords fo r Banjo ( Finger) . .50 - Smith's Tuneful Tenor-Banjo Solos . -
Mandolin Playing in Minneapolis and St. Paul Wooden Boxes
amy kreitzer Sweet Harmonies from Little Mandolin Playing in Minneapolis and St. Paul Wooden Boxes At the close of the nineteenth century, a new and distinctive sound caught the ears of Minnesotans rang - ing from poor Italian immigrants to affluent young men. The captivating sound came from a small, eight- stringed wooden instrument called the mandolin. While modern listeners associate it with bluegrass and folk music, a hundred years ago mandolins were welcomed in the realms of classi - cal and popular music. The Albert Bellson Mandolin Quartet, late 1930s: (clockwise from lower left) Bellson and Wallace Between 1890 and 1920 , the golden Ziebarth with mandolins, Clifton Peterson with age of the mandolin, traveling concert mandocello, and Vergel Vanzora with mandola 219 artists, vaudeville performers, and A round-back Italian mandolin, advertised for $25 in a local teachers inspired thousands of P. Benson Musical Merchandise catalog, 1912 amateur musicians around the country to take up the instrument. Forming mandolin clubs, the musicians made warm, mellow sounds together for appreciative and enthusiastic listeners. As the decades Unlike violins, however, mandolin passed, orchestral ensembles, including guitars and fingerboards have metal frets, other fretted instruments, entertained listeners at large and players activate strings concerts and on the radio. By the 1940 s, however, musi - with a pick or plectrum cal tastes had changed, and amateur music making had rather than a bow. Because taken a back seat to other, more passive entertainments. the resulting sound decays The era of the mandolin drew to a close. 1 rapidly, players sustain tones While mandolin clubs thrived for a time in Minne- by a rapid up-and-down plec - sota cities including Brainerd, Stillwater, Mankato, Elk trum motion, a technique River, Spring Valley, and St. -
Firebir Dd I
guitars types over others… With a little tweaking the MOFO sounds rock solid Baltic Birch makes a difference you can hear in great with every one of our guitars. an extremely roadworthy package. Zinky wasn’t exaggerating when he said that the MOFO Well, gang, what are you gonna do? Here’s another review of doesn’t produce any of the strange, dissonant artifacts that a delicious tool in a world where there is no shortage of some amplifiers reveal when pushed hard or driven with a supposedly delicious tools… too many, perhaps, and certainly pedal. If you’re uncertain what we mean, we’re referring to too many for you to experience them all. Is the MOFO poten- flatulent low end, nasally mids and grinding, saw-toothed, tially your amp of luv? Could be. We can assure you of this rizzy, zizzy treble. Examples? Many Fender silverface amps, – it is one of the most uniquely toneful and versatile ampli- and certain other modern Fender and Peavey models with fiers we have ever reviewed in these pages, new or old, and ‘boost’ switches, along with plenty of other mid-priced amps a definite contender in the ultimate Quest for truly signature with gain or boost circuits. tone. Head: $1499, 2x12 cab: $559.00 TQ What you http://suprousa.com, 928-522-0800 can expect with the MOFO Gibson Historic are glori- ously rich Firebird I overdriven Firebird I tones that can be Last year we were swapping managed e-mails with Dave Rogers. using the owner of Dave’s Guitar Gain and Volume controls much like the controls in an over- Shop in Lacrosse, Wisconsin, drive pedal.