Grd Guitar, Bass, Keyboard, Drums, Ukulele, Mandolin, Banjo, Saxophone, Harmonica
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The Percussion Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine). -
The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Ron Block Hogan's House of Music Liner Notes Smartville (Ron Block
Ron Block Hogan’s House of Music Liner Notes Smartville (Ron Block, Moonlight Canyon Publishing, BMI) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Tim Crouch - fiddle Jerry Douglas - Dobro Stuart Duncan – fiddle Clay Hess - rhythm guitar Adam Steffey – mandolin Hogan’s House of Boogie (Ron Block, Moonlight Canyon Publishing, BMI) Ron Block – banjo, rhythm and lead guitar Sam Bush - mandolin Jerry Douglas – Dobro Byron House - bass Dan Tyminski – rhythm guitar Lynn Williams – snare Wolves A-Howling (Traditional) Barry Bales - bass Ron Block - banjo Stuart Duncan - fiddle Adam Steffey - mandolin Dan Tyminski - rhythm guitar The Spotted Pony (Traditional, arr. Ron Block, Moonlight Canyon Publishing, BMI) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Stuart Duncan – fiddle Sierra Hull – octave mandolin Alison Krauss - fiddle Adam Steffey – mandolin Dan Tyminski - rhythm guitar Lynn Williams – snare Clinch Mountain Backstep (Ralph Stanley) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Stuart Duncan – fiddle Clay Hess - rhythm guitar Adam Steffey – mandolin Gentle Annie (Stephen Foster) Ron Block – banjo, guitar Tim Crouch – fiddles, cello, bowed bass Mark Fain - bass Sierra Hull – octave mandolins Mooney Flat Road (Ron Block, Moonlight Canyon Publishing, BMI) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Stuart Duncan – fiddle Sierra Hull – octave mandolin Alison Krauss - fiddle Adam Steffey – mandolin Jeff Taylor - accordion Dan Tyminski - rhythm guitar Lynn Williams – snare Mollie -
Shin Akimoto Alan Bibey Sharon Gilchrist
Class list is preliminary- subject to change Shin Akimoto Monroe Style (I) Rhythm Playing (AB) Bluegrass in Japan (All) Alan Bibey No, you backup (AB-I) Playing fills and how to play behind a vocalist Classic Bluegrass Mandolin breaks (I-A) Road to improv (I-A) Classic Monroe licks (AB-I) Spice Up your playing with triplets (I-A) Sharon Gilchrist Closed Position Fingering for Playing Melodies in All 12-Keys: (AB-I) Learn a couple of easy patterns on the fretboard that allow you to play melodies in all 12 keys easily. This is what a lot of mandolin players are using all the time and it's easy! Closed Position means using no open strings. Basic Double Stop Series: (AB-I) Double stops are one of the mandolin's signature sounds. In this class, we will learn a basic double stop series that moves up and down the neck for both major and minor chords. Freeing Up the Right Hand (B-I) This class is geared towards folks who have learned a number of fiddle tunes and have gotten pretty comfortable playing those melodies but are wondering how to speed them up a bit or breathe a little more life into them now. It is also for folks who might have been playing for a while but still struggle with speed and flow in performance of their tunes. Backing Up a Singer: (I-A) Using double stops and licks to create back up that allows the lead vocal to remain front and center while enhancing the story of the song. -
A Nickel for Music in the Early 1900'S
A Nickel for Music in the Early 1900’s © 2015 Rick Crandall Evolution of the American Orchestrion Leading to the Coinola SO “Super Orchestrion” The Genesis of Mechanical Music The idea of automatic musical devices can be traced back many centuries. The use of pinned barrels to operate organ pipes and percussion mechanisms (such as striking bells in a clock) was perfected long before the invention of the piano. These devices were later extended to operate music boxes, using a set of tuned metal teeth plucked by a rotating pinned cylinder or a perforated metal disc. Then pneumatically- controlled machines programmed from a punched paper roll became a new technology platform that enabled a much broader range of instrumentation and expression. During the period 1910 to 1925 the sophistication of automatic music instruments ramped up dramatically proving the great scalability of pneumatic actions and the responsiveness of air pressure and vacuum. Usually the piano was at the core but on larger machines a dozen or more additional instruments were added and controlled from increasingly complicated music rolls. An early example is the organ. The power for the notes is provided by air from a bellows, and the player device only has to operate a valve to control the available air. Internal view of the Coinola SO “orchestrion,” the For motive most instrumented of all American-made machines. power the Photo from The Golden Age of Automatic Instruments early ©2001 Arthur A. Reblitz, used with permission. instruments were hand -cranked and the music “program” was usually a pinned barrel. The 'player' device became viable in the 1870s. -
Electric Octave Mandolin Conversion
Search Conversion of an electric mini-guitar to electric octave Where is it? mandolin by Randy Cordle Active Completed electric octave mandolin Expand All | Contract All A B C D E F G H I Shown is an electric octave mandolin that started its life as a $99 mini-guitar. Total cost J was approximately $200 with the additional cost of items used in the conversion. The K conversion process is fairly simple, and can be done with the information given here if L you have some basic woodworking skills and a few basic power tools. A drill press and 4" M tabletop belt sander were the primary tools that I used that may not be in everyone's shop, N but the project could be done using other methods. O P–Q Electric octave mandolin specifications R 22-7/8" scale S GG-DD-AA-EE unison pair tuning T Width of neck at nut is 36mm, 12th fret width is 47mm U–V Width between outer string pairs at bridge is 52mm String pair center distance is 3mm W–X Y–Z Additional parts and where they were obtained Inactive Schaller A-style mandolin tuners - $40, First Quality Musical Supplies, also Expand All | Contract All available from Stewart-McDonald .090" white pick guard material - $9, Stewart-McDonald A Switchcraft output jack (don't use the cheap existing jack) - $5, Stewart-McDonald B 1/8" bone nut blank - $4, Stewart-McDonald C Straplok strap hardware...not necessary, but they find their way on most of my stage D instruments - $13, Stewart-McDonald Testor's "make your own decals with your ink-jet printer" kit - $6, Wal-Mart E Tru-oil gunstock finish - $6, Wal-Mart -
A History of Mandolin Construction
1 - Mandolin History Chapter 1 - A History of Mandolin Construction here is a considerable amount written about the history of the mandolin, but littleT that looks at the way the instrument e marvellous has been built, rather than how it has been 16 string ullinger played, across the 300 years or so of its mandolin from 1925 existence. photo courtesy of ose interested in the classical mandolin ony ingham, ondon have tended to concentrate on the European bowlback mandolin with scant regard to the past century of American carved instruments. Similarly many American writers don’t pay great attention to anything that happened before Orville Gibson, so this introductory chapter is an attempt to give equal weight to developments on both sides of the Atlantic and to see the story of the mandolin as one of continuing evolution with the odd revolutionary change along the way. e history of the mandolin is not of a straightforward, lineal development, but one which intertwines with the stories of guitars, lutes and other stringed instruments over the past 1000 years. e formal, musicological definition of a (usually called the Neapolitan mandolin); mandolin is that of a chordophone of the instruments with a flat soundboard and short-necked lute family with four double back (sometimes known as a Portuguese courses of metal strings tuned g’-d’-a”-e”. style); and those with a carved soundboard ese are fixed to the end of the body using and back as developed by the Gibson a floating bridge and with a string length of company a century ago. -
Bass Drum Journal May 2018 of the Harvard University B and Vol
the bAss Drum JournAl May 2018 of the hArvArD university b AnD Vol. 98 No. 1 three Cheers for 100 yeArs ne of the really special things to me about the band is our Ohistory and the traditions that have emerged from it. When I was interviewing everyone running for junior staff, I asked each of them what their favorite silly band tradition was. I originally intended this to reduce tension and allow any nervous freshmen to relax with an easy frst question, but the responses I received highlighted many of the wonderful aspects of band. My most shocking takeaway from that question was that no two people had the same answer. All 24 people who were interviewed each had The Band caroling in downTown BosTon To spread The holiday spiriT a unique favorite tradition. While many we lead the band into its 100th year, answers were the ones I would expect: as many playing the bottle cheer. Looking maintaining its history and adding to it march down, flower/flour, confetti, forward, planning for the 100th Reunion is while we go. I’ve loved working with verse 2, cuts, and Bagpipes, there well underway. The reunion will take place on you all these past six months, and I were also many traditions the weekend of October 12th, 2019 when our have no doubts that you will all be great I had never even thought football team takes on Cornell. We’d love going forward and make the band even of, such as the trumpets to have as many crusts as possible, and I better. -
Course Outline: Guitar & Mandolin Orchestra
Course Outline: Guitar & Mandolin Orchestra Guitar & Mandolin Orchestra (G&MO) is a large ensemble that performs music on acoustic guitars, bass guitars, mandolins, mandolas and mandocellos. Activities involving performance techniques, general musicianship and creative/critical thinking are emphasized during rehearsals. Membership satisfies the participation requirement for regional and all-state honors ensembles. Course prerequisites: because the ensemble is focused on performing music in a selective and balanced setting, all students must audition. NOTE: students who have successfully auditioned for BCA Orchestra on the following instruments may register without an audition: violin, viola, cello, bass. Course Goals and Objectives Ultimately, students in Guitar & Mandolin Orchestra present several performances throughout the academic year. Importantly, members explore various styles of music including: classical, jazz, international, and folk music. Through exploration, students will experience several techniques and interpretive practices necessary to perform these styles. Creative strategies are utilized in order to expose students to a variety of related musical concepts including history, foreign language, improvisation, critique, conducting, and music theory. Grading, Assessment and Course Responsibilities Grades are based on the average of all class sessions, dress rehearsals, and performances. Points are awarded based on assessment for preparation, participation, attendance and team work- because they foster responsible adult practices. A = 93 -100 A- = 90 – 92 B+ = 87 - 89 B = 83 - 86 B- = 80 - 82 C+ = 77 - 79 C = 73 - 76 C- = 70 - 72 D+ = 63 - 69 D = 60 - 62 F = 0 - 59 Preparation (approx. 70%): Students who are present and prepared earn 3 points each class session as follows: 2 points for bringing instrument and individual copy of sheet music, 1 point for preparing any assigned material and/or participating in class activities. -
DAKOTA OCTAVE MANDOLIN KIT and MANDOCELLO KIT
DAKOTA OCTAVE MANDOLIN KIT and MANDOCELLO KIT MUSICMAKER’S KITS, INC PO Box 2117 Stillwater, MN 55082 651-439-9120 harpkit.comcom WOOD PARTS: DAKOTA OCTAVE MANDOLIN KIT A - Neck B - Fretboard C - Heel Block Z R D - Tail Block E - 2 Heel Ribs F - 2 Side Ribs G - 2 Tail Ribs A P H - 4 Corner Blocks I B I - Back Panel J - 3 Cross-Braces for Back K - 2 Flat Braces for Back L L - Front (Soundboard) N M - 10 Braces for Front (Soundboard) O N - 6 Inner Kerfing Strips O - Bridge (with Saddle & 8 pegs) X V P - Bridge Clamp, w/4 machine screws, 2 washers, 2 wing nuts U Q - Bridge Plate E T R - 4 Clamping Wedges C E S - Spacer Block T - 6 Binding Strips, walnut HH U - Heel Cap Y V - Truss Rod Cover (with 3 screws) F F HARDWARE: S K J M W - 48 Inches Fretwire X - 1 White Side Marker Rod 5/64”” X 2” Y - 8 Black Geared Tuners H H w/8 sleeves, 8 washers & 8 tiny screws Z - Double Truss Rod, with allen wrench 8 - Pearl Marking Dots, 1/4” dia. Q 1 - Heavy Fretwire, 2” long, for #0 fret G G 1 - Set of 8 Strings D 1 - Black Wood Nut Fig 1 W 1 - Hex Bolt, 1/4” X 2”, with washer 2 - Tiny Nails If you have any questions about the assembly of your 1 - Drill Bit, 1/16” for tiny screws 1 - Drill Bit, 5/64” for Side Markers kit - please visit our online Builder’s Forum 1 - Drill Bit, 3/16” for bridge www.harpkit.com/forum Assembly Instructions A NOTE ABOUT GLUE We recommend assembling this kit with standard woodworker’s glue (such as Elmer’s Carpenters Glue or Titebond Wood Glue). -
Automatic Classification of Drum Sounds with Indefinite Pitch
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Biblioteca Digital da Produção Intelectual da Universidade de São Paulo (BDPI/USP) Universidade de São Paulo Biblioteca Digital da Produção Intelectual - BDPI Departamento de Ciências de Computação - ICMC/SCC Comunicações em Eventos - ICMC/SCC 2015-07 Automatic classification of drum sounds with indefinite pitch International Joint Conference on Neural Network, 2015, Killarney. http://www.producao.usp.br/handle/BDPI/49424 Downloaded from: Biblioteca Digital da Produção Intelectual - BDPI, Universidade de São Paulo Automatic Classification of Drum Sounds with Indefinite Pitch Vinfcius M. A. Souza Nilson E. Souza-Filho Gustavo E. A. P. A. Batista Department of Acoustic Engineering Institute of Mathematics and Computer Science Federal University of Santa Maria, Brazil University of Sao Paulo, Brazil [email protected] {vsouza, gbatista}@icmc.usp.br Abstract-Automatic classification of musical instruments is Many research papers in Machine Learning and Signal an important task for music transcription as well as for pro Processing literature focus in the classification of string or fessionals such as audio designers, engineers and musicians. wind harmonic instruments and only a limited effort has been Unfortunately, only a limited amount of effort has been conducted conducted to classify percussion instruments (an interesting to automatically classify percussion instrument in the last years. review can be found in [1]). The main difference between The studies that deal with percussion sounds are usually restricted percussion and another instruments is the fact that the per to distinguish among the instruments in the drum kit such as cussion produces indefinite pitch or unpitched sounds. -
1960 - Tillsonburg Xmas Tree Burning
LONDON FREE PRESS CHRONO. INDEX DATE PHOTOGRAPHER DESCRIPTION 1/1/60 JANUARY - copy...Wingham: Mr. W.J. Ritchie of Durham turns over books to daughter Mrs. R.C. Robinson Pittendreigh Ice and snow near Fordwich Turner Sarnia: New Year's babies; Garrison mess New Year's celebrations - Stratford: children on ice Wildgust Stratford ice storm repair crews - copy...Wingham: New Year's baby, Mr. and Mrs. Jack Fisher, and nurse Esther Hill Wildgust Stratford New Year's baby to Mrs. Jacob de Boer - copy...Wingham: New Year's baby to Mr. and Mrs. Graham Whitely, R5 Goderich Sallaway Port Stanley fatal crash; New Year's baby - Chatham: first Kent baby (Nicholson); first Chatham baby (Slater); Mrs. John Van Haren Blumson Skaters at Fanshawe Don Mrs. Doris Brown with twins, last and first born of 1959- 60 Blumson Basketball tournament at Thames Hall K. Smith New Year's mess tour 2/1/60 K. Smith Figure skating classes at London West Rink B. Smith Western vs. Livingstons B. Smith Winners of the junior hunt team at Pony Club trials B. Smith Aylmer vs. Toronto in finals for Purple and White championships at UWO Blumson Semi-final game between Catholic Central and East Elgin at Thames Hall B. Smith Albert Green, pulled from Thames River K. Smith Pony Club at Medway Farms Blumson 1959 Pontiac in showroom at London Motor Products 3/1/60 K. Smith Snowman on Tecumseh Ave Blumson Kids sliding down hill at Ski Club Chute Plane crash at Iona 1 LONDON FREE PRESS CHRONO. INDEX DATE PHOTOGRAPHER DESCRIPTION Turner Sarnia Township police sort cigarettes and tobacco recovered after break-in of Bright's Grove store 4/1/60 Jones Sarnia: fatal free year K.