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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). -
Nitro Drum Kit Assembly Guide
Assembly Guide Guía de armado Guide de montage alesis.com Guida di montaggio Montageanleitung Manual Version 1.0 Note: Use the drum key (V) to loosen or 1 tighten the bolts of clamps when assembling 23 the kit or making adjustments. E F Nota: Use la llave (V) para aflojar o apretar F F los pernos de las abrazaderas cuando arme el kit o haga ajustes. Remarque : Utilisez la clé de batterie (V) E pour dévisser ou resserrer les boulons des bagues de fixation lors de l’assemblage de A B l'ensemble pour batterie ou pour faire des A B ajustements. CD G Nota bene: servirsi della chiave della batteria (V) per allentare o stringere i bulloni A/B dei morsetti al momento di montare il kit o di C/D apportare regolazioni. A Hinweis: Verwenden Sie den E/F Stimmschlüssel (V), um die Klemmen bei der Montage des Kits oder bei Anpassungen zu lockern oder festzuziehen. 4 5 H 6 8 I I H H I I I H H H 6 789 L M L/M M J J K Q ON Q J/K P O+N alesis.com Manual Version 1.0 Box Contents Connection Diagram Schema dei collegamenti A (1) B (1) C (1) Contenido de la caja Diagrama de conexión Anschlussübersicht Contenu de la boîte Schéma d’installation Contenuti della confezione Important: Use the cable snake (R) to connect the drum pads and cymbal pads to the module (Q) (as Lieferumfang shown in the Connection Diagram). Importante: Use el grupo de cables (R) para conectar D (1) E (1) F (2) G (1) los módulos de tambores y platillos al módulo (Q) (como se muestra en el diagrama de conexión). -
TD-30 Data List
Data List Preset Drum Kit List No. Name Pad pattern No. Name Pad pattern 1 Studio 41 RockGig 2 LA Metal 42 Hard BeBop 3 Swingin’ 43 Rock Solid 4 Burnin’ 44 2nd Line 5 Birch 45 ROBO TAP 6 Nashville 46 SATURATED 7 LoudRock 47 piccolo 8 JJ’s DnB 48 FAT 9 Djembe 49 BigHall 10 Stage 50 CoolGig LOOP 11 RockMaster 51 JazzSes LOOP 12 LoudJazz 52 7/4 Beat LOOP 13 Overhead 53 :neotype: 1SHOT, TAP 14 Looooose 54 FLA>n<GER 1SHOT, TAP 15 Fusion 55 CustomWood 16 Room 56 50s King 17 [RadioMIX] 57 BluesRock 18 R&B 58 2HH House 19 Brushes 59 TechFusion 20 Vision LOOP, TAP 60 BeBop 21 AstroNote 1SHOT 61 Crossover 22 acidfunk 62 Skanky 23 PunkRock 63 RoundBdge 24 OpenMaple 64 Metal\Core 25 70s Rock 65 JazzCombo 26 DrySound 66 Spark! 27 Flat&Shallow 67 80sMachine 28 Rvs!Trashy 68 =cosmic= 29 melodious TAP 69 1985 30 HARD n’BASS TAP 70 TR-808 31 BazzKicker 71 TR-909 32 FatPressed 72 LatinDrums 33 DrumnDubStep 73 Latin 34 ReMix-ulator 74 Brazil 35 Acoutronic 75 Cajon 36 HipHop 76 African 37 90sHouse 77 Ka-Rimba 38 D-N-B LOOP 78 Tabla TAP 39 SuperLoop TAP 79 Asian 40 >>process>>> 80 Orchestra TAP Copyright © 2012 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland and V-Drums are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries. -
Microphone Techniques for Drums (English)
MICROPHONE TECHNIQUES DRUMS A Shure Educational Publication Microphone Techniques Table of Contents for DRUMS General Rules . 4 Microphone Positions . 6 Overhead-Cymbals . 7 Snare drum . 7 Bass drum (kick drum) . 7 Tom-toms . 7 Hi-hat . 8 Snare, hi-hat and hi-tom . 8 Cymbals, floor tom and hi-tom . 8 Timbales, congas, bongos . 9 Tambourine . 9 Steel drums . 9 Xylophone, marimba, vibraphone . 9 Glockenspiel . 9 Glossary . 10 Microphone Selection Guide . 11 Drums 3 Microphone Techniques for DRUMS GENERAL RULES Microphone technique is largely a matter of personal taste — whatever method sounds right for the particular instrument, musician, and song is right. There is no one ideal microphone to use on any particular instrument. There is also no one ideal way to place a microphone. Place the microphone to get the sound you want. However, the desired sound can often be achieved more quickly and consistently by understanding basic microphone characteristics, sound-radiation properties of musical instruments, and acoustic fundamentals. Here are some suggestions to follow when miking musical instruments for sound reinforcement. • Try to get the sound source (instrument, voice, or amplifier) to sound good acoustically (“live”) before miking it. • Use a microphone with a frequency response that is limited to the frequency range of the instrument, if possible, or filter out frequencies below the lowest fundamental frequency of the instrument. • To determine a good starting microphone position, try closing one ear with your finger. Listen to the sound source with the other ear and move around until you find a spot that sounds good. Put the microphone there. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
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. -
The Orchestra What Does an Orchestra Play?
The Orchestra What does an orchestra play? But what is music? What is sound? Vibrations ♫ An instrument makes sound when it vibrates. Vibrations create sound waves. ♫ Big waves create low sounds and small waves create high sounds. Small wave = High Sounds Big wave = Low Sounds Instruments ♫ BIG instruments create _____BIG sound waves. ♫ This means BIG instruments create ______LOW sounds. ♫ SMALL instruments create ________SMALL sound waves. ♫ This means SMALL instruments create ______HIGH sounds. The Orchestra ♫ An orchestra is a large group of instruments. ♫ It is split up into four sections, these are called families. The Families Each family in the orchestra is made up of instruments with similar characteristics. These characteristics can be: ♫ What the instruments look like ♫ How they are played ♫ What they are made of It is when ALL FOUR families are playing together they create an orchestra. String Family The family of instruments which has strings. The sound is produced by dragging a bow across the strings or by plucking them with the fingers. Violin Cello Harp Viola Double Bass The Violin HEAD Scroll 4 Strings Finger Board Tuning Pegs NECK Bridge BODY ‘F’ Holes Tail Piece Chin Rest String Family String instruments can be played in lots of different ways!! Arco ~ Played with the bow Pizzicato ~ Plucked with the fingers Col Legno ~ Played with the wood of the bow Strumming ~ Using fingers or a plectrum to play notes String Family ♫ The _______violin is the smallest of the string family. It plays the _________highest sound. ♫ The _____________double bass is the ________biggest in the string family. It plays the lowest sound. -
The Craft of Fine Drum Making
2 playDIXON.com 3 Dixon Conviction Dixon Drums is a full-line acoustic drum and hardware brand with over 35 years of manufacturing experience. Committed to quality and innovation, we embrace both sound and function to advance the art of drumming through the craft of fine drum making. A drummer-centric approach is at the core of everything we do, resonating throughout each one of our product lines. We have established a reputation for durability and reliability, while remaining nimble enough to respond to industry trends and player needs quickly and creatively. In this catalog, you will see a dynamic blend of time-tested, industry-standard configurations mixed with innovations in shell materials, cutting-edge hardware designs, and world-class signature artist models. Our ability to serve all styles of music (ranging from Jazz to Metal), deliver at all levels of playing (beginner to pro), and offer full customization of each aspect of the instrument (see our flagship Artisan Series), has made Dixon a rising star in today’s drum market. Join the Dixon family, and be a part of drum history in the making. 4 playDIXON.com 5 Committed to Quality Driven by Sound 06 / ARTISAN Series 18 / BLAZE Series 20 / FUSE Series 22 / SPARK Series 24 / JET SET Series 26 / SNARE Drums 36 / HARDWARE 53 / INVENTOR Series 6 Series playDIXON.com 7 Features Dixon understands that every drummer reaches a point when it all comes together and refined skills culminate in optimum results. We refer to this achievement as ARTISAN. Our flagship series delivers the very best our craftsmen have to offer, along with choices to personalize your instrument. -
Bass Drum Cases Snare Drum Cases Power Tom
DANNY SERAPHINE THOMAS LANG VIRGIL DONATI DERRICK WRIGHT THOMAS PRIDGEN C.T.A MIKE JOHNSTON Stork/Indep. Planet X/Steve Vai Adele The Memorials Educator Licensed by: Bass Drum Cases Prices subject to change without notice. Snare Drum Cases Pro Grip Handles Retail Retail AR1418 • 14“ x 18” w/legs bass drum case..... 124.50 AR3003 • 3“ x 13” piccolo.................................$ 58.50 AR1618 • 16“ x 18” bass drum case................ 126.50 AR3004 • 4“ x 14” piccolo ................................. 62.50 AR1818 • 18“ x 18” bass drum case................ 159.50 AR3005 • 6½“ x 15” free floater snare case....... 65.50 AR1420 • 14“ x 20” bass drum case................. 144.50 AR3006 • 6½” x 14“ standard snare case......... 58.50 AR1620 • 16“ x 20” bass drum case................. 146.50 AR3007 • 5“ x 13” piccolo snare case............... 60.50 AR1820 • 18“ x 20” bass drum case................. 139.50 AR3008 • 7“ x 12” snare case............................ 60.50 Patented "TruForm" design AR3009 • 8“ x 14” snare case............................ 69.50 AR2020 • 20“ x 20” bass drum case................. 149.50 corresponds to the "true AR2420 • 24“ x 20” deep bass drum case........ 168.50 shape" of the drum plus its AR3010 • 5“ x 10” piccolo snare case............... 56.50 mounting hardware. This AR3011 • 5½“ x 14” snare case......................... 58.50 AR1422 • 14“ x 22” bass drum case................. 145.50 universal teardrop design allows a much snugger fit. AR3012 • 5“ x 12” piccolo snare case............... 60.50 AR1622 • 16“ x 22” bass drum case................. 145.50 AR3013 • 7“ x 13” snare case............................ 65.50 AR1822 • 18“ x 22” bass drum case................ -
Drum Kit List
DRUM KIT LIST LISTE DES KITS DE BATTERIE LISTA DE CONJUNTOS DE BATERÍA DRUM KIT-LISTE Drum Kit List / Liste des kits de batterie/ Lista de conjuntos de batería / Drum Kit-Liste • Same as Standard Kit 1 • Comme pour Standard Kit 1 • No Sound • Absence de son • Each percussion voice uses one note. • Chaque sonorité de percussion utilise une note unique. Voice No. 117 118 119 120 121 122 Keyboard Standard Kit 1 Standard Kit 1 Indian Kit Arabic Kit SE Kit 1 SE Kit 2 Note# Note + Chinese Percussion C1 36 C 1 Seq Click H Baya ge Khaligi Clap 1 Cutting Noise 1 Phone Call C#1 37 C# 1Brush Tap Baya ke Arabic Zalgouta Open Cutting Noise 2 Door Squeak D1 38 D 1 Brush Swirl Baya ghe Khaligi Clap 2 Door Slam D#1 39 D# 1Brush Slap Baya ka Arabic Zalgouta Close String Slap Scratch Cut E1 40 E 1 Brush Tap Swirl Tabla na Arabic Hand Clap Scratch F1 41 F 1 Snare Roll Tabla tin Tabel Tak 1 Wind Chime F#1 42 F# 1Castanet Tablabaya dha Sagat 1 Telephone Ring G1 43 G 1 Snare Soft Dhol 1 Open Tabel Dom G#1 44 G# 1Sticks Dhol 1 Slap Sagat 2 A1 45 A 1 Bass Drum Soft Dhol 1 Mute Tabel Tak 2 A#1 46 A# 1 Open Rim Shot Dhol 1 Open Slap Sagat 3 B1 47 B 1 Bass Drum Hard Dhol 1 Roll Riq Tik 3 C2 48 C 2 Bass Drum Dandia Short Riq Tik 2 C#2 49 C# 2 Side Stick Dandia Long Riq Tik Hard 1 D2 50 D 2 Snare Chutki Riq Tik 1 D#2 51 D# 2 Hand Clap Chipri Riq Tik Hard 2 E2 52 E 2 Snare Tight Khanjira Open Riq Tik Hard 3 Flute Key Click Car Engine Ignition F2 53 F 2 Floor Tom L Khanjira Slap Riq Tish Car Tires Squeal F#2 54 F# 2 Hi-Hat Closed Khanjira Mute Riq Snouj 2 Car Passing -
5-Piece Junior Drum Kit Assembly Instruction
5-Piece Junior Drum Kit Assembly Instruction Thank you for choosing this quality set from Cecilio. Use the instructions as a guide to help you assemble your new drum set. Please note that this manual is designed for a number of Cecilio drum sets. If you are unsure of what your drum set should be supplied with, please check with the Cecilio dealer you purchased the kit from. There are many parts that make up a drum set, but don’t worry, once you get started the process is very intuitive and fun. Bass Drum: 1. Lay the Bass drum Shell (A) on a flat surface with the front side up. You can identify the front side by the location of the Bass Drum leg mount (B). The leg mounts are closer to the front side of the bass drum (furthest from the playing position). 2. The “logo drumhead” should be fitted to the front of the bass drum and aligned straight. 3. Place the drum head (C) (same diameter as the drum) directly on the top of the drum shell followed by the hoop (D). 4. Gently hang the claws (E) over the edge of the hoop, and line them up with the lugs. Take the longest ten- sion screws (aka T-Rods), slip a washer on each, and insert them through the holes in the claws. 5. Tighten the screws into the lugs using your fingers two at a time, just enough so the hoops are secure, and no wrinkles are in the head. 6. Now you may use a drum key (F) to tighten the tension bolts in equal amounts (1 quarter turn each for example) until pitch and tone of the drum begin to sound. -
Make It Happen
Make it Happen 1 Volume, 1 DVD 2 printed scores by Enrico Bertelli PhD Music University of York September 2012 Y3479621 PhD Enrico Bertelli Abstract Works for percussion are often neglected and underperformed because of instrumental unavailabil- ity, logistic limitations and notation issues. This research addresses these problems by delivering eight self-contained, adaptable and transportable multipercussion-based projects. The first three works solve these problems by using found objects, body percussion and imaginary instruments, revolving around the concept of interchangeable, if not transportable, instrumentation. The fol- lowing two projects look at the snare drum as a harmonious box (a resonant body), augmenting its timbre with extended techniques - such as mallets and hybrid hand/stick techniques- and live electronics. The audio processing starts with short and crisp sounds and looks at ways to gen- erate pitch via resonators, and how to control length with reverb. The remaining three projects focus exclusively on MIDI percussion, filling a wide gap in the repertory. These are the first works composed with this instrument in mind and not as a transcription or as a substitute for more common instruments. They cover, respectively, the areas of sampling, automated pitch randomizers and live MIDI scaling and shaping. Furthermore, the max4live MIDI patches serve as a link between the pitched and unpitched percussion, empowering the drum kit with harmonic and melodic controls. All the projects are designed to solve logistic problems and are developed as concerts-in-a-suitcase, a concept which is at the basis of my research Make it Happen. All the scores and types of notation put the performer’s needs first; this is why I produced performance editions, sometimes to the disadvantage of the original composition.