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Berklee NL Fall 99
Newsletter Accent New Faculty Faces Angelemia Bacherman, Eguie Castrillio We are pleased to announce that the college has added two new, important faces to the Percussion Department faculty, Angelemia Bacherman and Eguie Castrillio. With the increase in enrollment that we experienced at the beginning of the Fall ‘99 semester, especially in the area of drumset principals, the college has added an exceptionally talented drumset artist to its ranks (Angelemia). Angelemia is cer- tainly no stranger to the Percussion Department, having substituted for other faculty in the past and has taught in the college’s 5-Week program for the past few years. With the departure from our faculty of Bobby Sanabria, the college has added one of the most respected Afro-Cuban hand percussionists around, Eguie Castrillio. Origionally from Puerto Rico, Eguie has already made a major impact on the many Afro-Cuban lab offerings in the department. Berklee Percussion Department Volume 8, Issue 2 Volume Fall ‘99 Clinics Two remaining visiting artist clinics will take place during the Fall‘ 99 semester. On November 18, vibist Bill Molenhoff returns from Europe leading his own band for a performance in the David Friend Recital Hall from 1-3pm. On November 29, MIDI percussion specialist, Hiroshi Chu Okubo (Yamaha), will present Yamaha’s new MIDI body percussion controller system in a clinic in Recital Hall 1A (1140) from 1-3pm. November 1999 November Berklee Percussion Department Volume 8, Issue 2 November 1999 New CD from Matthias Lupri Berklee College of Music alumnus Matthias Lupri '94, celebrated the release of his latest CD, “Shadow of the Vibe”(Chartmaker Jazz CMG5060) with his quintet on Tuesday, November 16, 1999, at the Regatta bar. -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
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. -
Glossary of Cuban Musical Terms
Glossary of Cuban Musical Terms Bongo: A small double drum which is held between the knees, resting on the claves of the seated musician. Clave: An off beat 3-2 or 2-3 rythmic pattern played over two measures. It is the basis for all Cuban music. Claves: Two strikers of resonant wood used to perform the clave pattern. Conga: A major instrument in the salsa rhythm section. There are three drums in the conga family- quinto (small) conga (mid-sized), and tumbadora (large). There are a great many sounds achievable which make the congas a very versitile instrument. Mambo: An Afro-Cuban form of music which has it’s roots in the Congolese religious cults. Arguments still exist over who exactly brought it to the dance halls but it was the big bands of the 1940s that which brought it’s contrasting brass and sax riffs to salsa popularity. Mambo Section: A section of contrasting riffs for salsa frontline instruments. Said to be derived from the guaracha it got it’s name when it became part of the Mambo. Montuno Section: A vehicle for improvisation in Cuban and salsa numbers. Usually a two or three chord pattern, it is ad- libbed under instrumental or vocal improvisations. It is very often where the piano player will play a repeated rhythmic pattern. Shekere: An African-derived rattle made from a gourd and covered with beads in a net-like pattern. Son-Montuno: A 2-3 clave form, usually mid-paced or slow with an intense, relentless quality highly suitable to the salsa format. -
Hand Percussion 1 Hand Percussion
Hand percussion 1 Hand percussion Hand percussion is a term used to indicate a percussion instrument of any type from any culture that is held in the hand. They can be made from wood, metal or plastic and are usually either shaken, scraped or tapped with fingers or a stick. It is a useful category in terms of a large percussion orchestra in that it identifies all instruments that are not drums or pitched percussion such as marimba and xylophone. Modern half moon tambourine Shakers A shaker (percussion) is any instrument that makes a noise when shaken. Historically they were naturally occurring items such as seed pods.A caxixi is a basketwork shaker with a gourd base. Gourds are used all over the world and covered with a net with shells or seeds to create an instrument such as the shekere. Modern shakers are often cylinders made from metal wood or plastic containing small hard items such as seeds, stones, or plastic - an example is the Egg Shaker.There is another category of shaken instrument using jingles, little discs of metal which tap together when shaken. Tambourines fall into this category. Caxixi from Africa Hand percussion 2 Gourd shekere from Africa with seeds in the net. Scrapers This can be a wood, metal or plastic instrument which has ridges on its body. Often known as Guiro, rhythms are created by running a thin stick up and down the ridges at different speeds. Gourds or bamboo have traditionally been used as they have a resonant hollow body and can easily be cut with ridges. -
UVI Percussionstore | Soundbank Manual
Soundbank Manual Software Version 1.0 EN 160407 End-User License Agreement (EULA) Do not use this product until the following license agreement is understood and accepted. By using this product, or allowing anyone else to do so, you are accepting this agreement. This End-User License Agreement (EULA) represents the contractual conditions C- Protection of Software between you, the Licensee, and UVI, located 159 rue Amelot, 75011 Paris - France You agree to take all reasonable steps to protect the Product and any accompanying for the use of software, documentation and other materials created by UVI. documentation from unauthorized copying or use. You agree not to modify the Product to circumvent any method or means adopted or implemented by UVI to You should not register, install or use UVI Products until the protect against or discourage the unlicensed use or copying of the Product. following license agreement is understood and accepted. By using UVI Products, or allowing anyone else to do D- Ownership so, you are accepting this agreement. Ownership of, and title to, the enclosed digitally recorded sounds (including any copies) are held by UVI. A- License Grant Copies are provided to you only to enable you to exercise your rights under the license. 1. UVI grants to you, subject to the following terms and conditions, the non-exclusive right to use each authorized copy of the Product. E- Term 2. UVI Product license are granted only to a single user. You This agreement is effective from the date you open this package, and will remain in may use this product on up to three separate computers or iLok full force until termination. -
PRICE LIST 2020 Valid from 01.04.2020
PRICE LIST 2020 valid from 01.04.2020 EINFACHER GEHT NICHT .......................... 3 MEINL PERCUSSION ................................ 42 LIEDERBÜCHER ................................................................ 3 PICKUP........................................................................... 42 CAJONS.......................................................................... 42 DJEMBES ........................................................................ 47 FLIGHT ..................................................... 3 CONGAS ........................................................................ 50 UKULELES ........................................................................ 3 BONGOS ........................................................................ 54 TIMBALES ...................................................................... 57 GREEN TONES .......................................... 5 COWBELLS ..................................................................... 58 MUSICAL TOYS ................................................................ 5 PANDEIROS .................................................................... 60 TAMBOURINES .............................................................. 61 SHAKERS ........................................................................ 65 HOHNER ACCORDIONS ............................ 7 SAMBA .......................................................................... 67 CHROMATIC..................................................................... 7 HAND PERCUSSION -
Classroom Instrument Glossary
Classroom Instrument Glossary Hand percussion should generally be held in the weaker hand with the beater held in the other. Untuned Percussion: Wooden Sounds Agogo block Tap or scrape to produce 2 different tones. Tap with the ball end of the beater or scrape with the thin end. Castanets Traditional type: loop elastic over middle finger and squeeze between fingers and palms. Handle castanets should be held vertically and shaken back and forth or horizontally and played like drum sticks on an imaginary drum. Wooden block Hold the block in the open palm of your hand and tap. Tulip block Hold and tap with the beater on the side of the tulip. Maracas Hold with thumbs resting on the back of the handle (thumbs up!) Shake back and forth, keeping your wrists straight and moving from the elbows. Movements should be small and controlled. Egg shakers Same basic technique as maracas. Hold between thumb and first and middle fingers ideally. Claves Tap together. For a resonant sound do not grip one clave, but rest it between your upturned curled fingers and heel of your (weaker) hand. Tap in the middle with the other clave. Two tone wood block Held like a lollipop and tapped on either side to produce 2 separate tones. Guiro Hold the tail and scrape away AND towards the player with a thin stick or the handle of a beater. Discourage pupils from putting their fingers into the tone holes. Rainstick Not a shaker – mainly for sound effects. Alternately raise each end SLOWLY and rotate to sustain sound. -
Latin Percussion
LATIN PERCUSSION Teacher: Pakito Baeza In this workshop where each session is different from the one before, listeners are invited to let their imagination fly by analysing tunes in a different way. Programme • Learning about the Conga and African-Cuban Tumbadora. Introduction: striking the Conga & hand position Technique: the basics, sounds and control Beats: Son cubano, Guaguancó, Mambo, Conga, Pilón, Mozambique, Plena, Bomba, Son Montuno, etc. • Bongo drum analysis Technique: striking and holding a bongo drum "Hammer" 4/4 time pattern Improvisation Rhythm: Salsa music pattern • Timpani analysis Technique: hand position and drumsticks Shells and combinations. Mental division, aka polyrhythm with cattle bells and bells. Beats: So, Cha Cha Cha, Mambo • Cajón box drum. Technique and sounds: deep and sharp tapping Peruvian rhythms (Huayno, Landó, etc.). Flamenco: Bulerias, alegrías, rumba, tangos Other styles: funky, jazz, fusion • Minor percussion instruments 4/4 key pattern Bongo player Son Bell Maraca: son, sounds and division Caxixi: technique Go-Go: technique and patterns Objectives The aim of this workshop is to introduce students to the world of Latin and African-Cuban percussion, so that they can further study Latin music after completing it. We will study rhythmic patterns that are typical of the instruments used in Latin percussion (namely conga, bongo drum, timpani, maraca, cajón box drum, and some others), and in African-Cuban percussive folklore (son, mambo, songo, guaguanco, plena, etc.). This workshop will provide students with the basic knowledge they need to undertake a more advanced course to start training as professional musicians/percussionists. 1 Addressed to Anybody (from the UA community or from outside it) who is interested in Latin percussion. -
The Essence of Afro-Cuban Percussion and Drum Set Download Free Book
THE ESSENCE OF AFRO-CUBAN PERCUSSION AND DRUM SET DOWNLOAD FREE BOOK Ed Uribe | 328 pages | 01 Jul 1997 | Warner Bros. Publications Inc.,U.S. | 9781576236192 | English | Miami, United States Afro-Cuban Rhythms for Drum Set – 7 Styles With Variations Clicking in Portland. The snare drum fills in between the tom parts while following rhythms common to the quinto part. This sounds really The Essence of Afro-Cuban Percussion and Drum Set, especially when you have a conga player laying down a tumbao. Fotos by Folletts. Planet Drum: A Celebration of Percussion and Rhythm Mickey Hart, Fredric Lieberman Description Mickey Hart's dazzling companion to his bestselling Drumming at the Edge of Magic is a captivating chronicle of our global fascination with drums and the primal rhythms and spells of percussion, dramatically illustrated with photographs and illustrations, in full color. An in-depth study pages of all the percussion instruments, rhythms and song styles of Afro-Cuban music, along with their applications to the drum set. Main menu Home. In conversations about this music, you notice a The Essence of Afro-Cuban Percussion and Drum Set of The Essence of Afro-Cuban Percussion and Drum Set about right and wrong; mysterious terms and concepts The Essence of Afro-Cuban Percussion and Drum Set are nevertheless enforced for correctness. The cha cha is short for cha cha cha. He played drum set and timbales in Los Van Van, the band credited with the development of the songo. These cookies will be stored in your browser only with your consent. These ensembles often feature bongo, congas, timbales, and small hand percussion like maracas and guiro. -
Drumset Methods & Collections Snare Drum Keyboard Percussion Percussion Ensembles Timpani World Percussion 2016-2017
2016-2017 DRUMS & PERCUSSION Drumset Methods & Collections Snare Drum Keyboard Percussion Percussion Ensembles Timpani World Percussion alfredmusic.de | 1 FIND YOUR GROOVE DEUTSCHSPRACHIGE AUSGABEN Drumset Books Schlagzeug / Percussion Jost Nickel ......................................................................... 3 Für Kinder ........................................................................... 6 Claus Hessler ..................................................................... 4 Schlagzeug Lernen ........................................................... 9 Drums Besenspiel Percussion ....................................................................... 12 Florian Alexandru-Zorn .................................................... 5 ENGLISCHSPRACHIGE AUSGABEN DRUMS PERCUSSION Drumset Methods Keyboard Percussion Beginning ......................................................................... 13 Methods, Supplemental, & Technique ........................ 42 Supplemental ................................................................... 15 Collections........................................................................ 43 Drumset Methods by Style Solos.................................................................................. 44 Rock, Pop, Country, & Blues ......................................... 21 Duets & Trios ................................................................... 45 Jazz.................................................................................... 23 Percussion Ensembles Funk .................................................................................. -
2002-Pearl-Percussion.Pdf
2002 PERCUSSION Bela Fleck Marc anthony PERCUSSION An artist puts his heart, mind and soul into every beat of Robert every song he plays. His sound is complicated. Part Future Man Vilera instrument, part player, and part emotion. We make the drums that return all the emotions you give. The drums that help you create a sound as individual as you are. At Pearl, we’ve been producing the world’s finest drums since the 1940’s. You’ve seen them on stages all across the world, played by the true stars of every type of music imaginable. We listen to players. Both to what they say, and to the voice that speaks when they play. The instruments on the following pages represent our commitment to the percussionists of the world. They are in fact their drums. They offer a sound and character that can set your emotions free, and a quality of instrument that only the largest manufacturer of percussion equipment in the world can deliver. Whether you are a beginner, or a seasoned pro, a quality instrument will change the way you play forever. If you have the heart, mind and soul of a player, then you have Archie what it takes to play Pearl. Pena Miami Studio Great Horacio Hernandez Renowned Latin Jazz Artist Niles Eddie Russell Bill Fisher Conard Hartenberger Cahn Gloria Estefan Nashville Studio Glen Olbin 2 Caruba Burgos Lalo Davila Static X Percussion Educator Independant and Clinician Lion King (Broadway) Rolando Mat Ken Morales-Matos Britain Jay SR71 Independant The Tonight The Show Tonight Johnny Dan Marvin “Smitty” Conga Garvin Smith P.O.D.