Guitar Class 1 Syllabus
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Magpick: an Augmented Guitar Pick for Nuanced Control
Magpick: an Augmented Guitar Pick for Nuanced Control Fabio Morreale Andrea Guidi Andrew McPherson Creative Arts and Industries Centre For Digital Music Centre For Digital Music University of Auckland, Queen Mary University of Queen Mary University of New Zealand London, UK London, UK [email protected] [email protected] [email protected] ABSTRACT This paper introduces the Magpick, an augmented pick for electric guitar that uses electromagnetic induction to sense the motion of the pick with respect to the permanent mag- nets in the guitar pickup. The Magpick provides the gui- tarist with nuanced control of the sound that coexists with traditional plucking-hand technique. The paper presents three ways that the signal from the pick can modulate the guitar sound, followed by a case study of its use in which 11 guitarists tested the Magpick for five days and composed a piece with it. Reflecting on their comments and experi- Figure 1: The Magpick is composed of two parts: a ences, we outline the innovative features of this technology hollow body (black) and a cap (brass). from the point of view of performance practice. In partic- ular, compared to other augmentations, the high tempo- ral resolution, low latency, and large dynamic range of the The challenge is to find ways to sense the movement of Magpick support a highly nuanced control over the sound. the pick with respect to the guitar with high resolution, Our discussion highlights the utility of having the locus of high dynamic range, and low latency, then use the resulting augmentation coincide with the locus of interaction. -
An Overview of a Strumming Guitar Robot
StrumBot – An Overview of a Strumming Guitar Robot Richard Vindriis Dale Carnegie Victoria University of Wellington Victoria University of Wellington School of Engineering and Computer Science School of Engineering and Computer Science Wellington, New Zealand Wellington, New Zealand [email protected] [email protected] ABSTRACT • Incorporate features that allow for additional musical StrumBot is a novel standalone six stringed robotic guitar consisting expressivity. of mechanisms designed to enable musical expressivity and minimise acoustic noise. It is desirable for less than 60 dBA of noise at 1 m to be 2. BACKGROUND emitted to allow StrumBot to play in intimate venues such as cafés or Previous musical robots have a problem with the acoustic noise restaurants without loud motor noises detracting from the musical created from mechanical sources, such as a carriage rubbing against a experience. slide. This noise is not musical and interferes with the enjoyment of StrumBot improves upon previous robotic musical instruments by listening to the robots perform. While this does not matter in a concert allowing additional expressive opportunities for a composer to utilise. setting, it is not suitable for playing in a home or café type StrumBot can perform slides, vibrato, muting techniques, pitch bends, environment. A normal speaking volume (measured at 1 m) is pluck power variances, timbre control, complex chords and fast approximately 60 dB and it would be preferred if the robotic noise was strumming patterns. below this level. A MIDI input allows commercial or custom controllers to operate MechBass, BassBot and Swivel have all been designed for StrumBot. -
Realguitar 5 User's Manual
REALGUITAR 5 USER'S MANUAL COPYRIGHT © 2004-2021 BY MUSICLAB, INC. TABLE OF CONTENTS ABOUT THE PROGRAM .................................................................................................................................................. 3 WHAT’S NEW IN REALGUITAR 5 ............................................................................................................................. 5 INSTALLING REALGUITAR ............................................................................................................................................. 6 Installing RealGuitar PC version ..................................................................................................................... 6 Installing RealGuitar Mac version .................................................................................................................. 6 Launching RealGuitar .............................................................................................................................................. 6 Managing Sound Bank ........................................................................................................................................... 7 REALGUITAR STEEL STRING ....................................................................................................................................... 8 Virtual Fretboard .......................................................................................................................................................... 8 Virtual Keyboard .......................................................................................................................................................... -
Guitar Best Practices Years 1, 2, 3 and 4 Nafme Council for Guitar
Guitar Best Practices Years 1, 2, 3 and 4 Many schools today offer guitar classes and guitar ensembles as a form of music instruction. While guitar is a popular music choice for students to take, there are many teachers offering instruction where guitar is their secondary instrument. The NAfME Guitar Council collaborated and compiled lists of Guitar Best Practices for each year of study. They comprise a set of technical skills, music experiences, and music theory knowledge that guitar students should know through their scholastic career. As a Guitar Council, we have taken careful consideration to ensure that the lists are applicable to middle school and high school guitar class instruction, and may be covered through a wide variety of method books and music styles (classical, country, folk, jazz, pop). All items on the list can be performed on acoustic, classical, and/or electric guitars. NAfME Council for Guitar Education Best Practices Outline for a Year One Guitar Class YEAR ONE - At the completion of year one, students will be able to: 1. Perform using correct sitting posture and appropriate hand positions 2. Play a sixteen measure melody composed with eighth notes at a moderate tempo using alternate picking 3. Read standard music notation and play on all six strings in first position up to the fourth fret 4. Play melodies in the keys C major, a minor, G major, e minor, D major, b minor, F major and d minor 5. Play one octave scales including C major, G major, A major, D major and E major in first position 6. -
Ukulele Strums Blues Tunes
The Roll and Muffle Strum is a “funky” strum that works well with some ragtime and old Ukulele Strums blues tunes. It is really a simple down stroke with the ball of the thumb on the first beat, fol- As Performed By Cool Hand Uke There are as many ways to strum and pick the ukulele as there are tunes lowed by a down stroke roll that ends with the to play on it. This essay may help players develop their own collections strings being muffled with the heel of the hand of strumming styles. No one style appeals to everyone or works with on the second beat. This strum can be made to every song. Most folks can pull off some strums but not certain others. sound like a railroad locomotive and is a good Strums are like the colors on an artist’s palette. Not all artists favor the one to take on a country drive. same colors. But mix them and match them—or ignore them—to your heart’s content. The Pinch Stroke is a favorite. Rest your middle, ring and little fingers on the top of the Besides being a source of sweet melodies, the ukulele’s small body ukulele below the sound hole, so the index fin- makes it a charming percussive instrument. Strumming can be impro- ger dangles above the treble strings. I alternate vised easily on the fly, like drum rhythms — not to the detriment of the plucking the fourth and third strings with my feeling and melody of the music but to their enhancement. -
Guitar Performance in the Nineteenth Centuries and Twentieth Centuries Paul Sparks
Performance Practice Review Volume 10 Article 7 Number 1 Spring Guitar Performance in the Nineteenth Centuries and Twentieth Centuries Paul Sparks Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Sparks, Paul (1997) "Guitar Performance in the Nineteenth Centuries and Twentieth Centuries," Performance Practice Review: Vol. 10: No. 1, Article 7. DOI: 10.5642/perfpr.199710.01.07 Available at: http://scholarship.claremont.edu/ppr/vol10/iss1/7 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]. Guitar Performance in the Nineteenth and Twentieth Centuries Paul Sparks By 1800 guitars with six single strings (tuned EAdgbe') had become the norm. The rosette gave way to an open sound hole, while the neck was lengthened and fitted with a raised fingerboard extending to the sound hole. Nineteen fixed metal frets eventually became standard, the top note sounding b". The bridge was raised, the body enlarged, and fan-strutting introduced beneath the table to support higher tension strings. Treble strings were made of gut (superseded by more durable nylon after World War 11), bass strings from metal wound on silk (or, more recently, nylon floss). Tablature became obsolete, guitar music being universally written in the treble clef, sounding an octave lower than written. By the 1820s makers such as Louis Panormo of London were replacing wooden tuning pegs with machine heads for more precise tuning, and creating the prototype of the modem classical guitar (a design perfected in mid-century by Antonio Torres). -
Evolutiondracus-Usersguide.Pdf
Evolution Dracus Preface ............................................................................................................................................ 6 Achieving Realism....................................................................................................................... 6 What's Under the Hood?............................................................................................................ 7 Installation ...................................................................................................................................... 9 Step 1: Extract the RAR Files ...................................................................................................... 9 Step 2: Activate Through Native Access ..................................................................................... 9 Step 3: Load in KONTAKT ......................................................................................................... 10 KONTAKT Sample Library Organization.................................................................................... 11 Factory Presets .............................................................................................................................. 12 Snapshots ................................................................................................................................. 12 Interface ........................................................................................................................................ 13 Sections ................................................................................................................................... -
RASGUEADOS on the Classical Guitar Level 4
RASGUEADOS on the classical Guitar Level 4 RASGUEADOS Rasgueados are an elaborate form of strumming, using down strokes and up strokes with both the fingers and thumb. Rasgueados can be played to defined rhythms or as musical gestures. They can be exciting, spectacular and even heroic in pieces such as Asturias by Isaac Albeniz and Joaquin Rodrigo’s Concierto de Aranjuez. There are many combinations that can be played and the composer does not always give instructions as to where the down or up strokes are - often writing just rasgueado (or rasg.) above the passage. Sometimes a rasgueado is not specified at all, or a chord may only have the strum/arpeggiato symbol, and the guitarist decides that a rasgueado, rather than a strum with p, would be exciting at that point. The player often needs to decide which rasgueado sounds best - choosing which finger combinations/groups to use and where to play the down and up strokes. To be able to choose, the guitarist needs to know the possibilities, and this tutorial covers rasgueados that demonstrate the various finger movements/strokes which can be combined and adapted to the context. The Spanish word rasgueado is onomatopoeic and descriptive. It is probably derived from rasguñado – grazed or scratched. Appropriately, has the word uña (fingernail) embedded. raspado - scraped – which can colloquially also mean ‘with no manners!’ rasgado - ripped, torn. Together with the rolled Spanish ‘r’ they all give a sense of the qualities the rasgueados can have! Pronunciation: RA(t)S - GUE(ss ) - A(t) -DO(n) > q e e e Rasgueados can be boisterous and if those around you tell you to ‘put a sock in it’1 - take them at their word - take the sock, thread it through the strings to mute them - and carry on practising! 1‘be quiet!’ Level 4: Rasgueados 1 The rasgueados in this tutorial are played with pima.2 The following pages contain descriptions of the finger/hand movements in rasgueados, when they are played slowly. -
March 2013 Guitar Journal PDF
March 2013 www.joedocmusic.com Guitar Journal PDF Copyright 2013 www.joedocmusic.com/Joe Dochtermann, all rights reserved. This document and all contents are only to be distributed by www.joedocmusic.com from the designated download link. Contents may not be copied, reproduced, redistributed, resold, recycled, or regurgitated without express permission of the author. So there. For your reference, here's a link to the YouTube video: https://www.youtube.com/watch?v=JTHwqVadL64 This month's lesson is a primer on some of the country guitar techniques that differ significantly from how you probably play if you come from the blues/rock school of guitar playing. I'm planning a full DVD in this style, which will expand on these ideas and add a lot more about double-stops, bending, chromatics, and creating fills and solos using all these techniques. Bookmark our site and subscribe to our YouTube channel to be sure you don't miss upcoming lessons! * First off is the tab for the lick I play at the beginning of the video. I suggest that you work through the video before jumping in and trying this. It's important to learn the proper right-hand technique first - you don't want to practice incorrectly and wind up "programming" your fingers the wrong way. If you're familiar with hybrid picking, then you're ready to try it out: My suggestions for the picking are next to the tab: P = pick M = middle finger R = ring finger Please pardon the way the tablature program displays the grace notes on the D- string. -
Today's World Magazine for May 2000
TODAY’S TODAY’S WORLDWORLDMayMay 20002000 Mother takes her message and her heart to the world Father’s Words hyun Jin nim in asia rev. KWaK: understanding the Present era north Korean arts trouPe PerForms in seoul Message from the Publisher Reverend Sun Jo Hwang Creating the Conditions for Reunification From a sermon given on May 21st at the Headquarters One is the media and the other is non-governmental Church in Seoul, Korea (social) organizations. The media and civil organiza- tions will be more influential in the 21st century. True FTER we had successfully concluded True Par- Parents have been preparing foundations in these two ents’ birthday celebration in February, True areas for a long time. In Korea, the movement consists Father immediately instructed us to hold of a large number of social organizations. We also have nationalA rallies for South-North unification at twenty- a global media network dedicated to the development one venues in Korea. Never in our wildest dreams had of the global providence. we imagined that another major series of events would On May 15th, I received a phone call from Mr. Sang follow on the heels of what had been such a tremen- Kwon Pak, president of Pyeonghwa Motors, while I dous occasion. We were all surprised, and even rather was meeting with a senior South Korean government worried. Only after completing all the rallies did we see official. Mr. Pak was discussing arrangements for the the reason Father had decided to do them and could visit of the North Korean dance group with a North appreciate Father’s intuitive sense of heavenly fortune. -
Fingerpicking Patterns 5 Single Note Patterns
How To Effortlessly Generate An Endless Flow Of Creative Fingerpicking Ideas And Have Them Sound Amazing Every Time You Pick Up Your Guitar To Play! - Part 1 © Guitar Mastery Solutions, Inc. Page !2 Table Of Contents Fingerpicking Technique 4 1. Correct Picking Hand Position ........................................................................................4 2. Finger Choices .................................................................................................................4 3. Finger Efficiency ..............................................................................................................5 Fingerpicking Patterns 5 Single Note Patterns .............................................................................................................5 Plucking Notes Together Patterns ........................................................................................5 Pinching Patterns .................................................................................................................6 Mixing Patterns ....................................................................................................................6 Masterclass Fingerpicking Chord Progression .....................................................................7 Creative Fingerpicking Applications 7 Application 1: Jazz Fingerpicking 7 Progression ...........................................................................................................................7 Jazz Application Example ....................................................................................................8 -
Assistive Technology Individual Guitar String Plucker
Assistive Technology Individual Guitar String Plucker A Major Qualifying Project Report Submitted to the Faculty of WORCESTER POLYTECHNIC INSTITUTE in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science by: Jia Cheng Zhou Lorenzo Dube Michael Eaton Andonios Kouninis Professor Holly K. Ault, Advisor Submitted on March 23, 2018 This report represents the work of WPI undergraduate students. It has been submitted to the faculty as evidence of completion of a degree requirement. WPI publishes these reports on its website without editorial or peer review. Abstract Music has the ability to help children and adults with developmental disabilities grow cognitively and engage socially. The goal of this project is to design a device to allow people with various physical abilities to pluck individual guitar strings. For this device, custom acrylic plectrums, each attached to two electromagnetic actuators, are suspended above the sound hole or pickups of the guitar on a mounting plate. A wooden frame clamping to the body of the guitar supports the mounting plate. Two Arduino Uno microcontrollers facilitate the alternating triggering of the actuator pairs. The mechanism can successfully pluck each individual guitar string, but will require improved coding and mounting design to allow for easier component adjustments based on guitar size and type. ii Table of Contents Abstract ........................................................................................................................................... ii List of