Keytar Controller with Percussion Pads and Accelerometer
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Accordion Electronic Keyboard Electric Organ
Accordion Electronic Keyboard Electric Organ Technical Requirements & Discussion Questions for Recorded Graded Exams The following list of technical requirements should be performed to make up the Technical Work component of the exam for: • Accordion (pp.1-5 • Electronic Keyboard (pp.!-1" • Electric Organ (pp. 11-1# Candidates may choose which scales or arpeggios to perform but should& where possible& select a variety of different ke%s. Close attention should be paid to instructions on articulation and dynamics. Further guidelines on specific requirements for each grade (such as the set scales for each grade and instructions on hands together or separate performance) can be found in the rele'ant L$*+ syllabus. Accordion Grade Technical Requirements Scales ,ne ma-or scale ,ne minor scale C chromatic scale .ellow shake in C "hords - a mixture of full and broken chords should be performed in a variety of ke%s and in'ersions: one ma-or one minor one augmented one dominant 7th one diminished 7th Discussion Questions .oth questions to be answered at an% point during the exam: • Which of the pieces you pla%ed today is your fa'ourite and wh%0 • What is the mood of this piece0 1 Grade $% Technical Requirements Scales ,ne ma-or scale ,ne minor scale C chromatic scale .ellow shake in C "hords - a mixture of full and broken chords should be performed in a variety of ke%s and in'ersions: two ma-or two minor one augmented one dominant 7ths one diminished 7ths Discussion Questions .oth questions to be answered at an% point during the exam: • Which of -
MX300 User Guide IMPORTANT SAFETY INSTRUCTIONS
Stereo Reverb MX300 Effects Procesor MX300 User Guide IMPORTANT SAFETY INSTRUCTIONS WARNING FOR YOUR PROTECTION READ THE FOLLOWING: READ THESE INSTRUCTIONS. KEEP THESE INSTRUCTIONS. HEED ALL WARNINGS. FOLLOW ALL INSTRUCTIONS. The symbols shown above are internationally accepted symbols that warn of potential hazards with electrical products. The lightning flash with arrowpoint in an equilateral triangle means DO NOT USE THIS APPARATUS NEAR WATER. that there are dangerous voltages present within the unit. The exclamation point in an equilateral triangle indicates that it is CLEAN ONLY WITH A DRY CLOTH. necessary for the user to refer to the owner’s manual. FOR INDOOR USE ONLY. These symbols warn that there are no user serviceable parts inside the unit. Do not open the unit. Do not attempt to service the unit DO NOT BLOCK ANY OF THE VENTILATION OPENINGS. INSTALL IN ACCORDANCE yourself. Refer all servicing to qualified personnel. Opening the WITH THE MANUFACTURER’S INSTRUCTIONS. chassis for any reason will void the manufacturer’s warranty. Do not get the unit wet. If liquid is spilled on the unit, shut it off DO NOT INSTALL NEAR ANY HEAT SOURCES SUCH AS RADIATORS, HEAT REGISTERS, immediately and take it to a dealer for service. Disconnect the unit STOVES, OR OTHER APPARATUS (INCLUDING AMPLIFIERS) THAT PRODUCE HEAT. during storms to prevent damage. ONLY USE ATTACHMENTS/ACCESSORIES SPECIFIED BY THE MANUFACTURER. The following is indicative of low altitude use; do not use this product above UNPLUG THIS APPARATUS DURING LIGHTNING STORMS OR WHEN UNUSED FOR 2000m. LONG PERIODS OF TIME. Do not defeat the safety purpose of the polarized or grounding-type plug. -
The Cimbalo Cromatico and Other Italian Keyboard Instruments With
Performance Practice Review Volume 6 Article 2 Number 1 Spring The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1993) "The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence)," Performance Practice Review: Vol. 6: No. 1, Article 2. DOI: 10.5642/ perfpr.199306.01.02 Available at: http://scholarship.claremont.edu/ppr/vol6/iss1/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Early-Baroque Keyboard Instruments The Cimbalo cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge In an earlier article1 it was demonstrated that the cimbalo cromatico was an instrument with nineteen divisions to the octave. Although no such instrument is known to have survived, one harpsichord and a keyboard from another instrument, while subsequently altered, show clear traces of having had 19 keys per octave in the middle range. The concept was further developed to produce instruments with 24, 28, 31, 3, and even 60 keys per octave. With the exception of Trasuntino's 1606 Clavemusicum Omni- tonum, none of these survives; documentary evidence, however, shows that they were related to the cimbalo cromatico, as this article attempts to demonstrate. -
Piano / Keyboard for Absolute Beginners
Learn How to Play Piano / Keyboard For Absolute Beginners A Self Tuition Book For Adults and Teenagers! Martin Woodward ISBN: Copyright © Martin Woodward 2015 All rights reserved Printing for buyers use only is permitted Enquires: http://gonkmusic.com 2 Copyright © Martin Woodward 2015 - www.gonkmusic.com 2 Acknowledgements To all the fantastic musicians who I’ve had the privilege of working with back in the 1960s / 70s including: Pip Williams (guitarist / record producer); Tex Marsh (drummer); Roger Flavell (bassist); Kevin Fogarty (guitarist); Ralph Denyer (singer / songwriter); Phil Childs (bassist); Jim Smith (drums); George Lee (saxophonist); Ron Thomas (bassist); Emile Ford (No. 1 UK singer / songwriter). To my early mentors: Alan Simonds (guitarist / vocalist); big bruv Steve (guitarist) and Mr. Henley (my inspirational music teacher at Warlingham School 1960 - 65). And to Myriad Software: http://www.myriad-online.com for the Melody Assistant music notation software which was used for the production of this book. - Thanks! 3 Copyright © Martin Woodward 2015 - www.gonkmusic.com 3 4 Copyright © Martin Woodward 2015 - www.gonkmusic.com 4 Contents Introduction ............................................................................................................. 11 Get the Best from this Book ................................................................................ 12 Using the links ..................................................................................................... 12 Trust Your Self ................................................................................................... -
About the RPT Exams
About the RPT exams... Tuning Exam Registered Piano Technicians are This exam compares your tuning to a “master professionals who have committed themselves tuning” done by a team of examiners on the to the continual pursuit of excellence, both same piano you will tune. Electronic Tuning in technical service and ethical conduct. Aids are used to measure the master tuning Want to take The Piano Technicians Guild grants the and to measure your tuning for comparison. Registered Piano Technician (RPT) credential In Part 1 you aurally tune the middle two after a series of rigorous examinations that octaves, using a non-visual source for A440. the RPT test skill in piano tuning, regulation and In Part 2 you tune the remaining octaves by repair. Those capable of performing these any method you choose, including the use of tasks up to a recognized worldwide standard Electronic Tuning Aids. This exam takes about exams? receive the RPT credential. 4 hours. No organization has done more to upgrade the profession of the piano technician than Find an Examiner PTG. The work done by PTG members in Check with your local chapter president or developing the RPT Exams has been a major examination committee chair first to see if contribution to the advancement of higher there are local opportunities. Exam sites Prepare. include local chapters, Area Examination standards in the field. The written, tuning Boards, regional conferences and the Annual and technical exams are available exclusively PTG Convention & Technical Institute. You to PTG members in good standing. can also find contact information for chapter Practice. -
Roland AX-Edge Parameter Guide
Parameter Guide AX-Edge Editor To edit the tone parameters of the AX-Edge, you’ll use the “AX-Edge Editor” smartphone app. You can download the app from the App Store if you’re using an iOS device, or from Google Play if you’re using an Android device. AX-Edge Editor lets you edit all the parameters except system parameters of the AX-Edge. © 2018 Roland Corporation 02 List of Shortcut Keys “[A]+[B]” indicates the operation of “holding down the [A] button and pressing the [B] button.” Shortcut Explanation To change the value rapidly, hold down one of the Value [-] + [+] buttons and press the other button. In the top screen, jumps between program categories. [SHIFT] In a parameter edit screen, changes the value in steps + Value [-] [+] of 10. [SHIFT] Jumps to the Arpeggio Edit screen. + ARPEGGIO [ON] [SHIFT] Raises or lowers the notes of the keyboard in semitone + Octave [-] [+] units. [SHIFT] Shows the Battery Info screen. + Favorite [Bank] Jumps between parameter categories (such as [SHIFT] + [ ] [ ] K J COMMON or SWITCH). When entering a name Shortcut Explanation [SHIFT] Cycles between lowercase characters, uppercase + Value [-] [+] characters, and numerals. 2 Contents List of Shortcut Keys .............................. 2 Tone Parameters ................................... 19 COMMON (Overall Settings) ............................. 19 How the AX-Edge Is Organized................ 5 SWITCH .............................................. 20 : Overview of the AX-Edge......................... 5 MFX ................................................. -
UNIVERZITET UMETNOSTI U BEOGRADU FAKULTET MUZIČKE UMETNOSTI Katedra Za Muzikologiju
UNIVERZITET UMETNOSTI U BEOGRADU FAKULTET MUZIČKE UMETNOSTI Katedra za muzikologiju Milan Milojković DIGITALNA TEHNOLOGIJA U SRPSKOJ UMETNIČKOJ MUZICI Doktorska disertacija Beograd, 2017. Mentor: dr Vesna Mikić, redovni profesor, Univerzitet umetnosti u Beogradu, Fakultet muzičke umetnosti, Katedra za muzikologiju Članovi komisije: 2 Digitalna tehnologija u srpskoj umetničkoj muzici Rezime Od prepravke vojnog digitalnog hardvera entuzijasta i amatera nakon Drugog svetskog rata, preko institucionalnog razvoja šezdesetih i sedamdesetih i globalne ekspanzije osamdesetih i devedesetih godina prošlog veka, računari su prešli dug put od eksperimenta do podrazumevanog sredstva za rad u gotovo svakoj ljudskoj delatnosti. Paralelno sa ovim razvojem, praćena je i nit njegovog „preseka“ sa umetničkim muzičkim poljem, koja se manifestovala formiranjem interdisciplinarne umetničke prakse računarske muzike koju stvaraju muzički inženjeri – kompozitori koji vladaju i veštinama programiranja i digitalne sinteze zvuka. Kako bi se muzički sistemi i teorije preveli u računarske programe, bilo je neophodno sakupiti i obraditi veliku količinu podataka, te je uspostavljena i zajednička humanistička disciplina – computational musicology. Tokom osamdesetih godina na umetničku scenu stupa nova generacija autora koji na računaru postepeno počinju da obavljaju sve više poslova, te se pojava „kućnih“ računara poklapa sa „prelaskom“ iz modernizma u postmodernizam, pa i ideja muzičkog inženjeringa takođe proživljava transformaciju iz objektivističke, sistematske autonomne -
Playing Music in Just Intonation: a Dynamically Adaptive Tuning Scheme
Karolin Stange,∗ Christoph Wick,† Playing Music in Just and Haye Hinrichsen∗∗ ∗Hochschule fur¨ Musik, Intonation: A Dynamically Hofstallstraße 6-8, 97070 Wurzburg,¨ Germany Adaptive Tuning Scheme †Fakultat¨ fur¨ Mathematik und Informatik ∗∗Fakultat¨ fur¨ Physik und Astronomie †∗∗Universitat¨ Wurzburg¨ Am Hubland, Campus Sud,¨ 97074 Wurzburg,¨ Germany Web: www.just-intonation.org [email protected] [email protected] [email protected] Abstract: We investigate a dynamically adaptive tuning scheme for microtonal tuning of musical instruments, allowing the performer to play music in just intonation in any key. Unlike other methods, which are based on a procedural analysis of the chordal structure, our tuning scheme continually solves a system of linear equations, rather than relying on sequences of conditional if-then clauses. In complex situations, where not all intervals of a chord can be tuned according to the frequency ratios of just intonation, the method automatically yields a tempered compromise. We outline the implementation of the algorithm in an open-source software project that we have provided to demonstrate the feasibility of the tuning method. The first attempts to mathematically characterize is particularly pronounced if m and n are small. musical intervals date back to Pythagoras, who Examples include the perfect octave (m:n = 2:1), noted that the consonance of two tones played on the perfect fifth (3:2), and the perfect fourth (4:3). a monochord can be related to simple fractions Larger values of mand n tend to correspond to more of the corresponding string lengths (for a general dissonant intervals. If a normally consonant interval introduction see, e.g., Geller 1997; White and White is sufficiently detuned from just intonation (i.e., the 2014). -
AIR Creative Collection Provides a Comprehensive Set of Digital Signal Processing Tools for Professional Audio Production with Pro Tools
AIR® Creative Collection User Guide English User Guide (English) Chapter 1: Audio Plug-Ins Overview Plug-ins are special-purpose software components that provide additional signal processing and other functionality to Avid® Pro Tools®. These include plug-ins that come with Pro Tools, as well as many other plug-ins that can be added to your system. Additional plug-ins are available both from AIR and third-party developers. See the documentation that came with the plug-in for operational information. AIR Audio Plug-Ins AIR Creative Collection provides a comprehensive set of digital signal processing tools for professional audio production with Pro Tools. Other AIR plug-ins are available for purchase from AIR at www.airmusictech.com. AIR Creative Collection is included with Pro Tools, providing a comprehensive suite of digital signal processing effects that include EQ, dynamics, delay, and other essential audio processing tools. The following sound-processing, effects, and utility plug-ins are included: Chorus Ensemble Fuzz-Wah Multi-Delay Spring Reverb Distortion Filter Gate Kill EQ Non-Linear Reverb Stereo Width Dynamic Delay Flanger Lo-Fi Phaser Talkbox Enhancer Frequency Shifter Multi-Chorus Reverb Vintage Filter The following virtual instrument plug-ins are also included: Boom Drum machine and sequencer DB-33 Tonewheel organ emulator with rotating speaker simulation Mini Grand Acoustic grand piano Structure Free Sample player Vacuum Vacuum tube–modeled monophonic synthesizer Xpand!2 Multitimbral synthesizer and sampler workstation Avid and Pro Tools are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other countries. 3 AAX Plug-In Format AAX (Avid Audio Extension) plug-ins provide real-time plug-in processing using host-based ("Native") or DSP-based (Pro Tools HD with Avid HDX hardware accelerated systems only) processing. -
Cathedral Chimestm
32 Cathedral ChimesTM A fresh approach to organ chimes Patented striker design is quiet, efficient, and virtually maintenance free. Dampers lift off tubes for as long as a key is held. Solid state relay with fixed strike pulse timing is included. Very easy to install in most organs. Custom keying cables are available to further simplify installation. Beautiful brushed brass tubes or aluminum chime bars. Also available as an “action only” for use with older chime tubes. Some years ago, Peterson set out to see what could Beautiful satin-finished brass chime tubes or silver be done to modernize and improve the traditional colored anodized aluminum bars are precision tuned tubular chimes that have been part of fine organs for with Peterson stroboscopic tuning instruments and decades. It was quickly realized that chimes and chime engineered for optimal harmonic development. A actions were still being made the same way they had Peterson chime rail and relay may also be provided been made 40 years earlier. They still had the same as an “action only” to replace an old, defective action problems with imprecise tuning; uneven and difficult to while utilizing original tubes having diameters up to adjust actions; heavy and hard-to-install cables; sparking 1-1/2 inches. contacts; and a host of other pitfalls all too well known The Cathedral Chimes system’s easy connection to organbuilders and service technicians. A subsequent to almost any pipe organ requires only a small cable, two-year development program was begun to address making it practical to display chimes and to better and overcome these concerns, and ultimately the TM capitalize on their beautiful appearance. -
A New History of the Carillon
A New History of the Carillon TIFFANY K. NG Rombouts, Luc. Singing Bronze: A History of Carillon Music. Translated by Com- municationwise. Leuven: Leuven University Press, 2014, 368 pp. HE CARILLON IS HIDDEN IN plain sight: the instrument and its players cannot be found performing in concert halls, yet while carillonneurs and Tkeyboards are invisible, their towers provide a musical soundscape and focal point for over six hundred cities, neighborhoods, campuses, and parks in Europe, North America, and beyond. The carillon, a keyboard instrument of at least two octaves of precisely tuned bronze bells, played from a mechanical- action keyboard and pedalboard, and usually concealed in a tower, has not received a comprehensive historical treatment since André Lehr’s The Art of the Carillon in the Low Countries (1991). A Dutch bellfounder and campanologist, Lehr contributed a positivist history that was far-ranging and thorough. In 1998, Alain Corbin’s important study Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside (translated from the 1994 French original) approached the broader field of campanology as a history of the senses.1 Belgian carillonneur and musicologist Luc Rombouts has now compiled his extensive knowledge of carillon history in the Netherlands, Belgium, and the United States, as well as of less visible carillon cultures from Curaçao to Japan, into Singing Bronze: A History of Carillon Music, the most valuable scholarly account of the instrument to date. Rombouts’s original Dutch book, Zingend Brons (Leuven: Davidsfonds, 2010), is the more comprehensive version of the two, directed at a general readership in the Low Countries familiar with carillon music, and at carillonneurs and music scholars. -
A Brief, Comprehensive History of the Cordovox and Other Electronic Accordions” by Fabio G
“A Brief, Comprehensive History of the Cordovox and other electronic accordions” By Fabio G. Giotta Many technical and musical geniuses poured their hearts and souls in to the design and production of these amazing instruments whose electronic technology originated in the late 1950’s, 60’s and 70’s; the Ages of Technology, Space and Jet Travel. The acoustic accordion technology (typically 15,000 parts in a full size instrument) spans from roughly 1900 through the age of its electronic counterparts. This article endeavors to correct some of the rampant inaccuracies and invalid opinions about the Cordovox and other electronic accordions found on the World Wide Web, including some of the statements posted at Google Answers, and errant statements by some Ebay sellers and non-accordion oriented retailers, including musical instrument shops. Herein, I opine and make a combination of declarations, observations, and well-educated guesses based on my own personal experience with these instruments, continuing interaction with accordion industry experts such as: Gordon Piatanesi (Colombo & Sons Accordions-San Francisco, CA), Joe Petosa (Petosa Accordions-Seattle, WA), The curators of the Museo Internazionale Della Fisarmonica-Castelfidardo, Italia (International Museum of the Accordion), including Paolo Brandoni (Brandoni & Sons Accordions-General Accordion Co.), Fabio Petromilli (Comune of Castelfidardo), Beniamino Bugiolacchi-Museum President, and their colleagues Maestro Gervasio Marcosignori, concert accordionist, arranger, recording artist, and former Director of Instrument Development for Farfisa S.p.A. Organ electronics experts such as *Dave Matthews, *David Trouse, *David Tonelli and *Peter Miller, and study of written, official documents such as books, brochures, advertisements, owner’s guides, service manuals, and historical accounts, inlcluding the following: The Golden Age of the Accordion--Flynn/Davison/Chavez, Super VI Scandalli…Una Fisarmonica Nella Storia--Jercog, and Per Una Storia Della Farfisa-- Strologo.