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Logging Songs of the Pacific Northwest: a Study of Three Contemporary Artists Leslie A
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Logging Songs of the Pacific Northwest: A Study of Three Contemporary Artists Leslie A. Johnson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LOGGING SONGS OF THE PACIFIC NORTHWEST: A STUDY OF THREE CONTEMPORARY ARTISTS By LESLIE A. JOHNSON A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2007 The members of the Committee approve the Thesis of Leslie A. Johnson defended on March 28, 2007. _____________________________ Charles E. Brewer Professor Directing Thesis _____________________________ Denise Von Glahn Committee Member ` _____________________________ Karyl Louwenaar-Lueck Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank those who have helped me with this manuscript and my academic career: my parents, grandparents, other family members and friends for their support; a handful of really good teachers from every educational and professional venture thus far, including my committee members at The Florida State University; a variety of resources for the project, including Dr. Jens Lund from Olympia, Washington; and the subjects themselves and their associates. iii TABLE OF CONTENTS ABSTRACT ................................................................................................................. -
Orpe=Civ= V=Kfdeq Italic Flybynightitalic.Ttf
Examples Rush Font Name Rush File Name Album Element Notes Working Man WorkingMan.ttf Rush Logo, Album/Song RUSH Working Man Titles Fly By Night, regular and FlyByNightregular.ttf. orpe=civ=_v=kfdeq italic FlyByNightitalic.ttf Caress Of Steel CaressOfSteel.ttf Rush Logo, Album Title Need to Photoshop to get the correct style RUSH CARESS OF STEEL Syrinx Syrinx.ttf Rush Logo, Album/Song RUSH 2112 Titles ALL THE WORLD'S A STAGE (core font: Arial/Helvetica) Cover text Arial or Helvetica are core fonts for both Windows and Mac Farewell To Kings FarewellToKings.ttf Rush Logo, Album/Song Rush A Farewell To Kings Titles Strangiato Strangiato.ttf Rush Logo Similar to illustrated "Rush" Rush Hemispheres Hemispheres.ttf Album Title Custom font by Dave Ward. Includes special character for "Rush". Hemispheres | RUSH THROUGH TIME RushThroughTime RushThroughTime.ttf Album Title RUSH Jacob's Ladder JacobsLadder.ttf Rush Logo Hybrid font PermanentWaves PermanentWaves.ttf Album Title permanent waves Moving Pictures MovingPictures.ttf Rush Logo, Album Title Same font used for Archives, Permanent Waves general text, RUSH MOVING PICTURES Moving Pictures and Different Stages Exit...Stage Left Bold ExitStageLeftBold.ttf Rush Logo RUSH Exit...Stage Left ExitStageLeft.ttf Album Title Exit...Stage Left SIGNALS (core font: Garamond) Album Title Garamond, a core font in Windows and Mac Grace Under Pressure GraceUnderPressure.ttf Rush Logo, Album Title, Upper Case character set only RUSH GRACE UNDER PRESSURE Song Titles RUSH Grand Designs GrandDesigns.ttf Rush Logo RUSH Grand Designs Lined GrandDesignsLined.ttf Alternate version Best used at 24pt or larger Power Windows PowerWindows.ttf Album Title, Song Titles POWER WINDOWS Hold Your Fire Black HoldYourFireBlack.ttf Rush Logo Need to Photoshop to get the correct style RUSH Hold Your Fire HoldYourFire.ttf Album Title, Song Titles HOLD YOUR FIRE A Show Of Hands AShowofHands.ttf Song Titles Same font as Power Windows. -
Download Donna
Donna Herula Bio Short Bio Donna Herula is a Chicago-born singer and acoustic blues slide guitarist that has a passion for playing traditional blues, roots and original songs. In 2016, she was inducted into the Chicago Blues Hall of Fame and Acoustic Guitar Magazine also featured her in an article about 10 new generation resonator guitar players. Donna has been a regular performer at Buddy Guy’s Legends in Chicago for the past 10 years and has opened for Buddy Guy multiple times. She has performed at the Chicago Blues Festival, King Biscuit Blues Fest in Helena, Arkansas, the Juke Joint Fest in Clarksdale, Mississippi, numerous folk music festivals and was also the headliner at the Durban International Blues Festival in South Africa. Donna is a guitar teacher at the Old Town School of Folk Music in Chicago where she teaches group and individual guitar and slide guitar lessons. She has taught guitar and slide at blues and folk clubs and guitar camps. Her third and most recent CD, Bang at the Door, was released in May 2021 and includes original blues, jazz, folk and Americana songs. For more information, visit: donnaherula.com. Long Bio Donna Herula is a Chicago-born singer and acoustic blues slide guitarist that has a passion for playing traditional Delta and Country Blues, early Chicago Blues, folk, roots and Americana in addition to original songs. Using acoustic and electrified resonator guitars, her sound combines her love for music of the Deep South and Chicago with her love of blues guitar improvisation. Her songwriting tips the hat to the tradition while creating a fresh, contemporary perspectives on blues and roots music. -
Strategies for Managing Timbre and Interaction in Automatic
Strategies for Managing Timbre and Interaction in Automatic Improvisation Systems a b s t r a c t Earlier interactive improvisa- tion systems have mostly worked with note-level musical William Hsu events such as pitch, loudness and duration. Timbre is an integral component of the musi- cal language of many improvis- ers; some recent systems use timbral information in a variety of ways to enhance interactiv- ity. This article describes the imbre is an important structural element in tried to identify simple behavioral timbre-aware ARHS improvi- T mechanics that one might con- sation system, designed in free improvisation. When working with a saxophonist or other instrumentalist whose practice incorporates extended tech- sider desirable in a human im- collaboration with saxophonist John Butcher, in the context of niques and timbre variations, it is important to go beyond proviser and emulate them with recent improvisation systems note-level MIDI-like events when constructing useful descrip- some straightforward strategies. that incorporate timbral informa- tions of a performance. For example, a long tone may be held One novel aspect of my work is tion. Common practices in audio on a saxophone, with fairly stable pitch and loudness, but the the integral and dynamic part that feature extraction, performance state characterization and intensity of multiphonics is increased through embouchure timbre plays in sensing, analysis, management, response synthe- control. An experienced human improviser would perceive material generation and interaction sis and control of improvising and respond to this variation. decision-making. agents are summarized and In this paper, I will focus on systems designed to improvise Collins [9] observed that a ma- compared. -
Rush's Lyrical Rhetoric of Oppression and Liberation
Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation Rush’s Lyrical Rhetoric of Oppression and Liberation: Extending “Freedom Songs” into the Progressive Rock Genre Brett A. Barnett Associate Professor of Communication Slippery Rock University of Pennsylvania [email protected] Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation 2 On April 18, 2013, members of the Canadian power trio Rush were among the artists inducted into the Rock and Roll Hall of Fame, a well-deserved honor that was long overdue. Formed in August 1968, Rush would join artists like Pink Floyd and Yes in shaping the music movement that would come to be categorized as “progressive” rock, or “prog rock,” a rock music sub-genre that Rush. Photo credit: By Enrico Frangi (Uploaded by User:Jonasz) [Public domain], via Wikimedia Commons also developed in the late 1960s.1 As reflected in the music of Rush, progressive rock involves more advanced musical forms, including an expanded instrumental palette and increased com- plexity in terms of instrumentation, as well as more sophisticated lyrical themes ranging from unconventional subject matter to increased social commentary. After years playing on the Toronto music scene, Rush formed their own label, Moon Records, and shortly thereafter released their first album, Rush, in 1974.2 Rush’s self-titled debut album did not garner much attention until Cleveland’s WMMS (100.7 FM), widely regarded as one of the most influential rock radio stations in North America, -
2 CHOP SHOP for Guitar About the Author
About the Author .......................................................................................................................... 4 Introduction ....................................................................................................................................... 5 Chapter 1—Theory Made Easy ................................................................................................ 6 How Music Works ....................................................................................................................... 7 The Major Scale ............................................................................................................................. 7 Major Scales and Keys .................................................................................................................. 8 Key Signatures ..............................................................................................................................10 Natural Minor Scales ...................................................................................................................11 Intervals ..........................................................................................................................................12 The Number System ...................................................................................................................12 Interval Inversion ..........................................................................................................................13 Chords -
MB1 Easy Touch-Style Bassics 20070929
Easy Touch-Style Bassics The Rapid Route to ‘Rhythm Bass’ and more ASDFASDF FDSAFDSA An original method for rapid learning of two-handed tapping on electric bass guitar*1 and megatar*2-type instruments by Henri DuPont and Traktor Topaz _____________________________________________________________ MOBIUS MEGATAR, LTD. *1 electric bass guitar must have six to eight strings to effectively utilize the method of play presented in this instructional book. *2 megatar, noun An instrument designed for two-handed touch-style play with one group of strings for bass and another group of strings for melody. page 2 Easy Touch-Style Bassics Mobius Megatar, Ltd. USA Contact: Mobius Megatar USA Post Office Box 989 Mount Shasta, CA 96067 (530) 926-1961 www.megatar.com ______________________________________ First Published in USA by Mobius Megatar USA 1999 Copyright 1999 by Action Marketing, Carson City Nevada, on behalf of Mobius Megatar, Ltd. All rights reserved. PUBLISHER’S NOTE: This publication is designed to provide an easy and accessible method for playing the ‘touch-style’ or ‘two-handed tapping’ method on amplified electric fretted instruments such as guitar or bass or the ‘megatar’ type instruments which have two groups of strings on one fretboard. This method is designed specifically for instruments which have eight or more strings, and can only be adapted to instruments with lesser numbers of strings by means of diligent effort on the part of the student. This method is provided ‘as-is’ and is believed to be a reliable method providing musical results in typical musicians, and providing compara- tively rapid advancement in mastering useful and musical technique. -
A Tribute to Rush's Incomparable Drum Icon
A TRIBUTE TO RUSH’S INCOMPARABLE DRUM ICON THE WORLD’S #1 DRUM RESOURCE MAY 2020 ©2020 Drum Workshop, Inc. All Rights Reserved. From each and every one of us at DW, we’d simply like to say thank you. Thank you for the artistry. Thank you for the boundless inspiration. And most of all, thank you for the friendship. You will forever be in our hearts. Volume 44 • Number 5 CONTENTS Cover photo by Sayre Berman ON THE COVER 34 NEIL PEART MD pays tribute to the man who gave us inspiration, joy, pride, direction, and so very much more. 36 NEIL ON RECORD 70 STYLE AND ANALYSIS: 44 THE EVOLUTION OF A LIVE RIG THE DEEP CUTS 48 NEIL PEART, WRITER 74 FIRST PERSON: 52 REMEMBERING NEIL NEIL ON “MALIGNANT NARCISSISM” 26 UP AND COMING: JOSHUA HUMLIE OF WE THREE 28 WHAT DO YOU KNOW ABOUT…CERRONE? The drummer’s musical skills are outweighed only by his ambitions, Since the 1970s he’s sold more than 30 million records, and his playing which include exploring a real-time multi-instrumental approach. and recording techniques infl uenced numerous dance and electronic by Mike Haid music artists. by Martin Patmos LESSONS DEPARTMENTS 76 BASICS 4 AN EDITOR’S OVERVIEW “Rhythm Basics” Expanded, Part 3 by Andy Shoniker In His Image by Adam Budofsky 78 ROCK ’N’ JAZZ CLINIC 6 READERS’ PLATFORM Percussion Playing for Drummers, Part 2 by Damon Grant and Marcos Torres A Life Changed Forever 8 OUT NOW EQUIPMENT Patrick Hallahan on Vanessa Carlton’s Love Is an Art 12 PRODUCT CLOSE-UP 10 ON TOUR WFLIII Three-Piece Drumset and 20 IN THE STUDIO Peter Anderson with the Ocean Blue Matching Snare Drummer/Producer Elton Charles Doc Sweeney Classic Collection 84 CRITIQUE Snares 80 NEW AND NOTABLE Sabian AAX Brilliant Thin Crashes 88 BACK THROUGH THE STACK and Ride and 14" Medium Hi-Hats Billy Cobham, August–September 1979 Gibraltar GSSVR Stealth Side V Rack AN EDITOR’S OVERVIEW In His Image Founder Ronald Spagnardi 1943–2003 ole models are a tricky thing. -
Bass Talk Multi String Bass Master GARRY GOODMAN
Bass Talk 9 Jan, 06 > 15 Jan, 06 2 Jan, 06 > 8 Jan, 06 03/01/2006 Entries by Topic All topics « Multi String Bass Master GARRY GOODMAN Control Panel I remember when I saw my first multi string bass. It was back in 1984 at a Edit your Blog Guitar Center here in Chicago. It was a Alembic 6 string. I remember taking it Build a Blog off the wall, sitting with it thinking “how in the hell do you play this thing. 14 View other Blogs years later I find myself sitting in my living room with a 6 string Ibanez saying View Profile the same thing. After climbing that mountain I decide to go back to the 4 string. I guess that’s were my heart is. Bass Links Kenn Smith Website But there are others who have DR Strings taking the multi string bass to ActiveBass.com great heights. Great players National Guitar such as Anthony Jackson, Bill Workshop Dickens and this months interviewee, Garry Goodman. Check it out! Alphonso Johnson Garry began playing bass in Carl Carter 1964 at the age of nine. He Conklin Guitar and became a full-time Basses professional bassist in the Victor Wooton 1970's. His venture in to multi Marcus Miller string instruments started in 1975 with the Chapman Stick You are not logged in. and later in 1978 he which to Log in a 7-string bass. Currently Garry plays a Tobias 7-string, Warrior 9- string and Adler 11-string bass and has developed a unique playing technique called “Percussive Harmonics”, expanding the tonal possibilities of modern electric bass. -
1. Rush - Tom Sawyer 2
1. Rush - Tom Sawyer 2. Black Sabbath - Iron Man 3. Def Leppard - Photograph 4. Guns N Roses - November Rain 5. Led Zeppelin - Stairway to Heaven 6. AC/DC - Highway To Hell 7. Aerosmith - Sweet Emotion 8. Metallica - Enter Sandman 9. Nirvana - All Apologies 10. Black Sabbath - War Pigs 11. Guns N Roses - Paradise City 12. Tom Petty - Refugee 13. Journey - Wheel In The Sky 14. Led Zeppelin - Kashmir 15. Jimi Hendrix - All Along The Watchtower 16. ZZ Top - La Grange 17. Pink Floyd - Another Brick In The Wall 18. Black Sabbath - Paranoid 19. Soundgarden - Black Hole Sun 20. Motley Crue - Home Sweet Home 21. Derek & The Dominoes - Layla 22. Rush - The Spirit Of Radio 23. Led Zeppelin - Rock And Roll 24. The Who - Baba O Riley 25. Foreigner - Hot Blooded 26. Lynyrd Skynyrd - Freebird 27. ZZ Top - Cheap Sunglasses 28. Pearl Jam - Alive 29. Dio - Rainbow In The Dark 30. Deep Purple - Smoke On The Water 31. Nirvana - In Bloom 32. Jimi Hendrix - Voodoo Child (Slight Return) 33. Billy Squier - In The Dark 34. Pink Floyd - Wish You Were Here 35. Rush - Working Man 36. Led Zeppelin - Whole Lotta Love 37. Black Sabbath - NIB 38. Foghat - Slow Ride 39. Def Leppard - Armageddon It 40. Boston - More Than A Feeling 41. AC/DC - Dirty Deeds Done Dirt Cheap 42. Ozzy Osbourne - Crazy Train 43. Aerosmith - Walk This Way 44. Led Zeppelin - Dazed & Confused 45. Def Leppard - Rock Of Ages 46. Ozzy Osbourne - No More Tears 47. Eric Clapton - Cocaine 48. Ted Nugent - Stranglehold 49. Aerosmith - Dream On 50. Van Halen - Eruption / You Really Got Me 51. -
1999 Us Fall Tour with Paul Simon
1999 US FALL TOUR WITH PAUL SIMON SEPTEMBER 2 West Palm Beach, Florida Coral Sky Amphitheatre 4 Atlanta, Georgia Troy G. Chastain Memorial Park Amphitheatre 5 Charlotte, North Carolina Blockbuster Pavilion 8 Antioch, Tennessee First American Music Center 9 Noblesville, Indiana Deer Creek Music Center 11 Memphis, Tennessee The Pyramid 12 Lafayette, Louisiana The Cajundome, University Of Southwestern Louisiana 15 Austin, Texas The Frank Erwin Center 17 Houston, Texas The Cynthia Woods Mitchell Pavilion, The Woodlands 18 Dallas, Texas Starplex Amphitheatre Bob Dylan: Still On The Road – The 1999 US Fall Tour with Paul Simon 21010 Coral Sky Amphitheatre West Palm Beach, Florida 2 September 1999 1. Somebody Touched Me (trad.) 2. My Back Pages 3. Masters Of War 4. Love Minus Zero/No Limit 5. Tangled Up In Blue 6. All Along The Watchtower 7. Just Like A Woman 8. Silvio (Bob Dylan & Robert Hunter) 9. The Heart That You Own (Dwight Yoakam) 10. Highway 61 Revisited — 11. Like A Rolling Stone 12. It Ain't Me, Babe 13. The Boxer (Paul Simon) 14. That'll Be The Day (Jerry Allison, Buddy Holly & Norman Petty) / The Wanderer (E. Maresca) 15. Knockin' On Heaven's Door Concert # 1134 of The Never-Ending Tour. First concert of the 1999 US Fall Tour with Paul Simon. 1999 concert # 88. Concert # 39 with the 12th Never-Ending Tour Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion). 1–5, 12-15 acoustic with the band. 1, 8, 15 Larry Campbell & Charlie Sexton (backup vocals). -
“Statesboro Blues”—Blind Willie Mctell (1928) Added to the National Registry: 2015 Essay by Brian Bader
“Statesboro Blues”—Blind Willie McTell (1928) Added to the National Registry: 2015 Essay by Brian Bader Blind Willie McTell Blind Willie McTell was born May 5, 1901 in Thomson, Georgia. Though there is some uncertainty about his birth year, his comparatively long life (he died on Aug. 19, 1959, in Milledgeville, Georgia), his prolific recording career, the memories of numerous acquaintances, and McTell’s own recorded reminiscences, allow for a full picture of his life. His skillful fingerpicking guitar style ranks high with the playing of other acoustic blues artists, both blind (Blind Boy Fuller, Blind Blake, Reverend Gary Davis) and sighted (Josh White, Brownie McGhee). Hard to categorize, McTell embodied Piedmont blues, as well as ragtime, and gospel/spiritual/religious music, and may best be described as a mid-twentieth century American songster. One of his tunes--“covered,” or more accurately freely adapted, in a powerful electric blues rendition by the Allman Brothers Band-- is his legacy. This number most familiar to modern blues and rock fans: “Statesboro Blues.” Recorded by McTell and self-accompanied on twelve- string guitar in 1928 for Victor records, it showcases his distinctive voice and his talented guitar playing. The Allman Brothers later credited their cover of the song to “Will McTell” on their live two-record album “At Filmore East” released in 1971 on Capricorn Records. Guitarists Duane Allman (using a slide) and Dickey Betts cut loose with their trademark twin lead guitar line up in a memorable reading as a jumping blues shuffle. In an analysis of the history of “Statesboro Blues,” however, it is important to note that between the McTell recording and the Allman Brothers, there is a version from 1968 by Taj Mahal on his debut album.