DOCSLIB.ORG

BANJO, MANDOLIN, GUITAR and Kindred Instmmenrs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BANJO, MANDOLIN, GUITAR and Kindred Instmmenrs Vol. XXI JANUARY, 1929 No. 7 A fretted instrument month l)' for BANJO, MANDOLIN, GUITAR and kindred instmmenrs 19:,,9 , Januar~ 19:,,9 ~ViV: J.fo N. 7if £ . Jv'ED. 7/i u. "TRI. iSAr. I 2 J 4 5 fJ r 8 .9 JO II 12 15 14 15 16 12' 18 1.9 20 21 22 23 2.f- 25 26 22' 28 29 JO JI ~app p jtleW !@ear 20 Cents Per Cop y PUBLI SH [O BY H. r . 0 D[LL COMPA NY $2.00 Per Y ear COP YRIGHT lt21-A LL IIIGHTSRU ERV[ O [NT[R[O AS SECON D CLASS MATT ER JUN £ •• 1901, .-.r TH[ POST Of rl C[ AT BOSTON . MASSAC HUS[TlS, UN O [ R 4CT or MARCl 1 l. 11:, Prl~ld 1ft U.S.A. I 100 BOOKS FOR PLAYERS AND TEACHERS OF I F~~!!~!?E!~~~~~ ~~~rs /.\I I NSTRUM ENT MUSIC IN THE WORLD TENOR BANJO BANJO _ __E _ Z. Tenor-Banjo Method .......... $ .35 (CNotation) _ Fotlen's Chord s for Tenor -Banjo . .50 __ Paramount Tenor-Ba njo l\lethod . .75 _ Smith' s Banjo Gems (Finger) ...... 1.00 _ _ 'fen Original Tenor-Banjo Duets . .75 ___ Smith' s Song s for Banjo (Finger) . l.00 _ Favor ite Tenor-Banjo Seleetions . .75 _ ....Paramount Banjo Method (Fi nger) . .75 _ __P lea sing Tenor-Banjo Duets . .75 _ __ Bradbury' s Banjo I'llcthod (Finger) .. 1.25 _ _Moyer's Tenor-Banjo Method ....... 1.00 _____ Bradbut) ''s Plectrum Method • .. 1.25 _ Smith's Songs for Tenor-Banjo . .. 1.00 - Fo<len's Chord s for Banjo (Finger) . .50, _ Smith 's Tuneful Tenor -Banjo Solos .. 1.00 ___ Van Ep s Danjo Solos (Finger) . .. 1.50 - Scheidlme icr's 1'cnor-Banjo l\Icthod .. 1.50 _,_ ...Smith' s Tuneful Banjo Solos (Finger) LOO ---11 1art cll's Ja zz Strokes . .50 ____ Smith' s Tuneful Plectrum ... .... 1.00 __ Ten Modem Tenor-Banjo Solos . .75 ____ Twe lve Radio Fa\'orit es (Fin ger ) .... 1.00 - Sm ith' s Chord s for Tenor-Ban jo . .75 _ Scheid leme ier's PiYe Ma ster Solos ... 1.50 =-~Jt11~aci~~~:\~~dll~~~~~g~~!.::::'. :: : ~~ · -- Schcidlemeier 's Novelty Fox Trot s .. 1.60 _ __ "i\lontana' s" Plectrum Mctholl ...... 2.00 _ Rov Smeck's Tenor Banjo l\lethod ... 1.50 ______Bowen' s Plectrum Method 1.50 - -- Clifford's 15 Easy Solos . .75 ____..J. \lerz 's Banjo Dami 1st Banjo . .75 __ l\Ien's Banjo Band (Solo T. B.) . .75 ____... Sm ith' s Banjo Band 1st Banjo . .75 _ _All Star Tenor Banjo Folio No. 1 • . • . .50 ---A ll Star Banjo Folio No . 1 .50 •-M• All Star " " " No. 2 .• : .50 _____.All Star " " No. 2 .50 ----A ll Star " No. 3 . .50 _ __A.I\ Star " " No. 3 . .50 _ __A. II Star " No. 4 . .50 ____...All Star " " No. 4 . .50 _ Feist Popular Hits No. 6 1.00 -Feist " " No. 7 ............ 1.00 MANDOLIN _ _ _ Fei st " No. 8 .•.•..•..... 1.00 _ --Pa ramount Mandolin Method . .76 HAWAIIAN GUITAR _ __P cat e' s Mandolin Method . .75 __ Sm ith 's 200 Old Favorites . .. 1.00 > -1{nmiki Hnwaiian Guitar l\Iethod . .75 _____Foden 's Mandolin Chord s . .50 _Paramount Hawaiian Guitar Met hod . .75 ---E. Z. Hawaiian Guitar Method . .35 -Hawaiian Melodies No. 1 . .35 -Smit h' s Song s for Hawaii an Guitar . 1.00 _Hawaiian Melodies No. 2 . .35 - Smith's Haw aiian Guitar Ducts . ... 1.00 ---All Stnr Mandolin Folio No . 1 . .60 _ _Sm ith 's Famous Duets . , . .... .. .. 1.00 ---All Star Mandolin Folio No. 2 .50 _ Smith 's Chords for Haw~ian Guita r . .50 ___All Star Mandolin Folio No. 3 . .50 ---All Star Mandolfo Folio No. 4 . .50 :~:1:u,::~:r:::: :3i _ Fei st Popular Hit s No. 7 .... ... ... 1.00 _= William~~:t~::s~~:::::~ Diagram Meth~ { . .75 _ __Feist " " No. 8 ...... .... 1.00 _ Feist Popu lar Hit s No . 6 , . • . .60 _ _ Merz' s Graded Comp. 1st Mandolin . .76 _ Feist Popular H its No. 6 • • • . 1.00 _---1,l erz's Banjo Band 1st Mandolin . .75 -Feist Popular Hits No. 7 ,. , .... .. .. 1.00 - Smith's Banjo Band 1st Mandolin . .76 _Feis t " " No. 8' ... ... .. 1.00 -- Concert Folio :Mandolin and Guitar .. 1.25 _Sm ith Medium Grade Selections . .75 _ Kitchener' s Mandolin Method No. 1 . .76 -Smith's Hymn s for Hawaiian Guitar . 1.00 _ Kitchener 's " " No. 2 . .76 UKULELE GUITAR - .Kami ki Ukulele Method . .50 -- Sm ith 's Chords for Guitar . .75 _Paramo unt Ukul ele Method . .75 _ ____Paramount Guitar Method . .76 _ __ MSmith's Songs for Uku lele (notes) . .75 ,_ __ _Fotlen's Guitar Method No. 1 . .... 1.25 _ Smith' s 200 Ukulele SonJ?S . .60 _ ___Foden's Guitar Method No. 2 .. .. •.• 1.60 _ Sm ith 's Comic Uku lele Songs . .35 - Foden's Guitar Chords . .60 _ _ ..Breen's Ukulel e Method . .50 ---E-Z Guitar Method . .35 ___E.Z Uku lele Method . .35 - .Songs for Guitar . ................ 1.00 _ Clarke 's Guitar Solos ... .. .... 1.00 :3~ts~~~c'1tik~=I~~~:fhoci ..... :: :• ::~ _ Roy Smeck's Guitar Blues . ..... 1.00 __ Roy Smeck Uku lele Solos . .76 -Roy Smedc's Guitar Chords . .76 ARMSTRONG 'S HARMONY FOR FRETTED INSTRUMENTS The only book 0 £ ita kind pub li, h.ed PRICE $3.00 WM. J. SMITH MUSIC CO., INC. 254 -256 W. 3ht Str ee t NEW YORK, N. Y. PU.AU MENTION Thi CRESCENDO WHEN WllmHC TO ADVUTIU.U January, '1929 T HE CRESCENDO Radio numbers ( ODELL'SNEWEST ) ARRANGEMENTS. for BANJOand MANDOLINCLUBS Young America, March - H. F . Odell A Live Wire. March -J. H. John stone After Thoughts , Valse Le.nte- H. F. Odell The Priz e Winner, March -L. Tocaben Laughing Eyes, Waltz -H . F. OdeH Love's Old Sweet Song -J. L. Molloy Invincible U.S. A. -H.F. Odell Beautiful Night, Barcarolle-J, Offenbach Boston Commandery., March-T, M. Carter The Meteor , March - W. N. Rice $1.25 per foUo of ten; 30! single copy T enor and 5-string Banjo, l s( 2nd, 3rd Mandolin ; Guitar; ) Mandala, Mando-bass, Mando-cello, Piano; Flute; Drums NOTE :-T he Teno1· Banjo part s recently added to t he original arrangements may be used with piano accompmtiment, either as a solo or duet , yet they can be used as an unaccompanied solo or duet very effectively . The""solo part can also be used with the orchestra accompani­ ment. The chord or obligato patft on the same score of each arra ngement, is also suitable as the orchestration. H.F. ODELL, Puhl., 157 Columbus Avenue, Boston, Mass. Ace Banjoist ef the South IRVINE TAYLOR, Banjoi s t wit h Joe Belle's Rit z Orc hd t~.i at the Rit z (Keit h ) Theatr e, writes :- "Th e Overtur e I play ed at the theatre last week went over big and th e new B&D Silver Bell Banjo stood out wonder ­ ful. Quite a numb er of peopl e spoke to me about its tone qualit y and how splendid it looked under the spot light." Williai11J M,ui c House , Birmi11gh nm Agents for Alabama for Ba con B a11jos New 1929 (D e Luxe Edition ) SIL VER BELL NEWS - FREE IRVINE TAYLOR Birmingham , Al ■. The Bacon Banjo Compan y, Inc., <;;-roton,Conn. 2 T HE CRESCEN D O Jan uary, 1929 Stahl's Methods Are the Best Methods ! Bu•y teachen, ambitlo u• atudent ■, live-wiie me rchanb--all find Stah l me thod, grea t aid,. Stah l method, are the m o1t th oro ugh , comprehen1ive, prac t ica l an d comp lete publi,hed. All we aak i, a compariaon with the met hod. you are now u1ing. Stah l me thoi:11 do hot ni n around in circle; they ge:'t the pupil 1omep lace and they do it in th e 1hortc1t poHible time . Try them an d ju d ge fo r youne lf, whic h metho d turn, out the beat player ■ with the leaat effo rt and in th e 1hor te1t 'p0Hib le time, . STAHL 'S TENOR BANJO METHOD Part, I and 2 . } C;{STAH L'S PLECTRUM BANJO METHOD · Comp lete in one book STAH L'S INTERNATIONAL 5 -STRJNG BANJO METHOD Complete in on·e boo k STAHL 'S GUITAR METHOD Complete in one book · STAHL'S HAWAIIAN GUITAR METHOD Part ■ I and 2 • STAHL 'S MANDOLI N METHOD Part. 1, 2 and 3 Price $1.25 pe r boo k, es.cept the H awaiian Gu itar Method which i, $ 1.00 per part. , STAHL 'S NOVELTY FOLIO FOR STAHL 'S BRUNOVE R'S TENOR BANJO FASCINATING MELODI ES FO R EAS Y DUETS IN EA SY KE YS FO R Fourteen of the greate,t HAWAIIAN GUITAR TE NO R BANJO Teno r Banjo ,ol o, pub li1hed. Twe lve beautiful 10101 wit h re gular . A brand new co llect ion of the ea1ie1t Guitar accompt., 1uitable fo r broad­ an d prettie,t piece• publi,h ed. Pupil ■ Di::ult~~ ~~rYt ~\ile. ca,ting, conce rt or teaching . can play th i, grade of mu1i c in eight ContenU: Ea1y and Medium grod ea. or ten leuo n,. Ir ritating the St ring• Pr ice $ 1.00 Pri ce f../ Kromotic Kaper1 STAHL 'S Sunny Smilea Fire,ide Dream, T eno r Banjo S 1.00 ST AR COL LECTI ON FOR TH E Piano accompt.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • June 28, 29 & 30, 2013
    33rd annual music with roots 2013 June 28, 29 & 30, 2013 Welcome to the 33rd annual music with roots THE MISSION OF OLD SONGS, INC. FUNDING PROVIDED BY Old Songs, Inc. is a not-for-profit organization dedicated to keeping traditional This event is made possible with public funds from the New music and dance alive through the presentation of festivals, concerts, dances and York State Council on the Arts, with the support of Governor educational programs. Andrew Cuomo and the New York State Legislature. THANK YOU FOR YOUR SUPPORT SOUND SUPPORT Meadowlark Farms (flowers) • REM Printing • Michael Jarus • Andy’s Front Hall Specialized Audio/John Geritz, Ian Hamelin and crew, Altamont Fairgrounds • Terry & Donna Mutchler • Voorheesville Carpet Co. Euterpe Sound/Clyde Tyndale, Tim Parker, Kate Korolenko, Scott Petersen, Dave and Cyndi Reichard OUR ENVIRONMENT We are grateful to have such a lovely shaded place to have a festival. Please DOCUMENTATION use the RECYCLE barrels for all plastic, aluminum, and glass containers. Flatten Don Person, Bill Houston, Bill Spence, Hannah Spence cardboard and place it next to a barrel. Use TRASH BARRELS for refuse. PICK UP and Neil Parsons after the concerts. Ride your BICYCLES in the designated areas. Wear shoes, use sunscreen and drink lots of water. Smoke away from the seated audience. Thanks SPONSORS from all who share this place. Old Songs would like to thank the following businesses and individuals for SEATING/CHAIR POLICY their sponsorship of the 2013 Old Songs Festival: Seating at the Main Stage and in Areas 2, 3, 6, 7 and 8 is divided into low and high The Global Child - Chet & Karen Opalka Price Chopper sections.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • The Banjo Is a Much Loved and Increasingly Popular Instrument, But
    ° BANJO BONANZA ° ° BANJO BONANZA ° The banjo is a muchA loved and increasinglyLONG popular instrument, but its history is less well-known. Rose Skelton talks to banjo protagonists Béla Fleck, Jayme Stone and Otis Taylor, who are all intent on highlighting its African roots TRIP HOME sparkling moment of stillness dig at the roots of the instrument. Jayme and it got relegated to traditional music and is sandwiched between Stone, a young Canadian banjo player, went to disappeared from common usage.” scenes of children singing at Mali to explore griot music and has since But the banjo’s history didn’t start there. an orphanage in the Malian recorded and toured with kora players with Ethnomusicologists reckon the instrument, capital Bamako, and a noisy their version of the banjo-meets-Africa on his now made from metal, wood and plastic, A street scene in which motorbikes, cars and 2008 album Africa to Appalachia [reviewed actually came from Africa on slave ships in donkey carts chug down a dust-lined road. in #58]. The great American bluesman Otis the form of skin and gourd lutes, like the Béla Fleck, one of modern music’s most Taylor delved into the African-American akonting of Senegal or the ngoni of Mali, the experimental banjo players, and Oumou roots of the instrument on his 2008 album latter of which has been around since at least Sangaré, arguably Africa’s most celebrated Recapturing The Banjo [reviewed in #50], the 14th century. Once these gourd female singer, play together in a small making the point that when the blues came instruments arrived on American soil, the Above: banjo maestro Béla recording studio in Bamako; Béla picking from Africa, it came via the banjo.
    [Show full text]
  • Jason Bailey Band Harmony Sound Pickers Milltowne Spring/Summer
    Volume 53 – Issue 2 www.huntsvillefolk.org Spring/Summer 2019 The second quarter HTMA Membership meetings will be held at 1:30-4:30: April 14th (Moved up due to Easter) May 19th June 16th Please check the HTMA website to verify meeting locations, as they may vary HTMA President’s Notes HTMA Coffeehouses are scheduled for March 2019 7:00 at Burritt Museum’s Old Church. Dear Friends, Tuesday April 23rd As a non-profit organization, our purpose and Jason Bailey Band objective is to preserve and perpetuate Tuesday May 28th traditional music, instruments, and styles of rendition. This includes, but is not necessarily Harmony Sound Pickers limited to, what is commonly referred to as Tuesday June 25th folk, traditional, and old-time music. We emphasize live performance of music (not- Milltowne recorded or assisted by recordings) using CONTENTS natural, acoustic instruments and unaltered Page 1 – President’s Notes human voices. We strive to provide wholesome Page 2 – Upcoming Events and informative family entertainment in each Page 3 – April 23rd Coffeehouse and every event we sponsor or participate in. Page 4 – May 28th Coffeehouse We have a year of diverse and both regionally Page 5 – June 25 Coffeehouse and nationally respected performers booked into the Coffeehouse. Monthly Coffeehouses Page 5 – Whoever Was Maud Irving? are the 4th Tuesday of the month, opening Page 6 – A Remembrance of Dan Charles with a performance by HTMA members, Page 11 – New Verse and Chorus for “Vacant followed by the headliner act. Venue location Chair” is the Old Church at Burritt on the Mountain.
    [Show full text]
  • 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.
    [Show full text]
  • 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).
    [Show full text]
  • Tenor Banjo by Don Meade
    The Irish Tenor Banjo by Don Meade The tenor banjo is only about a century old and Early banjos were not standardized instruments was not widely played in Ireland before the but typically had a soundbox made from a dried 1960s. Until recently, in fact, the instrument had gourd with one end cut off. A small drumhead a fairly poor reputation among traditional music made from the skin of a raccoon, groundhog or cognoscenti. Times (and banjo players) have other animal was tied or tacked in place over this changed, however, and the oft-maligned opening. The neck was fretless, sometimes little “bodhrán on a stick” is now one of the most more than a stick thrust through the gourd body. popular “traditional” instruments in Irish music. Strings might be made from braided horse hair, Banjo virtuoso Mick Moloney says Irish banjo thread, gut, hemp or any other tough fiber. maker Tom Cussen’s list of Irish tenor players Unlike African lutes, on which the strings are now includes some 7,000 names! There are now attached to sliding tuning rings set around the more people playing Irish dance music on the neck, American banjos were, from an early point tenor banjo than are using the instrument for in their evolution, tuned with violin-style pegs. anything else. Before going into details of Irish banjo style, a bit of a history lesson is required The banjo in its classic form has a short, high- to explain this development. pitched string (“chanterelle”) that terminates at a peg on the side of the neck, as well as several African Roots full-length strings.
    [Show full text]
  • CORDAS Inter & PT.Xlsm
    INSTRUMENTS TUNING AND SCALE LENGHT 20/07/2017 Instrument Scale Type END Notes Classical 4/4 High Tension 650 mm Nylon E B G D A E Classical 3/4 High tension 577 mm Nylon E B G D A E Acoustic Guitar Bronze 0,011 650 mm Steel Ball E B G D A E Acoustic Guitar 3/4 Bronze 580 mm Steel Ball E B G D A E Baritone Guitar 766 mm Nylon B F# D A E B Tenor Guitar 577 mm Nylon A D G C Acoustic bass - 32 inch 812 mm Taped Ball G D A E Algerian Mondol 10C 650 mm Steel Loop B B G G D D A A E E Algerian Mondol 8C 650 mm Steel Loop B B G G D D A A Balalaika Alto 520 mm mix Ball A E E Balalaika Prima 445 mm Nylon A E E Banjo Guitar 650 mm Steel Ball E B G D A E Banjo Mandola 468 mm Steel Loop E E A A D D G G Banjo Portuguese 364 mm Steel Loop E E A A D D G G Banjo Trompete 300 mm Steel Loop E E A A D D G G Caipira 564 mmSteelBall E E B B G G E E B B Cap-verde 364 mm Steel Ball D B G D Cav Brasilian & Original 342 mm Steel Ball D B G D Cuatro Puerto Rico 515 mm Nylon G G D D A A E E B B Cuatro Venuzuelano 484 mm Nylon B F# D A Domra Alto 490 mm Nylon D A E Domra Prima 395 mm Nylon D A E Irish Bouzouki 650 mm Steel Loop D D A A D D G G Mandocello 610 mm Steel Loop E E A A D D G G Mandocello EU 650 mm Steel Loop A A D D G G C C Mandola 468 mm Steel Loop E E A A D D G G Mandola Octave 563 mm Steel Loop E E A A D D G G Mandolin 364 mm Steel Loop E E A A D D G G Portuguese Amarantina 505 mm Steel Loop A A E E B B A A D D Portuguese Beiroa 520 mm SteelLoop D D B B G G D D A A D D Portuguese Braguesa 505 mm Steel Loop A A E E B B A A D D Portuguese Braguinha 342
    [Show full text]