Summer 2018 Table of Contents Come See Us!
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Nomographs q = 66 Jeff Snyder gongs 5 crotalesf gongs crotales diamond-shaped noteheads indicate rattan beaters 5 Percussion 1 (Crotales / Gongs) 5 P F D diamond-shaped noteheads indicate rattan beaters gongs _ Percussion 2 (Glockenspiel / Gongs) 3 3 5 5 5 F p G diamond-shaped noteheads indicate rattan beaters 5 vibraphone gongs gongs 3 D, A_ vibraphone Percussion 3 (Vibraphone / Gongs) 5 F p 5 5 5 E A (crotales) A# (gong) 10 7 15 7 7 l.v. crotales gongs crotales Perc.1 gongs 5 5 f p p 7 7 7 7 Perc.2 p p A (vibraphone) gongs vibraphone C gongs vibraphone G E (gong) (vibraphone) 5 7 7 p pp Perc.3 gongs f P vibraphone p 7 p 5 (Ped.) p 7 2 (rattan on both side (damp all) A (crotales) 20 5 5 3 and center of gong) gongs 3 Perc.1 3 3 f (rattan on both side (l.v.) C# and center of gong) 3 3 3 3 3 3 Perc.2 vibraphone D (vibraphone) F vibraphone (damp all) 3 D# (gong) gong vibraphone C# gongs (vibraphone) Perc.3 3 3 5 5 gongs 3 5 25 crotales 5 30 B (rattan on side) (all) gongs 3 Perc.1 5 (rattan on both side 5 5 gongs 5 p 5 5 5 f (rattan on side) and center of gong) (all) -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: 29-Apr-2010 I, Tyler B Walker , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Composition It is entitled: An Exhibition on Cheerful Privacies Student Signature: Tyler B Walker This work and its defense approved by: Committee Chair: Mara Helmuth, DMA Mara Helmuth, DMA Joel Hoffman, DMA Joel Hoffman, DMA Mike Fiday, PhD Mike Fiday, PhD 5/26/2010 587 An Exhibition On Cheerful Privacies Three Landscapes for Tape and Live Performers Including Mezzo-Soprano, Bb Clarinet, and Percussion A dissertation submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2010 by Tyler Bradley Walker M.M. Georgia State University January 2004 Committee Chair: Mara Helmuth, DMA Abstract This document consists of three-musical landscapes totaling seventeen minutes in length. The music is written for a combination of mezzo-soprano, Bb clarinet, percussion and tape. One distinguishing characteristic of this music, apart from an improvisational quality, involves habituating the listener through consistent dynamics; the result is a timbrally-diverse droning. Overall, pops, clicks, drones, and resonances converge into a direct channel of aural noise. One of the most unique characteristics of visual art is the strong link between process and esthetic outcome. The variety of ways to implement a result is astounding. The musical landscapes in this document are the result of an interest in varying my processes; particularly, moving mostly away from pen and manuscript to the sequencer. -
Contemporary Music Score Collection
UCLA Contemporary Music Score Collection Title Modulations Permalink https://escholarship.org/uc/item/5b74k1m2 Author LaRosa, Christopher Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California modulations for percussion trio Full Score [2017] Christopher LaRosa www.chrislarosa.com modulations for percussion trio [2017] duration: ca. 6” Christopher LaRosa www.chrislarosa.com 2 Percussion 1 timpano (28") 2 bongos 2 woodblocks triangles sp. coil large suspended cymbal timpano bongos woodblocks sus. cyms. medium suspended cymbal œ œ large triangle œ œ œ medium triangle ÷ œ œ œ spring coil with sizzles œ œlow high low high large med. large med. 4 crotales 2 stick/hard felt combination mallets double bass bow crotales (low octave) large superball mallet small superball mallet bœ triangle beater & bœ bœ wire brush bœ plastic mallet Crotales should be placed on the head of the timpano drum, near the edge closest to the player. When directed to bow a crotale, move that crotale to the edge. Percussion 2 timpano (32") triangles sp. coil timpano bongos woodblocks sus. cyms. 2 bongos œ 2 woodblocks œ œ œ œ large suspended cymbal ÷ œ œ medium suspended cymbal œ œlow highœ low high large med. large med. large triangle medium triangle spring coil with sizzles crotales (low octave) 4 crotales œ 2 stick/hard felt combination mallets & œ #œ double bass bow œCrotales should be placed on the head of the timpano drum, large superball mallet near the edge closest to the player. When directed to bow a small superball mallet crotale, move that crotale to the edge. -
What Do Your Dreams Sound Like?
Volume 6 › 2017 Orchestral, Concert & Marching Edition What do your Dreams sound like? PROBLEM SOLVED WHY DREAM? D R E A M 2 0 1 7 1 D R E A M 2 0 1 7 Attention Band Directors, Music Teachers, “The Cory Band have been the World's No.1 brass band for the past decade. We feel privileged Orchestra Conductors! to have been associated with We understand how frustrating it can be to try to find the professional Dream Cymbals since 2014. quality, exceptionally musical sounds that you need at a price that fits into From the recording studio to your budget. Everyone at Dream is a working musician so we understand the challenges from our personal experiences. You should not have to Rick Kvistad of the concert halls across the UK and sacrifice your sound quality because of a limited budget. San Francisco Opera says: abroad, we have come to rely From trading in your old broken cymbals through our recycling program, on the Dream sound week in putting together custom tuned gong sets, or creating a specific cymbal set “I love my Dream Cymbals up that we know will work with your ensemble, we love the challenge of week out.” creating custom solutions. for both the orchestra and Visit dreamcymbals.com/problemsolved and get your personal cymbal assistant. By bringing together our network of exceptional dealers and our my drum set. Dr. Brian Grasier, Adjunct Instructor, Percussion, in-house customer service team, we can provide a custom solution tailored They have a unique Sam Houston State University says: to your needs, for free. -
Download the Instrument List
Cinekinetik Instrument list 4 Libraries - 295 Instrument presets CineKinetik: Shipwreck Piano 33 Instrument presets SW Upright Piano SW Upright Piano Soft SW Upright Piano Mellow SW Upright Piano Hard SW Upright Piano Dark Shipwreck Piano Shipwreck Piano Quantum Room Shipwreck Piano Quantum Minute Shipwreck Piano Quantum Hall Shipwreck Piano Mellow Shipwreck Piano Quantum Church Shipwreck Piano Hard Shipwreck Piano Dark Shipwreck X Phase Whistle Shipwreck X Pad Shipwreck X Phase Dark Shipwreck X Pad Decay Shipwreck X Pad Jet Shipwreck X Pad Watery Shipwreck Swell Pad Dark Shipwreck Swell Pad Warm Shipwreck Swell Pad Shipwreck X Atmosphere Shipwreck X Lo-Fi Hit Shipwreck Quantum Pad Warm Shipwreck Quantum Pad Watery Shipwreck Quantum Pad Phase Shipwreck Quantum Pad Slow Shipwreck Quantum Pad Fast Shipwreck Quantum Pad Dark Shipwreck Russian Choir 2 Shipwreck Russian Choir 1 Shipwreck X Ligeti Wind 1 Cinekinetik Instrument list CineKinetik: Fractured Piano 37 Instrument presets 1914 Phantom Tron 1980 PG Tron Acid Mallets Angry Tony B Bounty Hunters MW Boys Of The Belt MW Deep Ocean Waves Electrified Piano Doom MW Funky Electric Hourglass I Can Sea Clearly Key attack from space Lo-Fi Chase piano Mothers Of The Belt Percussive and Electrified MW Piano Chain 2 MW Piano Chain Brass Piano Chain Tremolo Piano Chain Piano Felt Bass MW Piano Felt Bass Pluck 4th Piano Felt Pedal Piano Howlings B Piano Howlings C Piano Howlings Piano Metal Bar Bass Piano Metal Bar MW Poseidon Waves Space Station Lounge MW Stalker The Arrival The Camera Eye The Departure -
A Guide to Cymbals, Part 4 by Nick Petrella
A Guide to Cymbals, Part 4 by Nick Petrella PLACEMENT The optimum place for cymbals in concert ensembles is either between the snare and bass drum or with the accessories between the snare drum and mallet keyboard instruments. The number of people covering parts and the instrumentation will be the deciding factor. In marching ensembles, the cymbals may be placed anywhere in the pit. Again, the number of people and instrumentation will be the deciding fac- tor. An important sound factor is removing the hand cymbal players from in front of the snare drummers as soon as the cymbal pattern is finished. If not, they will absorb a lot of sound, especially if there are sound scoops on the snare drums. Music and Tray Stand Placement The important consideration with music stand placement is to keep it high enough to see the music and the conduc- tor. Percussionists should place the music stand at an angle so the music is not blown away by the wind produced by playing the hand cymbals. Carpeted tray tables are more versatile than cymbal cradles because they are easy to use and can hold sticks, mallets and small instruments as well as cymbals (Figures 31 and 32). They are inexpensive to make. No noise oc- curs when setting the cymbals down because the straps touch the cymbals. A tiered tray stand works well too as it holds a collection of small instruments, sticks and mallets on stage. Whether a tray table or cymbal cradle is used, it should be placed between the percussionist and the conductor. -
Extended Performance Techniques and Compositional Style in the Solo
EXTENDED PERFORMANCE TECHNIQUES AND COMPOSITIONAL STYLE IN THE SOLO CONCERT VIBRAPHONE MUSIC OF CHRISTOPHER DEANE Joshua D. Smith, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Mark Ford, Major Professor Eugene Migliaro Corporon, Minor Professor Christopher Deane, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Smith, Joshua D., Extended performance techniques and compositional style in the solo concert vibraphone music of Christopher Deane. Doctor of Musical Arts (Performance), August 2008, 66 pp., 1 table, 8 figures, 20 musical examples, references, 29 titles. Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature. Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane’s compositions for vibraphone consistently expand the technical and musical potential of the instrument. -
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. -
KP120A User's Manual
KP120A PANEL DISPLAY INDICATIONS Your instrument features a large multi-function display (MULTI DISPLAY) that shows all important settings for the instrument. The section below briefly explains the various icons and indications in the display. (1) Message Display - This section displays the demo song, voice or style name and number you have selected. (2) Active Input - When you play the instrument, you need to change the voice, style, demo. The arrow point to which is the active section. (3) Finger Select - This arrow tells you which finger mode is selected and if the keyboard is split into two parts or not. (4) Note Display - When you play a key on the keyboard, the note will be displayed. (5) Voice Effect - These icons display the Dual, Sustain, Touch and Effect function is turned ON/OFF. (6) Track Volume - It displays the volume of each track dynamically when the demo song or style is played. (7) Transpose - Display the current transpose status of the keyboard. The number 00 indicates No transpose. (8) Chord Type - Display current chord type you play on the keyboard accompaniment section when the keyboard is in the Single or Fingered mode. (9) Measure - Display the measure of the demo song, style or record/play back have played. (10) Tempo - Display the tempo of the demo song, lesson, style or record/play. (11) Song Memory - Display the record and play track during recording and play back. (12) Record and Play - Display the record and play status. (13) Demo - Display the demo is playing. (14) Style - Display the accompaniment is playing. -
Owner's Manual
® PERCUSSION kt3m Digital Drum Trigger Module Owner’s Manual INFORMATION FOR YOUR SAFTEY! PRECAUTIONS: This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: PLEASE READ CAREFULLY BEFORE PROCEEDING (1) This device may not cause harmful interference, and (2) This device must accept any interference received, Please keep this manual in a safe place for future reference. including interference that may cause undesired opera- tion. Power Supply: Please connect the designated AC adaptor to an AC outlet of the correct voltage. Do not connect it to an AC outlet of voltage other than that for This equipment has been tested and found to comply with the which your instrument is intended. limits for a Class B digital device, pursuant to Part 15 of the FCC rules. These limits are designed to provide reasonable Unplug the AC power adaptor when not using the instrument, protection against harmful interference in a residential install- or during electrical storms. ation. This equipment generates, uses and can radiate radio frequency energy and if not used in accordance with the Connections: instructions, may cause harmful interference to radio comm- Before connecting the instrument to other devices, turn off the unications and there is no guarantee that interference will not power to all units. This will help prevent malfunction and/or occur in a particular installation. If this equipment does cause damage to other devices. harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user Location: is encouraged to try to correct the interference by one or more Do not expose the instrument to the following conditions to of the following measures: reorient or relocate the receiving avoid deformation, discoloration, or more serious damage: antenna, increase the separation between the equipment and receiver, connect the equipment into an outlet on a • Direct sunlight circuit different from that of the receiver. -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
ORCHESTRA 2001 Ann Crumb, Soprano & Patrick Mason, Baritone
Concerts from the Library of Congress 2012-2013 THE DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC ORCHESTRA 2001 Ann Crumb, soprano & Patrick Mason, baritone James Freeman, Conductor FRIDAY, May 3, 2013 8 o’clock in the EVENING Coolidge Auditorium Library of Congress, Thomas Jefferson Building THE DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC Endowed by the late composer and pianist Dina Koston (1929-2009) and her husband, prominent Washington psychiatrist Roger L. Shapiro (1927-2002), the DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC supports commissions and performances of contemporary music. In 1935 Gertrude Clarke Whittall gave the Library of Congress five Stradivari instruments and three years later built the Whittall Pavilion in which to house them. The GERTRUDE clarke whittall Foundation Thewas audio -visual equipment in the Coolidge Auditorium was funded in part by the Ira and Leonore Gershwin Fund in the Library of Congress. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. Please take note: UNAUTHORIZED USE OF PHOTOGRAPHIC AND SOUND RECORDING EQUIPMENT IS STRICTLY PROHIBITED. PATRONS ARE REQUESTED TO TURN OFF THEIR CELLULAR PHONES, ALARM WATCHES, OR OTHER NOISE-MAKING DEVICES THAT WOULD DISRUPT THE PERFORMANCE. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons.