DOCSLIB.ORG

ITEM DESCRIPTION MSRP Bid % Discountunit Bid $ AB-5400-16- Acousti-Blox, 5.5" X 4", Island Cover 24.20 45% 13.31 AD-00

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ITEM DESCRIPTION MSRP Bid % Discountunit Bid $ AB-5400-16- Acousti-Blox, 5.5 Music and Arts Educational Services Commission of NJ Musical Instruments Bid #17/18-52 NJ State Approved Co-op #65MCESCCPS Bid Term: 6/5/18 -6/4/20 ITEM DESCRIPTION MSRP Bid % DiscountUnit Bid $ AB-5400-16- Acousti-Blox, 5.5" x 4", Island Cover 24.20 45% 13.31 AD-0010-00- Ad10 Adapter - Assembly 12.40 45% 6.82 AG-2056-71- Agogo, Pre-Tuned, Black Matte 64.00 45% 35.20 AK-0012-AH- **Special Order**, Ashiko Drum, Key-Tuned, 12" Diameter, 25" Height, A.Hull 535.20 45% 294.36 AK-4014-AH- Standing Ngoma, Key-Tuned, 14" Diameter, 40" Height, Fabric Kintekloth 839.10 45% 461.51 AX-0106-00- Batter, AMBASSADOR® X, Coated, 6" Diameter 26.40 45% 14.52 AX-0108-00- Batter, AMBASSADOR® X, Coated, 8" Diameter 27.20 45% 14.96 AX-0110-00- Batter, AMBASSADOR® X, Coated, 10" Diameter 28.80 45% 15.84 AX-0111-00- Batter, AMBASSADOR® X, Coated, 11" Diameter 29.10 45% 16.01 AX-0112-00- Batter, AMBASSADOR® X, Coated, 12" Diameter 30.70 45% 16.89 AX-0113-00- Batter, AMBASSADOR® X, Coated, 13" Diameter 31.40 45% 17.27 AX-0113-14- Batter, AMBASSADOR® X14, Coated, 13" Diameter 31.40 45% 17.27 AX-0114-00- Batter, AMBASSADOR® X, Coated, 14'' Diameter 34.40 45% 18.92 AX-0114-14- Batter, AMBASSADOR® X14, Coated, 14" Diameter 34.40 45% 18.92 AX-0115-00- Batter, AMBASSADOR® X, Coated, 15'' Diameter 36.00 45% 19.80 AX-0116-00- Batter, AMBASSADOR® X, Coated, 16'' Diameter 37.90 45% 20.85 AX-0118-00- Batter, AMBASSADOR® X, Coated, 18'' Diameter 47.50 45% 26.13 AX-1118-00- Bass, AMBASSADOR® X, Coated, 18'' Diameter 78.20 45% 43.01 AX-1120-00- Bass, AMBASSADOR® X, Coated, 20'' Diameter 81.50 45% 44.83 AX-1122-00- Bass, AMBASSADOR® X, Coated, 22'' Diameter 86.10 45% 47.36 AX-1124-00- Bass, AMBASSADOR® X, Coated, 24'' Diameter 92.10 45% 50.66 BA-0106-00- Batter, AMBASSADOR®, Coated, 6" Diameter 26.40 45% 14.52 BA-0106-JP- Batter, AMBASSADOR®, Coated, SMOOTH WHITE™, 6" Diameter 26.40 45% 14.52 BA-0108-00- Batter, AMBASSADOR®, Coated, 8" Diameter 27.20 45% 14.96 BA-0108-JP- Batter, AMBASSADOR®, Coated, SMOOTH WHITE™, 8" Diameter 27.20 45% 14.96 BA-0109-00- Batter, AMBASSADOR®, Coated, 9" Diameter 32.70 45% 17.99 BA-0110-00- Batter, AMBASSADOR®, Coated, 10" Diameter 28.80 45% 15.84 BA-0110-00-10P Batter, AMBASSADOR®, Coated, 10" Diameter, 10-Pack 288.00 45% 158.40 BA-0110-CU- Batter, AMBASSADOR®, Hazy, 10" Diameter, For Cuica 28.80 45% 15.84 BA-0110-JP- Batter, AMBASSADOR®, Coated, SMOOTH WHITE™, 10" Diameter 28.80 45% 15.84 BA-0110-PR- Batter, AMBASSADOR®, Coated, 9-5/8" Diameter 31.40 45% 17.27 BA-0111-00- Batter, AMBASSADOR®, Coated, 11" Diameter 29.70 45% 16.34 BA-0112-00- Batter, AMBASSADOR®, Coated, 12" Diameter 30.70 45% 16.89 BA-0112-00-10P Batter, AMBASSADOR®, Coated, 12" Diameter, 10-Pack 307.00 45% 168.85 BA-0112-JP- Batter, AMBASSADOR®, Coated, SMOOTH WHITE™, 12" Diameter 30.70 45% 16.89 BA-0112-PR- Batter, AMBASSADOR®, Coated, 11-7/8" Diameter 33.50 45% 18.43 BA-0113-00- Batter, AMBASSADOR®, Coated, 13" Diameter 31.40 45% 17.27 BA-0113-00-10P Batter, AMBASSADOR®, Coated, 13" Diameter, 10-Pack 314.00 45% 172.70 BA-0113-JP- Batter, AMBASSADOR®, Coated, SMOOTH WHITE™, 13" Diameter 31.40 45% 17.27 BA-0114-00- Batter, AMBASSADOR®, Coated, 14'' Diameter 34.40 45% 18.92 BA-0114-00-10P Batter, AMBASSADOR®, Coated, 14" Diameter, 10-Pack 344.00 45% 189.20 BA-0114-JP- Batter, AMBASSADOR®, Coated, SMOOTH WHITE™, 14" Diameter 34.40 45% 18.92 BA-0114-TD- Batter, AMBASSADOR®, Coated, 14'' Diameter, No Collar 34.40 45% 18.92 BA-0115-00- Batter, AMBASSADOR®, Coated, 15'' Diameter 36.00 45% 19.80 BA-0115-00-10P Batter, AMBASSADOR®, Coated, 15" Diameter, 10-Pack 360.00 45% 198.00 BA-0115-JP- Batter, AMBASSADOR®, Coated, SMOOTH WHITE™, 15" Diameter 36.00 45% 19.80 BA-0116-00- Batter, AMBASSADOR®, Coated, 16'' Diameter 37.90 45% 20.85 BA-0116-00-10P Batter, AMBASSADOR®, Coated, 16" Diameter, 10-Pack 379.00 45% 208.45 BA-0116-JP- Batter, AMBASSADOR®, Coated, SMOOTH WHITE™, 16" Diameter 37.90 45% 20.85 BA-0116-PR- Batter, AMBASSADOR®, Coated, 16-5/16" Diameter 43.60 45% 23.98 BA-0117-00- Batter, AMBASSADOR®, Coated, 17'' Diameter 50.10 45% 27.56 BA-0118-00- Batter, AMBASSADOR®, Coated, 18'' Diameter 47.50 45% 26.13 BA-0118-JP- Batter, AMBASSADOR®, Coated, SMOOTH WHITE™, 18" Diameter 47.50 45% 26.13 BA-0120-00- Batter, AMBASSADOR®, Coated, 20" Diameter 52.30 45% 28.77 BA-0120-JP- Batter, AMBASSADOR®, Coated, SMOOTH WHITE™, 20" Diameter 52.30 45% 28.77 BA-0206-00- Batter, AMBASSADOR®, SMOOTH WHITE™, 6" Diameter 26.40 45% 14.52 BA-0206-TM- Batter, AMBASSADOR®, SMOOTH WHITE™, 6" Diameter, No Collar, For Tamborim 26.40 45% 14.52 BA-0208-00- Batter, AMBASSADOR®, SMOOTH WHITE™, 8" Diameter 27.20 45% 14.96 BA-0209-00- Batter, AMBASSADOR®, SMOOTH WHITE™, 9" Diameter 32.70 45% 17.99 BA-0210-00- Batter, AMBASSADOR®, SMOOTH WHITE™, 10" Diameter 28.80 45% 15.84 BA-0210-PR- Batter, AMBASSADOR®, SMOOTH WHITE™, 9-5/8" Diameter 31.40 45% 17.27 BA-0211-00- Batter, AMBASSADOR®, SMOOTH WHITE™, 11" Diameter 29.70 45% 16.34 BA-0212-00- Batter, AMBASSADOR®, SMOOTH WHITE™, 12" Diameter 30.70 45% 16.89 BA-0212-PR- Batter, AMBASSADOR®, SMOOTH WHITE™, 11-7/8" Diameter 33.50 45% 18.43 BA-0213-00- Batter, AMBASSADOR®, SMOOTH WHITE™, 13" Diameter 31.40 45% 17.27 BA-0214-00- Batter, AMBASSADOR®, SMOOTH WHITE™, 14" Diameter 34.40 45% 18.92 BA-0214-TD- Batter, AMBASSADOR®, SMOOTH WHITE™, 14" Diameter, No Collar 34.40 45% 18.92 Prices and specifications subject to change without notice. All prices F.O.B. Valencia, CA REMO®, Inc. Page 1 of 68 Music and Arts Educational Services Commission of NJ Musical Instruments Bid #17/18-52 NJ State Approved Co-op #65MCESCCPS Bid Term: 6/5/18 -6/4/20 ITEM DESCRIPTION MSRP Bid % DiscountUnit Bid $ BA-0215-00- Batter, AMBASSADOR®, SMOOTH WHITE™, 15" Diameter 36.00 45% 19.80 BA-0216-00- Batter, AMBASSADOR®, SMOOTH WHITE™, 16" Diameter 37.90 45% 20.85 BA-0216-PR- Batter, AMBASSADOR®, SMOOTH WHITE™, 16-5/16" Diameter 43.60 45% 23.98 BA-0217-00- Batter, AMBASSADOR®, SMOOTH WHITE™, 17" Diameter 50.10 45% 27.56 BA-0218-00- Batter, AMBASSADOR®, SMOOTH WHITE™, 18" Diameter 47.50 45% 26.13 BA-0220-00- Batter, AMBASSADOR®, SMOOTH WHITE™, 20" Diameter 52.30 45% 28.77 BA-0306-00- Batter, AMBASSADOR®, Clear, 6" Diameter 26.40 45% 14.52 BA-0306-TM- Batter, AMBASSADOR®, Clear, 6" Diameter, No Collar, For Tamborim 26.40 45% 14.52 BA-0308-00- Batter, AMBASSADOR®, Clear, 8" Diameter 27.20 45% 14.96 BA-0309-00- Batter, AMBASSADOR®, Clear, 9" Diameter 32.70 45% 17.99 BA-0310-00- Batter, AMBASSADOR®, Clear, 10" Diameter 28.80 45% 15.84 BA-0310-00-10P Batter, AMBASSADOR®, Clear, 10" Diameter, 10-Pack 288.00 45% 158.40 BA-0310-CU- Batter, AMBASSADOR®, Clear, 10" Diameter, For Cuica 26.70 45% 14.69 BA-0310-PR- Batter, AMBASSADOR®, Clear, 9-5/8" Diameter 31.40 45% 17.27 BA-0311-00- Batter, AMBASSADOR®, Clear, 11" Diameter 29.70 45% 16.34 BA-0312-00- Batter, AMBASSADOR®, Clear, 12" Diameter 30.70 45% 16.89 BA-0312-00-10P Batter, AMBASSADOR®, Clear, 12" Diameter, 10-Pack 307.00 45% 168.85 BA-0312-PR- Batter, AMBASSADOR®, Clear, 11-7/8" Diameter 33.50 45% 18.43 BA-0313-00- Batter, AMBASSADOR®, Clear, 13" Diameter 31.40 45% 17.27 BA-0313-00-10P Batter, AMBASSADOR®, Clear, 13" Diameter, 10-Pack 314.00 45% 172.70 BA-0314-00- Batter, AMBASSADOR®, Clear, 14" Diameter 34.40 45% 18.92 BA-0314-00-10P Batter, AMBASSADOR®, Clear, 14" Diameter, 10-Pack 344.00 45% 189.20 BA-0315-00- Batter, AMBASSADOR®, Clear, 15" Diameter 36.00 45% 19.80 BA-0315-00-10P Batter, AMBASSADOR®, Clear, 15" Diameter, 10-Pack 360.00 45% 198.00 BA-0316-00- Batter, AMBASSADOR®, Clear, 16" Diameter 37.90 45% 20.85 BA-0316-00-10P Batter, AMBASSADOR®, Clear, 16" Diameter, 10-Pack 379.00 45% 208.45 BA-0316-PR- Batter, AMBASSADOR®, Clear, 16-5/16" Diameter 43.60 45% 23.98 BA-0317-00- Batter, AMBASSADOR®, Clear, 17" Diameter 50.10 45% 27.56 BA-0318-00- Batter, AMBASSADOR®, Clear, 18" Diameter 47.50 45% 26.13 BA-0320-00- Batter, AMBASSADOR®, Clear, 20" Diameter 52.30 45% 28.77 BA-0410-CU- Batter, AMBASSADOR®, Radiant, 10" Diameter, For Cuica 29.40 45% 16.17 BA-0806-00- Batter, AMBASSADOR®, SUEDE®, 6" Diameter 26.40 45% 14.52 BA-0806-ES- Batter, AMBASSADOR®, BLACK SUEDE™, 6" Diameter 29.40 45% 16.17 BA-0806-TD- Batter, AMBASSADOR®, SUEDE®, 6" Diameter, For Talking Drum 29.40 45% 16.17 BA-0806-WS- Batter, AMBASSADOR®, WHITE SUEDE™, 6" Diameter 26.40 45% 14.52 BA-0808-00- Batter, AMBASSADOR®, SUEDE®, 8" Diameter 27.20 45% 14.96 BA-0808-ES- Batter, AMBASSADOR®, BLACK SUEDE™, 8" Diameter 32.70 45% 17.99 BA-0808-TD- Batter, AMBASSADOR®, SUEDE®, 8" Diameter, For Talking Drum 32.70 45% 17.99 BA-0808-WS- Batter, AMBASSADOR®, WHITE SUEDE™, 8" Diameter 27.20 45% 14.96 BA-0810-00- Batter, AMBASSADOR®, SUEDE®, 10" Diameter 28.80 45% 15.84 BA-0810-ES- Batter, AMBASSADOR®, BLACK SUEDE™, 10" Diameter 33.90 45% 18.65 BA-0810-WS- Batter, AMBASSADOR®, WHITE SUEDE™, 10" Diameter 28.80 45% 15.84 BA-0811-00- Batter, AMBASSADOR®, SUEDE®, 11" Diameter 29.70 45% 16.34 BA-0812-00- Batter, AMBASSADOR®, SUEDE®, 12" Diameter 30.70 45% 16.89 BA-0812-ES- Batter, AMBASSADOR®, BLACK SUEDE™, 12" Diameter 37.20 45% 20.46 BA-0812-WS- Batter, AMBASSADOR®, WHITE SUEDE™, 12" Diameter 30.70 45% 16.89 BA-0813-00- Batter, AMBASSADOR®, SUEDE®, 13" Diameter 31.40 45% 17.27 BA-0813-ES- Batter, AMBASSADOR®, BLACK SUEDE™, 13" Diameter 38.50 45% 21.18 BA-0813-WS- Batter, AMBASSADOR®, WHITE SUEDE™, 13" Diameter 31.40 45% 17.27 BA-0814-00- Batter, AMBASSADOR®, SUEDE®, 14" Diameter 34.40 45% 18.92 BA-0814-ES- Batter, AMBASSADOR®, BLACK SUEDE™, 14" Diameter 39.50 45% 21.73 BA-0814-WS- Batter, AMBASSADOR®, WHITE SUEDE™, 14" Diameter 34.40 45% 18.92 BA-0815-00- Batter, AMBASSADOR®, SUEDE®, 15"
Load more

Recommended publications
  • 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).
    [Show full text]
  • 5-Stepcoordination Challenge Pat Travers’ Sandy Gennaro Lessons Learned Mike Johnston Redefining “Drum Hero”
    A WILD ZEBRA BLACK FADE DRUMKIT FROM $ WIN DIXON VALUED OVER 9,250 • HAIM • WARPAINT • MIKE BORDIN THE WORLD’S #1 DRUM MAGAZINE APRIL 2014 DARKEST HOUR’S TRAVIS ORBIN BONUS! MIKE’S LOVES A GOOD CHALLENGE 5-STEPCOORDINATION CHALLENGE PAT TRAVERS’ SANDY GENNARO LESSONS LEARNED MIKE JOHNSTON REDEFINING “DRUM HERO” MODERNDRUMMER.com + SABIAN CYMBAL VOTE WINNERS REVIEWED + VISTA CHINO’S BRANT BJORK TELLS IT LIKE IT IS + OLSSON AND MAHON GEAR UP FOR ELTON JOHN + BLUE NOTE MASTER MICKEY ROKER STYLE AND ANALYSIS NICKAUGUSTO TRIVIUM LEGENDARYIT ONLYSTARTS BEGINS TO HERE.DESCRIBE THEM. “The excitement of getting my first kit was like no other, a Wine Red 5 piece Pearl Export. I couldn’t stop playing it. Export was the beginning of what made me the drummer I am today. I may play Reference Series now but for me, it all started with Export.” - Nick Augusto Join the Export family at pearldrum.com. ® CONTENTS Cover and contents photos by Elle Jaye Volume 38 • Number 4 EDUCATION 60 ROCK ’N’ JAZZ CLINIC Practical Independence Challenge A 5-Step Workout for Building Coordination Over a Pulse by Mike Johnston 66 AROUND THE WORLD Implied Brazilian Rhythms on Drumset Part 3: Cô co by Uka Gameiro 68 STRICTLY TECHNIQUE Rhythm and Timing Part 2: Two-Note 16th Groupings by Bill Bachman 72 JAZZ DRUMMER’S WORKSHOP Mickey Roker Style and Analysis by Steve Fidyk EQUIPMENT On the Cover 20 PRODUCT CLOSE˜UP • DW Collector’s Series Cherry Drumset • Sabian 2014 Cymbal Vote Winners • Rich Sticks Stock Series Drumsticks • TnR Products Booty Shakers and 50 MIKE JOHNSTON Little Booty Shakers by Miguel Monroy • Magnus Opus FiBro-Tone Snare Drums Back in the day—you know, like ve years ago—you 26 ELECTRONIC REVIEW had to be doing world tours or making platinum records Lewitt Audio DTP Beat Kit Pro 7 Drum to in uence as many drummers as this month’s cover Microphone Pack and LCT 240 Condensers star does with his groundbreaking educational website.
    [Show full text]
  • African Drumming in Drum Circles by Robert J
    African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle.
    [Show full text]
  • Brasilian Rhythms and Drumming Techniques
    BRASILIAN RHYTHMS AND DRUMMING TECHNIQUES Dr. Jason Koontz Director of Percussion Studies Eastern Kentucky University GENERAL CHARACTERISTICS OF AFRO-BRASILIAN MUSIC *Call and response *Rhythmic complexity (syncopation & polyrhythm) *Structure based on melodic/rhythmic ostinato patterns *Use of timeline/clave *Music as means of communal participation SAMBA - AFRO-BRASILIAN URBAN POPULAR SONG/DANCE FORM Carnival samba (e.g. Samba Batucada and Samba Enredo (Rio,São Paulo), Axé (Bahia) §Characterized by heavy percussion, songs about themes presented in Carnival Pagode (Year-round) samba §Characterized by light percussion and plucked string accompaniment (guitar, cavaquinho) §Songs often satiric, witty, improvised Partido Alto Rhythm Variations A ™2 ≈ ¿™ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ™ / 4 J 3 B ™ ¿ ¿ ≈ ¿ ¿ ≈ ¿™ ¿ ¿ ™ / J 5 C ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ¿™ ¿ ™ / J 7 D ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ≈ ¿ ¿ ™ / J 9 E *"palma da mão" rhythm ™ ¿™ ¿ ‰ ¿ ¿™ ¿ ‰ ¿ / J J PAGODE INSTRUMENTS: Surdo de Mão – Bass drum instrument played with the hand (a.k.a. Tan Tan, Rebolo) Tamborim (tom-boo-reem), a small single-headed frame drum Pandeiro, (pahn-dey-roo) a tambourine Reco-Reco (hecko-hecko) – scraped metal spring instrument (like a metal Guiro) Cuica (Kwee-Ka) friction drum Cavaquinho – Brasilian counterpart to the Portuguese Cavaquinho, and Ukulele (steel strings G-D-B-G) Pagode (pah-go-jee) rhythms A pattern 1 B pattern 2 > > > > > > > > ° ™2 œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ Cuíca / ™4 ≈ œ œ œ ≈ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ ™2 ≈ ≈ ™ ™ ≈ ≈ ™ Tamborim / ™4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ ™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ *"Teleco-teco" rhythm (based on Partido Alto) >. >. >o >. >. >. >o >. ™ o o ™ ™ ™ 2 >¿ >¿ o >¿ ≈ o o ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Pandeiro / ™4 ≈ œ œ œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ t f h f t f h f t f h f t f h f .
    [Show full text]
  • Enjoy Playing Your Acoustic Guitar Accompanied by a Variety of Rhythms
    Enjoy playing your acoustic guitar accompanied by a variety of rhythms Owner’s Manual Enjoy Sounds Like These 2 Advanced Use (Settings) 13 Panel Descriptions 4 Appendices 20 Installing Batteries 5 USING THE UNIT SAFELY 22 Playing Rhythms 6 IMPORTANT NOTES 22 Saving Favorite Settings (Favorite) 8 Advanced Use (Performing) 10 Before using this unit, carefully read “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (the leaflet “USING THE UNIT SAFELY” and the Owner’s Manual (p. 22)). After reading, keep the document(s) where it will be available for immediate reference. © 2017 Roland Corporation Enjoy Sounds Like These Shaker, Maracas Bells Whistle Both contain tiny beads, and This instrument is shaken to This whistle (called an “apito” produce sound when shaken. produce sound. Since there are in Portuguese) is used in samba Frequently used in Latin music. many objects called bells that performance. By opening or Maracas are made using the are not used as instruments, closing the holes at the two fruit of the maraca tree, which these are also called “sleigh sides of the instrument while is a type of palm. Maracas is the bells.” blowing, you can change the plural form of “maraca.” pitch. Hand-claps, Bongo Paila Finger-snaps Conga This is a Cuban This is an ethnic ethnic instrument instrument with a head (skin) of Cuba that stretched over connects two This is the sound a barrel-shaped drums of different body. Originally, diameters. (performance technique) of its name differed The smaller drum striking the body depending on These are the is called the of the timbales.
    [Show full text]
  • Universidade Estadual De Campinas Rodolfo Vilaggio
    UNIVERSIDADE ESTADUAL DE CAMPINAS RODOLFO VILAGGIO ARILHO ESTUDO INTERPRETATIVO DA OBRA VARIAÇÕES RÍTMICAS OPUS 15 DE MARLOS NOBRE CAMPINAS 2018 UNIVERSIDADE ESTADUAL DE CAMPINAS RODOLFO VILAGGIO ARILHO ESTUDO INTERPRETATIVO DA OBRA VARIAÇÕES RÍTMICAS OPUS 15 DE MARLOS NOBRE Tese de Doutorado apresentada a Pós- Graduação do Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Doutor em Música. Área de concentração: Música: Teoria, Criação e Prática. Orientador: Prof. Dr. Fernando Augusto de Almeida Hashimoto Este exemplar corresponde à versão final da tese defendida pelo aluno Rodolfo Vilaggio Arilho, e orientado pelo Prof. Dr. Fernando Augusto de Almeida Hashimoto. CAMPINAS 2018 15 Agência(s) de fomento e nº(s) de processo(s): Não se aplica. Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Artes Silvia Regina Shiroma - CRB 8/8180 Arilho, Rodolfo Vilaggio, 1979- Ar42e AriEstudo interpretativo da obra Variações Rítmicas opus 15 de Marlos Nobre / Rodolfo Vilaggio Arilho. – Campinas, SP : [s.n.], 2018. AriOrientador: Fernando Augusto de Almeida Hashimoto. AriTese (doutorado) – Universidade Estadual de Campinas, Instituto de Artes. Ari1. Nobre, Marlos, 1939-. 2. Percussão (Música). 3. Instrumentos de percussão. 4. Música brasileira. 5. Música - Interpretação (Fraseado, dinâmica, etc.). I. Hashimoto, Fernando Augusto de Almeida, 1972-. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. Informações para Biblioteca Digital
    [Show full text]
  • Vocabulaire Des Musiques Latino-Américaines
    JORGE ANTUÑES ISABELLE LEYMARIE CHRISTOPHE PIRENNE VOCABULAIRE DES MUSIQUES LATINO-AMERICAINES Minerve Musique Ouverte AVANT PROPOS L'immense espace géographique qui va de la Terre de Feu au Sud du Texas et des côtes du Chili aux Petites Antilles fut le théâtre sublime et sanglant d'une histoire marquée par d’incessants mouvements migratoires qui débutèrent au XVIe siècle, avec la colonisation. La diversité et l’ampleur de ces flux d'hommes de toutes races, de toutes provenances et de toutes croyances est à l'origine d’un univers culturel complexe, dont la principale caractéristique est le métissage. Les rencontres entre les indiens et les occidentaux, entre les indiens et les noirs africains, entre les occidentaux et les africains, entre les nombreuses races africaines... ont été à l'origine de phénomènes d'acculturation complexes et variés. Les musiques indigènes, européennes et africaines ont été réinterprétées, recréées pour aboutir à des formes inédites variant selon les régions ou le degré d’influence de chacune des sources. À côté des chocs brutaux résultant des génocides ou de la succession de colonisateurs, les différentes phases de colonisation de certaines régions se sont opérées tantôt par une lente maturation des acquis (lorsque ces régions connaissent une relative stabilité), tantôt "naturellement" (dans les régions les plus hostiles certains indigènes ont préservé leur culture). La collecte de ce répertoire traditionnel est, le plus souvent, très récente, et de nombreuses analyses ont porté sur des descriptions plutôt que sur des sources sonores ou de la musique écrite. Dans le cas de certaines civilisations précolombiennes (Aztèques, Mayas, Incas) l’archéologie, de même que la conservation de certains codex ou, comme au Pérou, le témoignage de colons avisés tels que Garcilaso de la Vega et Felipe Guaman Poma de Ayala, ont permis de combler certaines lacunes.
    [Show full text]
  • MP-Price-List-2020-EUR.Pdf
    PRICE LIST 2020 EURO Model Description Price PICKUP PICKUP INSTRUMENTS NEW MPDS1 digital percussion stomp box 199,00 € NEW MPS1 analog percussion stomp box 89,00 € NEW MPSM stomp box mount 49,90 € FX10 fx pedal 169,00 € PBASSBOX pickup bassbox 129,00 € PSNAREBOX pickup snarebox 119,00 € NEW MIC-PERC percussion microphone 24,90 € KA9P-AB pickup kalimba, african brown 99,90 € PICKUP CAJONS NEW PAESLDOB artisan edition pickup cajon, solea line 299,00 € PWCP100MB pickup cajon, woodcraft professional, makah-burl frontplate 199,00 € PSC100B pickup cajon, snarecraft, baltic birch frontplate 149,00 € PSUBCAJ6B pickup vertical subwoofer cajon, baltic birch 249,00 € PTOPCAJ2WN pickup slaptop cajon, turbo, walnut playing surface 189,00 € PTOPCAJ4MH-M pickup slaptop cajon, mahogany playing surface 149,00 € NEW PBASSCAJ-KIT cocktail cajon kit 499,00 € NEW PBASSCAJ cocktail cajon 169,90 € NEW PBC1B pickup bongo cajon 79,90 € NEW PCST pickup cajon snare tap 74,90 € NEW PCTT pickup cajon tom tap 69,90 € NEW MMCS mini cajon speaker 59,90 € PA-CAJ cajon preamp 99,00 € NEW CMS cajon microphone stand 9,90 € CAJONS ARTISAN EDITION CAJONS AEMLBI martinete line, brazilian ironwood with ukola woodframe frontplate 1.199,00 € AEFLIH fandango line, indian heartwood frontplate 699,00 € AESELIH seguiriya line, indian heartwood frontplate 469,00 € AESELCB seguiriya line, canyon-burl frontplate 469,00 € AECLWN cantina line, walnut frontplate 499,00 € AEBLLB buleria line, lava-burl frontplate 299,00 € AEBLMY buleria line, mongoy frontplate 299,00 € AESLEYB soleà line,
    [Show full text]
  • Keith Carlock
    APRIZEPACKAGEFROM 2%!3/.34/,/6%"),,"25&/2$s.%/.42%%3 7). 3ABIANWORTHOVER -ARCH 4HE7ORLDS$RUM-AGAZINE 'ET'OOD 4(%$25--%23/& !,)#)!+%93 $!.'%2-/53% #/(%%$ 0,!.4+2!533 /.345$)/3/5.$3 34!249/52/7. 4%!#().'02!#4)#% 3TEELY$AN7AYNE+RANTZS ,&*5)$"3-0$,7(9(%34(%-!.4/7!4#( s,/52%%$34/.9h4(5.$%2v3-)4( s*!+),)%"%:%)4/&#!. s$/5",%"!3335"34)454% 2%6)%7%$ -/$%2.$25--%2#/- '2%43#(052%7//$"%%#(3/5,4/.%/,$3#(//,3*/9&5,./)3%%,)4%3.!2%3%6!.34/-0/7%2#%.4%23 Volume 35, Number 3 • Cover photo by Rick Malkin CONTENTS 48 31 GET GOOD: STUDIO SOUNDS Four of today’s most skilled recording drummers, whose tones Rick Malkin have graced the work of Gnarls Barkley, Alicia Keys, Robert Plant & Alison Krauss, and Coheed And Cambria, among many others, share their thoughts on getting what you’re after. 40 TONY “THUNDER” SMITH Lou Reed’s sensitive powerhouse traveled a long and twisting musical path to his current destination. He might not have realized it at the time, but the lessons and skills he learned along the way prepared him per- fectly for Reed’s relentlessly exploratory rock ’n’ roll. 48 KEITH CARLOCK The drummer behind platinum-selling records and SRO tours reveals his secrets on his first-ever DVD, The Big Picture: Phrasing, Improvisation, Style & Technique. Modern Drummer gets the inside scoop. 31 40 12 UPDATE 7 Walkers’ BILL KREUTZMANN EJ DeCoske STEWART COPELAND’s World Percussion Concerto Neon Trees’ ELAINE BRADLEY 16 GIMME 10! Hot Hot Heat’s PAUL HAWLEY 82 PORTRAITS The Black Keys’ PATRICK CARNEY 84 9 REASONS TO LOVE Paul La Raia BILL BRUFORD 82 84 96
    [Show full text]
  • Cinbalada: a Multiagent Rhythm Factory
    CinBalada: A Multiagent Rhythm Factory Pablo Azevedo Sampaio1,2, Geber Ramalho1 and Patrícia Tedesco1 1Centro de Informática Universidade Federal de Pernambuco (UFPE) Cidade Universitária Phone: +55 (81) 2126.8430 CEP 50732-970 - Recife - PE - BRAZIL {pas—glr—pcart }@cin.ufpe.br 2Departamento de Estatística e Informática Universidade Católica de Pernambuco (UNICAP) Rua do Príncipe, 526 – Boa Vista Phone: +55 (81) 2119.4175 CEP 50050-900 - Recife - PE - BRAZIL {pablo }@dei.unicap.br Received 23 February 2008; accepted 08 July 2008 Abstract expression found nowadays in many traditional musical cultures around the world: the ensemble taiko CinBalada is a system for automatic creation drumming, in Japan; the Pungmul, in Korea; samba of polyphonic rhythmic performances by mixing batucadas and maracatu, in Brazil; and the music elements from different musical styles. This system is produced in many tribes of Africa. In each of these based on agents that act as musicians playing musical cultures, percussion instruments are combined percussion instruments in a drum circle. Each agent together in different ways, according to culture- has to choose from a database the rhythm pattern of specific rules, producing a polyrhythmic performance its instrument that satisfies the “rhythmic role” that carries the identity of that culture. assigned to him in order to produce a collectively- In a more contemporary form of expression, consistent rhythmic performance. A rhythmic role is a percussionists of different musical cultures engage in concept that we proposed here with the objective of , where percussive music emerges in a representing culture-specific rules for creation of collective improvised way. As described by percussionist polyphonic performances.
    [Show full text]
  • Pandeiro 1 Pandeiro
    Pandeiro 1 Pandeiro Pandeiro Other names Pandeiro, drums Classification hand percussion Playing range High sound of jingles, plus some have a skin with a lower sound. Related instruments Riq, Buben, Dayereh, Daf, Kanjira, Frame drum The pandeiro (Portuguese pronunciation: [pɐ̃ˈdejɾu]) is a type of hand frame drum. There are two important distinctions between a pandeiro and the common tambourine. The tension of the head on the pandeiro can be tuned, allowing the player a choice of high and low notes. Also, the metal jingles (called platinelas in Portuguese) are cupped, creating a crisper, drier and less sustained tone on the pandeiro than on the tambourine. This provides clarity when swift, complex rhythms are played. It is held in one hand, and struck on the head by the other hand to produce the sound. Typical pandeiro patterns are played by alternating the thumb, fingertips, heel, and palm of the hand. A pandeiro can also be shaken to make sound, or one can run a finger along the head to create a "rasp" noise. The pandeiro is used in a number of Brazilian music forms, such as Samba, Choro, Coco, and Capoeira music (see Capoeira songs). The Brazilian pandeiro derives from the pandeireta or pandereta of Spain and Portugal. Some of the best-known pandeiro players today are Paulinho Da Costa, Airto Moreira, Marcos Suzano, Cyro Baptista, and Carlinhos Pandeiro de Ouro. Artists such as Stanton Moore use it non-traditionally by tuning it low to sound like a floor tom with jingles, mounting it on a stand and integrating it into the modern drum kit.
    [Show full text]
  • Armenian Orchestral Music Tigran Arakelyan a Dissertation Submitted
    Armenian Orchestral Music Tigran Arakelyan A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2016 Reading Committee: David Alexander Rahbee, Chair JoAnn Taricani Timothy Salzman Program Authorized to Offer Degree: School of Music ©Copyright 2016 Tigran Arakelyan University of Washington Abstract Armenian Orchestral Music Tigran Arakelyan Chair of the Supervisory Committee: Dr. David Alexander Rahbee School of Music The goal of this dissertation is to make available all relevant information about orchestral music by Armenian composers—including composers of Armenian descent—as well as the history pertaining to these composers and their works. This dissertation will serve as a unifying element in bringing the Armenians in the diaspora and in the homeland together through the power of music. The information collected for each piece includes instrumentation, duration, publisher information, and other details. This research will be beneficial for music students, conductors, orchestra managers, festival organizers, cultural event planning and those studying the influences of Armenian folk music in orchestral writing. It is especially intended to be useful in searching for music by Armenian composers for thematic and cultural programing, as it should aid in the acquisition of parts from publishers. In the early part of the 20th century, Armenian people were oppressed by the Ottoman government and a mass genocide against Armenians occurred. Many Armenians fled
    [Show full text]