DOCSLIB.ORG

Part I: Chapter 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Part I: Chapter 2 Part I: Chapter 2 Performing Media: Voices and Instruments Voices • Singing – most widespread and familiar way of making music. • Professional Singers vs. Untrained Singers: • Pro – 2+ octave range • Untrained – approx. 1 ½ octave range Voice Classifications • Women: • Soprano • Mezzo-soprano • Alto (or contralto) • Men: • Tenor • Baritone • Bass The Four Standard Voices • Soprano • Alto • Tenor • Bass • Vocal music dominated Western Culture until the late 1600s. Since then, instrumental music has rivaled vocal music in importance. Examples of the Voice • Soprano – “Queen of The Night” from The Magic Flute by W. A. Mozart performed by Diana Damrau • https://www.youtube.com/watch?v=463jDvbw3LQ • Alto – “Erbame Dich” by J. S. Bach performed by Eula Beal – contralto • https://www.youtube.com/watch?v=gIdNBgyC88o • Tenor – “O’ sole mio” by G. Capurro performed by The Three Tenors (Pavarotti, Carrera, and Domingo) • https://www.youtube.com/watch?v=khHvMdzsW2c • Bass – “Il lacerato spirito” from Simon Boccenegro by G. Verdi performed by Nicolai Ghiaurov • https://www.youtube.com/watch?v=UIQEMt0HlOU Musical Instruments • Instrument – any mechanism – other than the voice – that produces musical sounds • Six Categories: • String • Woodwind • Brass • Percussion • Keyboard • Electronic Instrument Variations • Many instruments can come in several different sizes and shapes. For example: Trumpet • Piccolo Trumpet • Bb Trumpet • C Trumpet • Bb Cornet • Flugelhorn • How does this affect their range and timbre and can you hear a difference when the instrument is played in a different register? Modern Symphony Orchestra • Woodwinds • Flutes • Instrumentation: approx. 100 • Piccolo • Strings • Clarinets • Violins • Bass Clarinet • 1st Violins • Oboes • 2nd Violins • English Horn • Violas • Bassoon • Cellos • Contrabassoon • Basses • Brass • Harps • Trumpets • Piano • Horns • Percussion • Trombones • Timpani • Tuba • Snare Drum • Bass Drum • Cymbals • Glockenspiel • Xylophone Concert Bands • Instrumentation consists primarily of Woodwinds, Brass, and Percussion. • Woodwind family adds the Saxophone family: • Alto Saxophone • Tenor Saxophone • Baritone Saxophone (Bari Sax) Large Ensembles • Led by a conductor – coordinates the performers and shapes the interpretation of a musical composition • Baton – thin stick used by a conductor to direct the ensemble with • Concertmaster – principal 1st violinist of an orchestra and plays all solo violin passages and coordinates the bowing of string instruments (highest paid member of the orchestra aside from the conductor a.k.a. the Maestro) String Instruments • Violin • Viola • Cello • Double Bass (Bass) • Orchestral musicians typically use a bow to play the instrument. It is a slightly curved stick strung tightly with horsehair. Occasionally they will pluck the strings with their fingers; known as Pizzicato. (very common for the double bass player in Jazz to use Pizzicato) • Double Stop – a technique used when bowing across 2 strings simultaneously to produce two pitches at once. String Techniques • Vibrato – throbbing, expressive tone produced by rocking the left hand while pressing the string down. • Mute – a clamp (mute) that fits onto the bridge to muffle the tone • Tremolo – rapidly repeats tones by quick up-and- down strokes of the bow. • Harmonics – very high-pitched tones are produced when the musician lightly touches certain points on a string. What Do They Sound Like? • Violin – “Violin Concerto in E Minor” by Felix Mendelssohn performed by Hilary Hahn • https://www.youtube.com/watch?v=o1dBg__wsuo • Viola – “Oblivion” by A. Piazzolla performed by Nobuko Imai • https://www.youtube.com/watch?v=WG1_VZJJi1Y • Cello – “Cello Suite No. 1” by J. S. Bach performed by Yo-Yo Ma • https://www.youtube.com/watch?v=q2ZHjSA8mkY • String Ensemble – “Adagio for Strings” by Samuel Barber performed by The New York Philharmonic • https://www.youtube.com/watch?v=CzLox9HD22g Plucked String Instruments • Harp – the only plucked string instrument that has gained wide acceptance in the symphony orchestra • Guitar Woodwind Instruments • Woodwinds – instruments that produce vibrations of air within a tube that traditionally was made of wood. • All woodwinds have little holes along their length that are opened or closed by the fingers or pads controlled by a key mechanism. This changes the length of the instrument causing the pitch to change higher or lower. Woodwind Sound • How to produce a sound? • Flute blows a column of air across a hole. • Single-reed – a reed (very thin piece of cane) is fastened over a hole in the mouthpiece and it vibrates when the player blows into the instrument • Double-reed – two narrow pieces of cane are held between the musician’s lips. Orchestral Woodwind Family • Piccolo – made out of wood or metal • Flute – made out of metal • Clarinet – uses a single-reed • Bass Clarinet – uses a single-reed • Oboe – uses a double-reed • English Horn – uses a double-reed • Bassoon – uses a double-reed • Contrabassoon – uses a double-reed Woodwind Timbre • Tone colors vary greatly between all woodwind instruments • Tone colors also differ between the different registers of any given instrument • Low register – breathy and thick • Top register – more penetrating More Woodwinds • Don’t forget about the Saxophone family!!! • These can be found in modern Concert Bands, Jazz and sometimes “Pop” music. • The Family: single-reed • Sopranino • Soprano – anyone heard Kenny-G? • Alto – Charlie “Bird” Parker • Tenor – John Coltrane • Baritone (Bari) • Bass Brass Instruments • Made from brass • Sound is produced by the lips vibrating together into a cup or funnel-shaped mouthpiece. Vibrations are amplified and colored in a tube that is flared at the end to form a bell. • Pitch is changed primarily by varying lip tension (faster or slower vibrations of the lips) and by pressing valves down or extending slides out to lengthen or shorten the instrument. • Valves were not invented until around 1850. Prior to ~1850, brass musicians could only change pitch with the use of their lips or changing out slides or crooks. Brass Family • Trumpet • French Horn (Horn) • Trombone • Tuba • Cornet • Baritone • Euphonium Brass Timbre • Mutes – tone color can be changed with the addition of a mute placed in the bell of the instrument. These come in many different shapes, sizes, materials: • Wood, plastic, metal • Straight, Cup, Harmon a.k.a. “wah-wah”, plunger, etc. • Mutes are widely used in Jazz to produce many different moods and effects. • Loud Dynamics can produce a very powerful sound to help emphasize climaxes and bold, heroic statements. Homework!!! • Listen to a recording of 3 Woodwind instruments and 3 brass instruments. • Song Title • Composer • Performer • Your comments about what you heard Percussion Instruments • Instruments that are struck by hand, sticks, or hammers. Also can be shaken or rubbed. • 2 Types: • Definite Pitch • Indefinite Pitch • Vibrations are set up by stretched membranes (animal skins) or by plates or bars made of metal, wood, or other sonorous materials. Percussion – Definite Pitch • Produces a tone with a definite pitch: • Timpani – only drums of definite pitch • Glockenspiel – metal bars produce a bright/silvery tone • Xylophone – wooden bars produce a dry wooden tone • Celesta – looks like an upright piano, sounds like a tinkling and graceful glockenspiel • Chimes – metal hanging tubes sound like church bells • Vibraphone – metal bars with a sustain/dampening pedal, used a lot in jazz music • Marimba – wooden bars with a very smooth/warm sound, has a very wide pitch range Percussion – Indefinite Pitch • Produces more of a noise-like sound: • Snare drum – dry rattling sound produced by rattling snares under the bottom drum head, often heard in march • Bass drum – largest drum, produces a deep bass impact and rumble • Tambourine (can be shaken, struck, or rubbed) • Triangle – struck with metal beater, makes a tinkling, bell- like sound • Cymbals – round brass plates, crashing sound • Gong – produces long-lasting sounds that can be solemn, mysterious, or frightening Keyboard Instruments • Has a keyboard that permits the performer to play several tones at the same time easily and rapidly: • Piano • Harpsichord • Organ • Accordion Piano (Pianoforte) • Invented ~1700 and mechanically perfected by the 1850s. • Produces sound through vibrating strings struck by a felt-covered hammer when the corresponding key is pushed. • Dynamics vary by how hard the performer pushes the key. Piano Pedals • Piano has 2 or 3 pedals: • Damper pedal – sustains a tone after releasing the key • Soft pedal – veils the sound • Sostenuto pedal – sustains some tones but not others Harpsichord • Important from ~1500-1775 (gradually replaced by the piano) • Strings are plucked by a set of plectra (little wedges of plastic, leather, or quill) • Has 1 or 2 keyboards • 2 keyboards can supply 2 different dynamics Pipe Organ • Most prominent from 1600-1750 • Was known as the “King of instruments” • Still used today mostly in religious services • Wide range of pitch, dynamics, and tone color (timbre) • Multiple levels of keyboards, including pedals to be played by the feet. • Various sets of pipes can be brought into playing by pulling knobs called stops. • Sound is produced by air being pumped across or through openings in the pipes. Pipe Organ Sound • Listen to “Fugue in g minor” BWV 578 by J. S. Bach http://www.youtube.com/watch?v=PhRa3REdozw Full Orchestra!!! • Listen and Watch “The Young Person’s Guide to the Orchestra” Op. 34 by Benjamin Britten performed by WDR Sinfonieorchester Köln http://www.youtube.com/watch?v=4vbvhU22uAM.
Load more

Recommended publications
  • Electric Piano Adam Estes and Yukimi Morimoto
    Electric Piano Adam Estes and Yukimi Morimoto May 16, 2018 6.101 Final Project Report Table of Contents I. Introduction II. Abstract III. Block Diagram IV. Synthesizer A. Touch Sensor B. MOSFET Switch C. Adder and Inverting Amplifier D. Voltage Controlled Oscillator E. Push-pull Amplifier V. Audio Effects A. Timbre Changer B. Octave Switch C. Soft Pedal D. Damper Pedal (Attempt) VI. Design Analysis VII. Conclusion VIII. References IX. Appendix 2 I. Introduction Musical instruments have amused people around the world throughout the history. One of the most common instruments that is enjoyed by people today is the piano. Playing the piano is very intuitive; players can make notes simply by pressing keys, and the notes ascend from left to right. In our project, we decided to build an electric piano with analog circuits. The user interface was inspired by a circuit that we built in 6.101 which lights up an LED for 30 seconds after the user touches two electrodes. We thought that the idea behind this circuit was a clever one, but we wanted to do something more interesting than just turning on a light. Turning on the circuit by touching electrodes resembles playing notes by pressing keys on the piano. The electric piano, therefore, enables players to play music in a similar way to a real piano. The features of the electric piano were inspired by those of a real piano. The electric piano can play three octaves in total, and has a soft pedal to decrease the volume. The waveshapes can be changed to several different shapes to better mimic the sounds of the piano, if not quite perfectly.
    [Show full text]
  • Two Andover Girls Killed on Highway
    7 *, -N Armcii Ikllf frtm Ron r«r «w WMk >ii«M 'ni itM ' . fNweeest •! IT. i t WmMtiit ' Otauf Mril «M»I toklKkC 13,705 to ML Slinajr, piMjMUrt; BlMObOT ' t t tiM AodNk n i^ to antor 7tA V , f'' BltfWIB •( CIlMlftttM Menehegttr^A City o / ViUagt Chirm VOL. LXXCTL NO. 284 (StXTEBN PAGES) MANCHESTER, CONN., TUESDAY, SEPTEMBER, 1, 1984 (OtoWfM AdVMiMar m P a f« M) PRICE SEVEN CEK fr Titan Up, Blac^Out ans CAPE KENNEDY,CENN Fla. (AP) — The Air Force launched a Titan SA mili­ tary space rocket on 'its maiden test flisrht . today, but lost track of it l3.min \ utes after lift-off. The 124-foot tall rocket biast' 8 ed away from Cape Kennedy'i^- Poverty Billi ;yV * Democrat 11 a.m. It* groal wa* to launch J It* third staae Into orbit a* a U i l l f l H C C S V f OOCI flying launch* platform. The y Backr Move platform, in turn, wa* to kick f loo*e a dummy -satellite into J O l l l l S O I l X O l v l separate orbit. In Caucus Within minutes, the second and third stages fired on sched­ WASHINGTON (API — Dem­ By GEORGE BAZAN ule. But, as' the rocket zipped ocratic congressional' .leaders 100 miles over a tracking sta- gave President Johnson an optl- HARTFORD" (AP) — A Uon in the West Indies Island ‘ mlsUc report today on prospects Republican leader said to­ of Antigua, radio contact was for enactment of his blllion-d<Jl-_ day that Republicans h»y« lost with the vehicle.
    [Show full text]
  • Piano Manufacturing an Art and a Craft
    Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH.
    [Show full text]
  • Maintenance Methods for Digital Computers 1959 • VOL
    1959 PICTORIAL REPORT ON THE COMPUTER FIELD DECEMBER Maintenance Methods for Digital Computers 1959 • VOL. • 8 - NO. 12 ~~"""""""""""""""""""""""""'"""""""""""""""""""""" - ~ ~ ~ ~ ~ ~ ~ ~ COMPUTER PROGRAMMERS ~ ~ ~ ~ ~ I Contribute to the f" ormulation ~ ~ ~ ~ of Ootally New Oechniques :J{pplicable I ~ to ..carge-Scale Systems at ~ ~ ~ ~ THE ~ ~ MITRE ~ ~ ~ ~ ~ ~ ~ ~ MIT~E, formed under the sponsorship of the Massachusetts Institute of Technology, ~ ~ has as a primary responsibility the design and development of computer-based air defense ~ ~ systems. An important part 01 this effort is the lonnulation 01 totally new programming ~ ~ techniques. ~ ~ Supported by such computer equipment as an IBM 704 and an experimental SAGE ~ i AN/FSQ-7 (soon to be augmented by an IBM 7090 and a solid state SAGE computer) ~ ~ MITRE engineers and scientists are involved in broad applied and creative programming ~ ~ areas. A significant part of this effort involves the development of computer programs to: ~ ~ ~ ~ • Provide simulation vehicles for testing missiles, ~ ~ interceptors, guidance systems .and tracking procedures ~ ~ • Carry out data reduction and analyses ~ ~ • Assist in the study of man-machine relations ~ ~ • Assist in the design and evaluatiou of new systems ~ ~ • Check out equipment and subsystems ~ ~ ~ ~ Additionally, MITRE has undertaken a number of challenging projects in the study of ~ ~ machine design and programming research; programming systems are being developed ~ ~ to provide more efficient techniques that will facilitate the writing,
    [Show full text]
  • Frequently Asked Questions
    www.M-Audio.com Frequently Asked Questions Do I need a computer to use the Hammer 88? The Hammer 88 will require either a computer with accompanying software* or a sound module (such as the M-Audio Accent Module) in order to generate any sound. The keyboard will send MIDI messages over USB and the 5-pin MIDI Out port which will trigger sound in the connected software or sound module. *The Hammer 88 includes the Ableton Live Lite software and several plugins to help you get started. Does the Hammer 88 require any drivers? No. The Hammer 88 is class-compliant and does not require any drivers for use with Mac and Windows operating systems. What are the computer requirements for the Hammer 88? The Hammer 88 is compatible with Windows 7 and up, and Mac OS X 10.10 and up. Do I need a power supply for the Hammer 88? No, a power supply is not necessary. The Hammer 88 is powered through the USB connection with your computer. inMusic Brands Europe – Unit 3, Nexus Park – Lysons Avenue – Ash Vale – Hampshire – GU12 5QE www.M-Audio.com An optional 9V DC, 800mA, center positive power supply can be used to power the keyboard when using without a computer. Does the Hammer 88 come with any software? Yes, the Hammer 88 comes with the following software. • Ableton Live Lite • SONiVOX Eighty-Eight Ensemble • AIR Mini Grand • AIR DB-33 • AIR Velvet • Skoove 3-month premium subscription • Hammer 88 software editor All software (with the exception of Skoove, and Ableton Live Lite) will be available from the user account page once the Hammer 88 has been registered.
    [Show full text]
  • Installation Guide for Grand Pianos (Standard System)
    PIANODISCHeading SYSTEMS Installation Guide for Grand Pianos (Standard System) Jan. 2019 Place you r m essag e h ere. Fo r m axim um i mpact , use two or t hre e se ntenc es. Installation Guide PianoDisc Installation Guide for Grand Pianos Jan. 2019 4111 North Freeway Blvd. Sacramento, CA 95834 Phone 916 -567 -9999 Fax 916 -567 -1941 WWW.PianoDisc.Com PianoDisc ® is protected by copyright law and international treaties. Reproduction or distribution of this guide may result in civil and criminal penalties plus prosecution to the maximum extent possible under the law. PianoDisc and Burgett, Inc. reserve the right to change product design and specifications at any time without prior notice. Introduction This installation manual will guide you through the process of fitting the PianoDisc High Definition SilentDrive reproducing piano system to virtually any grand piano. Along with the knowledge and experience gained from a PianoDisc Installation Seminar, this guide should be an invaluable resource. This document is considered confidential by PianoDisc, and is for the sole use of PianoDisc Certified Technicians. It may not be reproduced, distributed or quoted in whole or in part without the express written permission of PianoDisc. This guide is only to be used in the installation of the PianoDisc SilentDrive Reproducing System. PianoDisc systems may ONLY be installed by technicians who have been certified by PianoDisc to perform such installations. If you have come into possession of this manual and/or a Retrofit Kit and you are NOT a PianoDisc Certified Technician, DO NOT ATTEMPT TO PERFORM THE INSTALLATION. Installations not performed by a certified PianoDisc technician WILL NOT meet the requirements for warranty protection, and such an installation will likely void the piano manufacturer’s warranty for the instrument and the player system, and may also be a violation of FCC rules.
    [Show full text]
  • Product Catalog 2017
    Nord Keyboards Product Catalog 2017 Catalog Product Keyboards Nord STAGE PIANOS • SYNTHESIZERS • COMBO ORGAN Handmade in Sweden by Clavia DMI AB PRODUCT CATALOG 2017 The Original Red Keyboards The Nord factory is located in the creative area of Stockholm also known as SoFo, in the district of Södermalm. With everything located in the same building, communication between development and production is only a matter of walk- ing a few meters. We are proud to say all our Nord products are assembled by hand and they all go through a series of tough tests to ensure they’ll be ready for a long and happy life ‘on the road’. CONTENTS STAGE PIANOS NORD STAGE 3 6 NEW NORD PIANO 3 16 NORD ELECTRO 5 22 SYNTHESIZERS NORD LEAD A1 30 NORD LEAD 4 38 NORD DRUM 3P 46 COMBO ORGAN NORD C2D 50 SOUND LIBRARIES 58 Manufacturer: Clavia DMI AB, Box 4214, SE-102 65 Stockholm, Sweden Phone: +46 8 442 73 60 | Fax: +46 8 644 26 50 | Email: [email protected] | www.nordkeyboards.com 3 COMPANY HISTORY COMPANY IT ALL STARTED BACK IN 1983... In 1983 founder Hans Nordelius created the Digital introducing stunning emulations of classic vintage Chamberlin. The Electro 3 became one of the most In 2013 we celebrated our 30th anniversary as a musical Percussion Plate 1 – the first drum pad allowing for electro-mechanical instruments with a level of successful products we’ve ever made. instrument company by releasing the Nord Lead 4, Nord dynamic playing using sampled sounds. The DPP1 portability generally not associated with the original In 2010 the streamlined Nord Piano was introduced, Drum 2, Nord Pad and the Nord Piano 2 HP! At NAMM was an instant success and soon thereafter the instruments… a lightweight stage piano that featured advanced 2014 we announced the Nord Lead A1 – our award- brand name ddrum was introduced.
    [Show full text]
  • MP7SE Owner's Manual
    Introduction Main Operation EDIT Menu STORE Button & SETUPs Owner’s Manual Recorder USB Menu SYSTEM Menu Appendix Thank you for purchasing this Kawai MP7SE stage piano. This owner’s manual contains important information regarding the instrument’s usage and operation. Please read all chapters carefully, keeping this manual handy for future reference. About this Owner’s Manual Before attempting to play this instrument, please read the Introduction chapter from page 10 of this owner’s manual. This chapter provides a brief explanation of each section of the MP7SE’s control panel, an overview of its various jacks and connectors, and details how the components of the instrument’s sound are structured. The Main Operation chapter (page 20) provides an overview of the instrument’s most commonly used functions, beginning with turning zones on and off, adjusting their volume, and selecting sounds. Later on, this chapter introduces basic sound adjustment using the four control knobs, before examining how reverb, EFX, and amp simulation can all be applied to dramatically change the character of the selected sound. Next, the MP7SE’s authentic Tonewheel Organ mode is outlined, explaining how to adjust drawbar positions using zone faders and control knobs, and change the organ’s percussion characteristics. The chapter closes with an explanation of the instrument’s global EQ and transpose functions. The EDIT Menu chapter (page 38) lists all available INT mode and EXT mode parameters by category for convenient reference. The STORE Button & SETUP Menus chapter (page 64) outlines storing customised sounds, capturing the entire panel configuration as a SETUP, then recalling different SETUPs from the MP7SE’s internal memory.
    [Show full text]
  • Multiphonics of the Grand Piano – Timbral Composition and Performance with Flageolets
    Multiphonics of the Grand Piano – Timbral Composition and Performance with Flageolets Juhani VESIKKALA Written work, Composition MA Department of Classical Music Sibelius Academy / University of the Arts, Helsinki 2016 SIBELIUS-ACADEMY Abstract Kirjallinen työ Title Number of pages Multiphonics of the Grand Piano - Timbral Composition and Performance with Flageolets 86 + appendices Author(s) Term Juhani Topias VESIKKALA Spring 2016 Degree programme Study Line Sävellys ja musiikinteoria Department Klassisen musiikin osasto Abstract The aim of my study is to enable a broader knowledge and compositional use of the piano multiphonics in current music. This corpus of text will benefit pianists and composers alike, and it provides the answers to the questions "what is a piano multiphonic", "what does a multiphonic sound like," and "how to notate a multiphonic sound". New terminology will be defined and inaccuracies in existing terminology will be dealt with. The multiphonic "mode of playing" will be separated from "playing technique" and from flageolets. Moreover, multiphonics in the repertoire are compared from the aspects of composition and notation, and the portability of multiphonics to the sounds of other instruments or to other mobile playing modes of the manipulated grand piano are examined. Composers tend to use multiphonics in a different manner, making for differing notational choices. This study examines notational choices and proposes a notation suitable for most situations, and notates the most commonly produceable multiphonic chords. The existence of piano multiphonics will be verified mathematically, supported by acoustic recordings and camera measurements. In my work, the correspondence of FFT analysis and hearing will be touched on, and by virtue of audio excerpts I offer ways to improve as a listener of multiphonics.
    [Show full text]
  • Beethoven and the Piano
    Beethoven and the Piano Beethoven was not only a prolific composer for Beethoven’s early life was one of significant Yet Beethoven’s relationship with the piano – as As well as his 32 piano sonatas, sets of variations the piano, but for much of his life was a change in the technology of keyboard with most of the people in his life – was hardly and many other shorter piano works, it was only celebrated piano virtuoso. Rather like Liszt instruments: namely the gradual transition from smooth. He forged his early reputation in Vienna natural that Beethoven should unite the piano several decades later, Beethoven’s pianism the use of the harpsichord to the piano in no small measure as a pianist (he was, among with another ‘instrument’ so critical to his output, enthralled and perplexed in equal measure. (significantly, his earliest keyboard works were other things, a quite brilliant improviser), though the orchestra, and between 1790 and 1809 he Contemporary reports describe his piano playing composed to be played on either instrument). there was always a sense on Beethoven’s part composed five piano concertos. The combination as strikingly expressive, bold and technically Harpsichord sound is produced when a series of that for all the new technical and expressive of piano and orchestra provided Beethoven great brilliant. If that were not enough, while Beethoven quills pluck the instrument’s strings, a mechanical potential offered by the instrument, it was never scope for presenting and developing ideas; it was capable of playing exquisite lyricism on the process that allows for only limited dynamic quite adequate for his creative needs.
    [Show full text]
  • Owner's Manual
    FP-2_e.book 1 ページ ２００６年５月１２日 金曜日 午後２時４１分 ® Owner’s Manual Thank you, and congratulations on your choice of the Roland Digital Piano FP-2. Main Features Stylish, Light, Compact Design The refined design fits in anywhere; and since it is so lightweight and compact, it’s easy to take the instrument with you wherever you go. Authentic Piano Performances Features high-quality concert grand piano sounds and a Hammer Action keyboard that gives a more realistic piano touch by providing a heavier feel in the low end and a lighter feel in the upper notes. In addition, the FP-2 is equipped with three pedal jacks and comes with a half-damper pedal capable of adjusting the depth of the resonance, combining to allow you to enjoy truly authentic piano performances. Wide Variety of Tones For Use in Many Musical Genres and High-quality Effects The FP-2 offers not just piano sounds, but over 50 different onboard sounds that can be used in a wide variety of musical styles. You can also play Drum Sets with the instrument. Additionally, the high-quality effects allow you to add more richness and expression to the sound. “Session Partner” Lets You Enjoy Playing with a Session-Like Feel Enjoy true session-like feel while performing along with a “rhythm” section built upon realistic-sounding “rhythms.” 201a Before using this unit, You can specify the “rhythm” chord progression with your left hand, and create original carefully read the sections chord progressions as well. entitled: “USING THE UNIT SAFELY” and Experience a Variety of Performances with Dual and Split Functions “IMPORTANT NOTES” (p.
    [Show full text]
  • Creating Adaptive Technology to Play the Piano
    Creating adaptive technology to play the piano Final Report December 12, 2012 Team Members Taylor Lamberty Myranda Schmitt Jolene Enge Nyna Choi Client Vicki Janisch Mary Advisor Dr. Willis Tompkins Abstract AgrAbility of Wisconsin (AAW) supports Wisconsin farmers and their families by accommodating disability in agriculture and promoting disability awareness [1]. Our client is Vicki Janisch who is an outreach coordinator for AAW. Her long time client is Mary, a Wisconsin farmer who has rheumatoid arthritis and as a result has had a below-the-knee amputation of her right leg in addition to bilateral knee replacements and left ankle fusion. Mary’s passion is playing the piano. Both of her ankles have little to no flexion, which prevents her from using the damper pedal that is necessary to create a rich, full sound. Some current adaptive devices exist, but are not ideally suited to our client’s greatest need of portability. Our device features a simple design that utilizes a wedge to actuate the pedal. Through modification, we were ultimately able to achieve a compact, low profile, lightweight device that is portable and is easy to use. 2 Table of Contents Abstract 2 Background Client Description 4 Current Devices 4 Problem Motivation 5 Design Requirements 6 Design Alternatives 7 Wedge & Lever System 7 Free Weight and Pulley System 9 Translating System 9 Gliding Platform and Wedge System 10 Design Matrix 10 Design Matrix Criteria 12 Effectiveness 12 Patient Comfort 12 Portability 12 Safety 12 Durability 13 Final Design 13 Force Analysis 14 Testing 14 Cost 15 Future Work 16 Timeline 16 References 18 Appendix 19 3 Background Client Description Our client is Vicki Janisch, an Outreach Specialist for AgrAbility of Wisconsin (AAW).
    [Show full text]