DOCSLIB.ORG

Concert Percussion Designed by Champions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Concert Percussion Designed by Champions PROFESSIONAL CONCERT PERCUSSION DESIGNED BY CHAMPIONS System Blue Concert Percussion has been crafted by experts to achieve the finest sound, greatest durability, and sharpest look in the marching world. From our marimba and xylophone, to our polished aluminum vibraphone and steel pedal glockenspiel, System Blue Professional Concert Percussion provides unmatched resonance, projection, and tone. Our concert bass drums, toms, and snare drum are crafted from the finest birch, creating the perfect tone to enhance any front ensemble. Whether you are on the marching field, gym floor, or concert stage, System Blue Professional Concert Percussion is the right choice. THE BLUE DEVILS Concord, CA PROFESSIONAL CONCERT PERCUSSION PROFESSIONAL MARIMBA & XYLOPHONE • Synthetic extrusion-molded fiberglass composite keys produce a warm resonant sound with strong projection both indoors and outdoors • Marimba available in 4.5 and 4.3 octave Xylophone available in 3.5 octave • Protective finish minimizes scratches and blemishes, and enhances the natural look of the bars • Black gold powder coated resonator finish protects against scratches and dings • Lower notes on extended range marimba feature adjustable, tunable resonators to accommodate changes in temperature and humidity. Design allows for easy transport, loading and unloading THE BLUE DEVILS, Concord, CA KEYBOARD FRAMES • Sturdy and durable, highly mobile and maneuverable — 8” rubber wheels take on the roughest terrain • Highly scratch-resistant textured, black-gold powder coating • Frame compatible with 1 1/2”/40mm clamps — for universal mounting of cymbals, accessories, microphones, and more • Pneumatic-assisted quick height adjustment system to fit any performer RCC INDOOR PERCUSSION Riverside, CA SYSTEM BLUE • PROFESSIONAL CONCERT PERCUSSION PROFESSIONAL CONCERT PERCUSSION PROFESSIONAL PROFESSIONAL VIBRAPHONE PEDAL • Polished aluminum keys designed for GLOCKENSPIEL improved brilliance and projection to cut • Designed for improved brilliance and through the ensemble resonance • 3.0 octave • Dampener pedal and extended 3.3 octave range make this a true stand-alone • Black gold powder coated resonator finish instrument protects against scratches and dings • Black gold resonator finish protects against scratches and dings SYSTEM BLUE • PROFESSIONAL CONCERT PERCUSSION PROFESSIONAL CONCERT BASS DRUM • Suspended stand design provides maximum resonance and projection • Shell constructed from the finest 6-ply natural birch • Deep, full, and resonant sound • Dark brown piano lacquer finish is both classy and durable • Available in 36” and 40” THE BLUE DEVILS Concord, CA PROFESSIONAL CONCERT PERCUSSION PROFESSIONAL CHAMPIONSHIP SERIES System Blue Professional Concert Percussion has everything your performers need. Designed by champions and played by champions, this series includes world-class marimbas, vibraphones, xylophones, pedal glockenspiel, concert bells, concert bass drums, concert toms, a concert snare drum, drum set and hardware. All the instruments have a sleek, matched look and balanced sound allowing your program to perform at its very best. PROFESSIONAL PROFESSIONAL CONCERT CONCERT SNARE DRUM DRUM SET & CONCERT TOMS • 5-piece lacquered professional kit • Heavy duty die-cast chrome hoops on concert snare drum • 6-ply birch shells • 1.5mm triple flange steel hoops on the toms allow for maximum resonance • 1.5mm triple flange steel hoops on the toms allow for maximum resonance and are both classy and durable • 6-ply birch shells • Double braced hardware including snare, boom and hi-hat • Articulate, rich sound stands with throne and bass pedal. Cymbals are not included • Dark brown piano lacquer finish is both classy and durable • Suspended mount for toms • Heavy duty die-cast chrome hoops on snare drum PROFESSIONAL • Available in several different colors CONCERT BELLS • Drum Set Dimensions: • Steel bars provide a brilliant and resonant sound • 14” x 5.5” snare • 2.5 octave • 10” x 8” tom with 12 lugs • 12” x 9” tom with 12 lugs • Leather-wrapped case for durability and a professional look. During performances, the case functions as a resonator • 16” x 16” floor tom with 12 lugs • 22” x 16” bass drum with 16 lugs • Bars are attached firmly to minimize bouncing during performances. They are stable and sturdy during transport. RCC INDOOR PERCUSSION Riverside, CA SYSTEM BLUE • PROFESSIONAL CONCERT PERCUSSION System Blue’s front ensemble equipment is A QUINTESSENTIAL PIECE OF THE CONTINUED SUCCESS of the Blue Devils and RCC. RESONANT, DURABLE AND EASILY TRANSPORTABLE, the keyboard instruments most definitely live up to System Blue’s distinguished reputation. SYSTEM BLUE Nick Soden, Front Ensemble Section Leader 3122 Gillham Plaza Blue Devils & RCC Indoor Percussion Kansas City, MO 64109 (800) 950-3049 (toll-free) (816) 945-6380 (business) (816) 945-6395 (fax) systemblue.org @SystemBlue1 /SystemBlue1 @SystemBlue1 Sales [email protected] Education [email protected] General Inquiries [email protected] Customer Support [email protected] Repairs & Warranty [email protected] USA Distribution: BAC Musical Instruments Kansas City, MO 64106 Product Photography by Pedro Rodriguez Action Photography by Ryan Carr & Jessica Regua RCC INDOOR PERCUSSION © 2018 System Blue, All Rights Reserved Riverside, CA #SB_PFPCP19.
Load more

Recommended publications
  • 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).
    [Show full text]
  • Music of Ghana and Tanzania
    MUSIC OF GHANA AND TANZANIA: A BRIEF COMPARISON AND DESCRIPTION OF VARIOUS AFRICAN MUSIC SCHOOLS Heather Bergseth A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERDecember OF 2011MUSIC Committee: David Harnish, Advisor Kara Attrep © 2011 Heather Bergseth All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis is based on my engagement and observations of various music schools in Ghana, West Africa, and Tanzania, East Africa. I spent the last three summers learning traditional dance- drumming in Ghana, West Africa. I focus primarily on two schools that I have significant recent experience with: the Dagbe Arts Centre in Kopeyia and the Dagara Music and Arts Center in Medie. While at Dagbe, I studied the music and dance of the Anlo-Ewe ethnic group, a people who live primarily in the Volta region of South-eastern Ghana, but who also inhabit neighboring countries as far as Togo and Benin. I took classes and lessons with the staff as well as with the director of Dagbe, Emmanuel Agbeli, a teacher and performer of Ewe dance-drumming. His father, Godwin Agbeli, founded the Dagbe Arts Centre in order to teach others, including foreigners, the musical styles, dances, and diverse artistic cultures of the Ewe people. The Dagara Music and Arts Center was founded by Bernard Woma, a master drummer and gyil (xylophone) player. The DMC or Dagara Music Center is situated in the town of Medie just outside of Accra. Mr. Woma hosts primarily international students at his compound, focusing on various musical styles, including his own culture, the Dagara, in addition music and dance of the Dagbamba, Ewe, and Ga ethnic groups.
    [Show full text]
  • History, Development and Tuning of the Hang
    ISMA 2007 Hang HISTORY, DEVELOPMENT AND TUNING OF THE HANG Felix Rohner and Sabina Schärer PANArt Hangbau AG, Engehaldenstr.131, 3012 Bern, Switzerland Abstract The HANG is a new musical instrument, suitable for playing with the hands, consisting of two hemispherical shells of nitrided steel. It is the product of a collaboration among scientists, engineers and hangmakers, thanks to which we have been able to better understand the tuning process in all its complexity. Seven notes are harmonically tuned around a central deep tone (ding), which excites the Helmholtz (cavity) resonance of the body of the instrument. There are many ways to play the HANG. We show the different stages of its development over the seven years since its birth in 2000. We describe the tuning process and the musical conception of the HANG. INTRODUCTION The HANG was created in January 2000 by the tuners of PANArt Hangbau AG, formerly Steelpan Manufacture AG, Bern, Switzerland. It came out of twenty-five years of manufacturing the steelpan and research on its technology and acoustics. The youngest member of the family of acoustic musical instruments, the HANG is the result of a marriage between art and science. Five thousand HANG players worldwide and an ever-increasing demand show the deep resonance this instrument has with individuals. As we are only two hangmakers, our interest here is to invite scientists to continue working together to better understand this phenomenon. FROM STEELPAN TO HANG PANArt Hangbau AG was founded in 1993 to give cultural and commercial support to the growing steelband movement in Switzerland.
    [Show full text]
  • African Drumming in Drum Circles by Robert J
    African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle.
    [Show full text]
  • 8 Weeks Percussion Second Half.Pub
    More Rudiment Fun! Volume 1, Issue 6 Week 5 Dynamic Fun and More Inside this week: Rudiments Dynamics on 2 Orchestra Bells Dynamic Work- 3 What Gives the Keyboard Instruments sheet Their Sound? Snare Drum 4 As we briefly discussed in sounds are the resonator Rudiments #2 earlier weeks, keyboard in- tubes below the tone bars. struments create different These resonators are spe- Snare Drum 5 pitches based on their cific lengths and sizes. At Exercises #3 length, width, depth, or den- the proper dimensions the sity (composite material). resonators will help create a Weekly Practice 7 clear tone and accurate Chart Adding to the quality of pitch. The vibraphone not only has resonators, but also paddles inside the tubes. These pad- dles are turned by a motor and the speed determines the width of vibrato pro- duced. The sounds is meant to mimic that of a human voice. Chimes The resonator tubes on the The chimes are re- marimba can be quite lengthy lated to keyboard and windy. Due to the low instruments. Each pitch and timbre needed the tune on a set of resonators must be large to chimes is like one key accommodate the sound. on a keyboard instru- ment. Chimes are struck at the very top with a rawhide ham- mer. Like the piano and vibraphone it has What To Expect This Week... a dampening pedal, that when pressed, allows the notes to ring. This week we will take some great percussionist. the book and look carefully time to focus purely on the at the items listed on the On snare drum we will learn fundamentals of playing.
    [Show full text]
  • Bell Type Instruments • Bamboo Vibraphone • Belltree • Bhutan Bells
    Bell Type Instruments Bamboo Vibraphone Iran Fingercymbals Tibetan Cymbals Belltree Metallophon Tibetan Singing Bells Bhutan Bells Mini Bells Vietnam Bells China Finger Cymbals Saron Gamelan Windbells Dream Catcher Shanghai Baby Piano Windchimes Ethno Gamelan Crash Bells Small Burma Bells World Glockenspiel Small Tubular Bells Bowed Instruments Gaohu Dilruba Ih Khuur Bass Morin Khuur Violin Egyptian Fiddle Jinghu Operaviolin Small Morin Khuur Erhu Morin Khuur Strings Western Fiddle Licks Esraj Ensemble CONSTRUCTION SETS China Set 100 Mid East Set 100 China Set 120 Mid East Set 120 Mid East Set 80 China Set 140 Mid East Set 140 GONGS & BOWLS Big FengGong Big Rako Bowls Java Gong Tam Tam Besar “ Big Tibetan Singing Mongolian Gong Thai Gong 14 Bowls Rin Singing Bowls Wuhan Tam Tam “ Gong Besar 18 KEYED INSTRUMENTS Scale Changer Dallape Accordion Melodica Harmonium India METAL TYPE INSTRUMENTS Kalimba Kibirizi 15 Bass Kalimba tuning Plates Metal Squares Cymbals Kalimba Kibirizi 5 Military Cymbals Hand Cymbals tuning Plates Mongolian Jews Harp Jews Harp Kalimba Hugh Tracey STRINGED INSTRUMENTS Acoustic Bass Vester Domra Sitar Balalaika Dra-Ngen Small Erhu Plectrum Bandura Grand Monochord Violin Banjo Framus Joochin Dulcimer Small Kantele Banjolin Kantele Steel String Guitar Big Erhu Plectrum Mandolin Truxa Falcon Violin Oud Tampura Bouzouki Sakis Oud Licks Tanbur Ceylon Guitar Resonator Guitar Timple Contra Guitar F - Bass Santoor Saberi Turke Saz Cora
    [Show full text]
  • 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 .............................................
    [Show full text]
  • The Percussion Family of Instruments
    Read the information and answer the questions provided at the end. The Percussion Family The percussion family is the largest in the orchestra. Percussion instruments include any instrument that makes a sound when it is hit, shaken, or scraped. It's not easy to be a percussionist because it takes a lot of practice to hit an instrument with the right amount of strength, in the right place and at the right time. Some percussion instruments are tuned and can sound different notes, like the xylophone, timpani or piano, and some are untuned with no definite pitch, like the bass drum, cymbals or castanets. Percussion instruments keep the rhythm, make special sounds and add excitement and color. Unlike most of the other players in the orchestra, a percussionist will usually play many different instruments in one piece of music. The most common percussion instruments in the orchestra include the timpani, xylophone, cymbals, triangle, snare drum, bass drum, tambourine, maracas, gongs, chimes, celesta, and piano. Piano People disagree about whether the piano is a percussion or a string instrument. You play it by hitting its 88 black and white keys with your fingers, which suggests it belongs in the percussion family. However, the keys lift hammers inside the piano that strike strings (indeed, the piano has more strings than any other string instrument), which produce its distinctive sound. Which family do you think it belongs to? Wherever it fits in, there's no disputing the fact that the piano has the largest range of any instrument in the orchestra. It is a tuned instrument, and you can play many notes at once using both your hands.
    [Show full text]
  • Talking Balafons1
    TALKING BALAFONS1 by HUGO ZEMP WITH SIKAMAN SORO Systems of substituting music for words — the best known being drummed and whistled languages — have long drawn the attention of travellers, explorers, colonial administrators, missionaries, ethnologists, linguists and ethnomusicologists. Earlier in LHomme (Zemp & Kaufman 1969) I mentioned the two main categories defined by Stern: the “abridgement system”1 2, which preserves a certain similarity with natural language, primarily in the tones and the speech rhythm; and the “lexical ideogram”, which symbolises a concept directly, without reference to the phonemic structure of the language. From what we knew in the 1960s, the first system was particularly widespread in Africa, and the second in Melanesia. Crudely, this distribution is still useful. However I have since been able to show that the two systems can coexist in Melanesia, notably in the slit drum rhythms of the ’Are’are of the Solomon Islands (Zemp 1997). In their two-volume work on Speech Surrogates, Sebeok and Umiker-Sebeok (1976) include seventy-four articles, forty-one of them completely devoted to Africa, and five articles referring to it generally. Unless I am wrong, only three authors touch on the xylophone in passing: on the Jabo of Liberia (Herzog 1976: 566), the Idoma of Nigeria (Armstrong 1976: 868, 875), and one without specifying regions of Africa (Nketia 1976: 826). It is true that the sub-title of the work is Drum and Whistle Systems, but other instruments like bells, trumpets, flutes and chordophones are often mentioned. THe absence of specific references to the xylophone is due no doubt to the fact that this instrument is used less as a musical substitute for words and, as it is less immediately spectacular than the “bush telegraph” (talking drums sending messages over long distances), it has more rarely been the subject of enquiries into the possible connections with natural language.
    [Show full text]
  • The Role of Turkish Percussion in the History and Development of the Orchestral Percussion Section
    Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2003 The oler of Turkish percussion in the history and development of the orchestral percussion section D. Doran Bugg Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Bugg, D. Doran, "The or le of Turkish percussion in the history and development of the orchestral percussion section" (2003). LSU Major Papers. 27. https://digitalcommons.lsu.edu/gradschool_majorpapers/27 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE ROLE OF TURKISH PERCUSSION IN THE HISTORY AND DEVELOPMENT OF THE ORCHESTRAL PERCUSSION SECTION A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the Requirements for the degree of Doctor of Musical Arts In The School of Music The College of Music and Dramatic Arts by D. Doran Bugg B.M.E., University of Mississippi, 1988 M.M., Baylor University, 1990 December 2003 ACKNOWLEDGMENTS I would like to express my sincere appreciation to the many persons who so generously contributed their time, knowledge, and support during the preparation and completion of this monograph. Special thanks are extended to Professor James Byo, Professor Larry Campbell, Professor Michael Kingan, Professor Patricia Lawrence, Professor John Raush, Professor Joseph Skillen, and Professor James West, members of my doctoral committee.
    [Show full text]
  • English Language, Large Print
    ENGLISH LANGUAGE, LARGE PRINT Ancient Bells RESOUND of China Resound: Ancient Bells of China Bells were among the first metal objects created in China. Beginning over 3,500 years ago, small, primitive noisemakers grew into gongs and further evolved into sets of hand bells for playing melodies. Centuries of technological experimentation later resulted in sophisticated bells that produced two pitches when struck at different spots. Variations in size, shape, decoration, and sound also reveal regional differences across north and south China. By the late Bronze Age large sets of tuned bells were played in ensemble performances in both areas. Cast from bronze, these durable instruments preserve valuable hints about the character of early Chinese music. Today we can use technology to explore these ancient bells and to explain their acoustical properties, but we know little about the actual sound of this early music. To bring the bells to life, we commissioned three composers to create soundscapes using the recorded tones of a 2,500‐ year‐old bell set on display. Each of them also produced a video projection to interpret his composition with moving images that allow us to "see sound." Unless otherwise indicated, all of these objects are from China, are made of bronze, and were the gift of the Dr. Paul Singer Collection of Chinese Art of the Arthur M. Sackler Gallery, Smithsonian Institution; a joint gift of the Arthur M. Sackler Foundation, Paul Singer, the AMS Foundation for the Arts, Sciences, and Humanities, and the Children of Arthur M. Sackler. 2 Symbols of Refinement Chinese regional courts competed with one another on the battlefield and on the music stage.
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]