Intelligent MIDI Master Keyboard Users' Manual
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A Gamelan Manual: a Players Guide to the Central Javanese Gamelan Pdf
FREE A GAMELAN MANUAL: A PLAYERS GUIDE TO THE CENTRAL JAVANESE GAMELAN PDF Richard Pickvance | 336 pages | 30 Mar 2006 | Jaman Mas Books | 9780955029509 | English | London, United Kingdom - Wikipedia The music of Indonesia is regarded as relatively obscure to the Western listener, distant in geography but also in musical and cultural aesthetics. Despite this, gamelanwhich refers to various types of Indonesian orchestra and the different traditions and genres that such orchestras perform, has become increasingly prevalent in World Music circuits. While incomprehension sometimes relegates its overwhelming complexities and intricacies to Orientalist exoticism, gamelan offers a rare projection of Indonesian culture that has been revered and respected far beyond the edges of the archipelago. Situated in the Indian and Pacific oceans, the archipelago of Indonesia is the largest country in Southeast Asia and the most extensive island complex in the world, comprising more than 15, islands that are home to more than million people. Indonesia is a very diverse society, having provided a passageway for peoples and cultures between Oceania and mainland Asia for millennia. Ancient Indonesia was characterised by small estuary kingdoms. As no single hegemonic power emerged, the early history of Indonesia is the development of distinct regions that only gradually threaded together. Sailors from the archipelago became pioneering maritime explorers and merchants, establishing trade routes with places as far off as southern China and the east coast of Africa even in ancient times. Hinduism, brought to Indonesia by Brahmans from India c. However, as the Srivijaya kingdom on Sumatra expanded its maritime influence and made firm commercial links with China and India, it also spread Buddhism into parts of Indonesia 7 th th Cpromoting a social structure in which leaders bore the responsibility of ensuring that all had the means of ascetic worship through religious A Gamelan Manual: A Players Guide to the Central Javanese Gamelan and community rituals. -
Mozart and Brahms I Contents Welcome 1
Music to soothe your soul Mozartand Brahms 28 + 29 MAY 2021 CONCERT HALL, QPAC PROGRAM | MOZART AND BRAHMS I CONTENTS WELCOME 1 IF YOU'RE NEW TO THE ORCHESTRA 2 FOR YOUNGER EARS 4 DEFINTION OF TERMS 8 LISTENING GUIDE 10 ARTIST BIOGRAPHIES 14 SUPPORTING YOUR ORCHESTRA 24 MUSICIANS AND MANAGEMENT 26 II PROGRAM | MOZART AND BRAHMS WELCOME Today we are very privileged to welcome back to the QPAC stage one of the world's greatest oboists - Diana Doherty. The oboe is a notoriously tricky instrument with several parameters that make it hard to master, none more so than the temperamental double reed at the top. These are hand- made by the oboist from a weed similar to bamboo (Arundo Donax for those playing at home). There are but a handful of oboists in the world who are invited to perform as soloists outside of their country, and Diana is one of them. One of my first trips to see the Sydney Symphony Orchestra as a teenager was to witness Diana perform the Richard Strauss Oboe Concerto. I marvelled at her gloriously resonant oboe sound, especially as she was 37 weeks pregnant! Nearly a decade later I watched Diana premiere Ross Edwards' Oboe Concerto, dressed (as instructed by the composer) as a wild bird, whilst undertaking dance choreography. I can’t think of any other oboist in the world who can pull off these jaw-dropping feats. Today, Diana performs the most famous work from the oboe repertoire - Mozart's Oboe Concerto in C. Diana is one of those oboists who makes the instrument sound like a human voice, and I have no doubt that you will enjoy her breathtaking rendition of this charming yet virtuosic concerto. -
Basic Music Course: Keyboard Course
B A S I C M U S I C C O U R S E KEYBOARD course B A S I C M U S I C C O U R S E KEYBOARD COURSE Published by The Church of Jesus Christ of Latter-day Saints Salt Lake City, Utah © 1993 by Intellectual Reserve, Inc. All rights reserved Printed in the United States of America Updated 2004 English approval: 4/03 CONTENTS Introduction to the Basic Music Course .....1 “In Humility, Our Savior”........................28 Hymns to Learn ......................................56 The Keyboard Course..................................2 “Jesus, the Very Thought of Thee”.........29 “How Gentle God’s Commands”............56 Purposes...................................................2 “Jesus, Once of Humble Birth”..............30 “Jesus, the Very Thought of Thee”.........57 Components .............................................2 “Abide with Me!”....................................31 “Jesus, Once of Humble Birth”..............58 Advice to Students ......................................3 Finding and Practicing the White Keys ......32 “God Loved Us, So He Sent His Son”....60 A Note of Encouragement...........................4 Finding Middle C.....................................32 Accidentals ................................................62 Finding and Practicing C and F...............34 Sharps ....................................................63 SECTION 1 ..................................................5 Finding and Practicing A and B...............35 Flats........................................................63 Getting Ready to Play the Piano -
PRODUCT MANUAL Personal Electronic Piano
YAMAHA ® AUTHORIZED PRODUCT MANUAL YPP-50 Personal Electronic Piano IMPORTANT Check your power supply Make sure that your local AC mains voltage matches the voltage specified on the name plate on the bottom panel. In some areas a voltage selec- tor may be provided on the rear panel of the main keyboard unit. Make sure that the voltage selector is set for the voltage in your area. The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated “danger- ous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK. DO NOT REMOVE COVER (OR BACK). The exclamation point within an equilateral tri- NO USER-SERVICEABLE PARTS INSIDE. angle is intended to alert the user to the presence REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. of important operating and maintenance (servic- ing) instructions in the literature accompanying theproduct. See bottom of keyboard enclosure for graphic symbol markings IMPORTANT SAFETY AND INSTALLATION INSTRUCTIONS INFORMATION RELATING TO POSSIBLE PERSONAL INJURY, ELECTRIC SHOCK, AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST. —When using electronic products, basic pre- Some Yamaha electronic products can be made to operate with WARNING cautions should always be followed, including 8 . or without the side panels or other components that constitute the following: a stand. These products should be used only with the components supplied or a cart or stand that is recommended by the manufacturer. Read all Safety and Installation Instructions, Explanation of 1 . -
Scales by Andy Csillag
17 Frets Scales By Andy Csillag https://drew.thecsillags.com/17frets Copyright © 2016 Andrew T. Csillag This work is licensed under the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. Introduction I’ve been playing guitar since I was in my teenage years, and I learned the diatonic and pentatonic scales mostly so I could improvise solos over rock music. While reading bits in Guitar magazine, where they would dissect a solo by some artist or other, I would note terms like Lydian and Mixolydian, and so on, but never really understood, since as far as my ear was concerned, they were just playing the normal scale just in a different key than whatever the rest of the tune was in, but since I mostly went by tablature, I was mostly ignorant of the main key, lacking the theoretical basis for what chords belong in what scales and so forth. For what it’s worth, I continued in my awareness but ignorance of modes well into my 30’s and early 40’s. Fast forward a bit, and I started learning how to improvise with Jazz, and the literature I was finding was treating things like D Dorian and B Locrian as it was a totally different thing than the normal C major scale. While they’re not the same in a theoretical sense, from a practical matter of what notes are in the scale, they’re exactly the same. -
Functional Orchestral Collaboration Skills for Wind Band
FUNCTIONAL ORCHESTRAL COLLABORATION SKILLS FOR WIND BAND PIANISTS: A STUDY GUIDE Jisoo Grace Kim Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2016 APPROVED: Pamela Mia Paul, Major Professor Eugene Migliaro Corporon, Committee Member Steven Harlos, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Kim, Jisoo Grace. Functional Orchestral Collaboration Skills for Wind Band Pianists: A Study Guide. Doctor of Musical Arts (Performance), August 2016, 54 pp., 2 tables, 9 figures, references, 32 titles. As opportunities to perform as a soloist diminish, more pianists consider chamber and orchestral playing as an alternative solution. By so doing, ample performance opportunities are introduced. Although most university music programs offer ensemble courses for pianists and have begun to offer degrees with an emphasis in accompaniment, their curriculum lacks instructions specifically designed to train and prepare pianists for playing in large ensembles, especially wind bands. This dissertation addresses the difficulties, which one might encounter in large ensemble collaboration, and recommends useful suggestions for acquiring functional skills to solve these difficulties. Pianists can attain professional status by acquiring the functional skills presented in each chapter. The goal of this study is to provide pedagogical support and direction for novice pianists in the larger ensemble collaboration. Copyright 2016 by Jisoo Grace Kim ii ACKNOWLEDGMENTS First and foremost, I would like to express the deepest appreciation to my major professor, Dr. Pamela Mia Paul, without whose supervision and dedicated involvement in the process, this dissertation would not be possible. -
Wind Symphony
Illinois State University ISU ReD: Research and eData School of Music Programs Music 4-22-2007 Wind Symphony Stephen K. Steele Conductor Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Steele, Stephen K. Conductor, "Wind Symphony" (2007). School of Music Programs. 3175. https://ir.library.illinoisstate.edu/somp/3175 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. Illinois State University I College of Fine Arts , School of Music I ,I WIND SYMPHONY I I Stephen K. Steele, Conductor Cleveland Duo, Guest Soloists I Stephen Warner, Violin Carolyn Gadiel Warner, Piano I Band Concerto Winner Bradley Harris, Trombone I Narong Prangcharoen, Guest Composer ,I I I Center for the Performing Arts Sunday Afternoon April 22, 2007 I This is the one hundred seventy third program of the 2006-2007 Season 3:00 p.m. Program Notes Program I I Born in Platteville, Wisconsin in 1974, Nathan Tanouye began studying music in elementary school, first with piano lessons and later on NATHAN TANOUYE Kokopellis' Dance (2005)· I ,I (born 1974) trombone. At age 11 he moved to Hawaii, where he attended high school and began college. While at the University of Hawaii, Manoa, Mr. Tanouye studied trombone with members of the Honolulu Symphony, I I including Jim Decker and Mike Becker. -
Musical Scales and Multiplicative Groups
Bridges 2018 Conference Proceedings Musical Scales and Multiplicative Groups Donald Spector Dept. of Physics, Hobart and William Smith Colleges, Geneva, NY, USA; [email protected] Abstract Composers frequently apply mathematical operations to musical scales that treat a scale’s sequence of notes in additive fashion. Here, we introduce operations from multiplicative group theory to develop new methods of obtaining and transforming musical expressions. The methods are applicable to conventional and non-conventional scales. Introduction It is well known that standard musical scales have a mathematical underpinning. In Western music, just intonation is formed by identifying frequencies in certain whole number ratios with particular musical intervals, while well-tempered scales are obtained by having successive notes have a frequency ratio of 21/12, with octaves corresponding to a doubling of frequencies [4]. There are, of course, also microtonal [5] and non-octave scales [7]. In many contexts, however, it is customary to think of musical notes as forming an arithmetic sequence. Mathematically, one can think of this as labeling notes in terms of the logarithm of their frequencies, although that is not necessary for this paper. In the standard Western well-tempered chromatic scale, each octave consists of twelve notes, and, for example, transposing up a minor third means shifting every note three places in the scale. In this context, one typically treats the notes being defined using modular arithmetic, since that moving twelve halftones higher returns one to the same note, albeit shifted by an octave. In this paper, we introduce some methods for using instead multiplicative groups associated with modular arithmetic as a tool for music composition. -
A Becoming-Infinite-Cycle in Anne Boyd's Music: a Feminist-Deleuzian
Volume 3 (2008) ISSN 1751-7788 A Becoming-Infinite-Cycle in Anne Boyd’s Music: A Feminist-Deleuzian Exploration1 Sally Macarthur University of Western Sydney The last two decades of the twentieth century witnessed the remarkable 1 transformation of musicology by feminist scholarship in its illumination of the music of previously forgotten women composers. By the turn of the twenty- first century, however, this scholarship had become merely a phenomenon of the 1990s.2 Women’s music, once again, has virtually disappeared from musicology in the Northern hemisphere,3 a finding which is echoed in Australia.4 A recent study paints a bleak picture, suggesting that women’s music is significantly under-represented in the theoretical studies of Australian tertiary music institutions.5 Music analysis, the staple diet of curricula in the vast majority of tertiary 2 music institutions, has contributed to this lop-sided view of music.6 While the discipline may appear to employ a broad range of theoretical models for studying Western art music,7 it does not correspondingly study a broad range of music. And yet, it may be that the theoretical apparatus is also limited, for most analytical methods are designed to examine musical structure, and are employed to contemplate meaning in music. A typical approach will speculate that musical meaning will be uncovered by studying the pitch structures of a work and then proceed to prove the theory. The fundamental structure in a Schenkerian graph, for example, will demonstrate that tonal music by ‘great’ composers (on whom it tests its theory) conforms to the image produced by the graph. -
Our God Goes with Us Asian Heritage Month Worship Our Asian Heritage Month Worship Service This Year Focuses on the United Churches of Japanese-Canadian Background
Our God Goes with Us Asian Heritage Month Worship Our Asian Heritage Month worship service this year focuses on the United Churches of Japanese-Canadian background. These churches have had a rich though sometimes troubled journey. This service was written by David Kai, a third-generation Canadian of Japanese descent (Sansei) who grew up attending the Toronto Japanese United Church. Attached Resources • Scales sheet: Major scale, Pentatonic scale, Hirajoshi mode scale • Hymn: “Our God Goes with Us” I give permission for people to copy and use the music and just ask that your community of faith report the use to One License or CCLI. • Photo: Powell Street United Church Other Resources • “East of the Rockies” National Film Board app simulates the conditions of internment: www.nfb.ca/interactive/east_of_the_rockies/ • “A Ghost Town Tour” video presentation: https://youtu.be/rabJPKuXazA We Gather to Worship Acknowledgement of the Land As we gather here today on the traditional land of the people, we remember their stewardship of the land and their willingness to live in harmony with their neighbours. We remember also the pain of stolen land, broken promises, and forgotten treaties. As we gather here today, we remember also those who came to this land from around the world, some seeking opportunity, some seeking safety and asylum, some brought against their will. We celebrate all who came to make Canada their home, but we remember that all were not given equal welcome or equal treatment in this land. Today on this Sunday when we celebrate Asian Heritage Month, we remember in particular the story of Canadian Christians of Japanese heritage who have their own unique part in this country’s history and in The United Church of Canada. -
Piano Scales
HAMSA MUSIC INSTITUTE #896/1/3, 1STST FLOOR, 1 ‘A’ MHIN ROAD, MAHALAKSHMI LAYOUT ENTUANCE MAHALASHMIPURAM, BANGALORE-86. Mob:9945169825. www.hamsamusic.wordpress.com [email protected] PIANO SCALES Name…………………………………………………………………………………………………… ……………………………………………………………………………………………………………… ……………………………………………………………………………………………………………... C D E F G A B C Major Scale intervals: 1,2,3,4,5,6,7 half-steps: 2-2-1-2-2-2-1 notes: C,D,E,F,G,A,B Eb Ab C D F G B C Harmonic Minor Scale intervals: 1,2,b3,4,5,b6,7 half-steps: 2-1-2-2-1-3-1 notes: C,D,Eb,F,G,Ab,B Eb C D F G A B C Melodic Minor (Ascending) Scale intervals: 1,2,b3,4,5,6,7 half-steps: 2-1-2-2-2-2-1 notes: C,D,Eb,F,G,A,B Eb Ab Bb C D F G C Melodic Minor (Descending) Scale a.k.a.: C Natural Minor, C Relative Minor intervals: 1,2,b3,4,5,b6,b7 half-steps: 2-1-2-2-1-2-2 notes: C,D,Eb,F,G,Ab,Bb F# G# Bb C D E C Whole Tone Scale intervals: 1,2,3,#4,#5,b7 half-steps: 2-2-2-2-2-2 notes: C,D,E,F#,G#,Bb C D E G A C Pentatonic Major Scale intervals: 1,2,3,5,6 half-steps: 2-2-3-2-3 notes: C,D,E,G,A Eb Bb C F G C Pentatonic Minor Scale intervals: 1,b3,4,5,b7 half-steps: 3-2-2-3-2 notes: C,Eb,F,G,Bb Eb Gb Bb C F G C Pentatonic Blues Scale intervals: 1,b3,4,b5,5,b7 half-steps: 3-2-1-1-3-2 notes: C,Eb,F,Gb,G,Bb Bb C D F G C Pentatonic Neutral Scale intervals: 1,2,4,5,b7 half-steps: 2-3-2-3-2 notes: C,D,F,G,Bb Db Eb Gb Bb C E G A C Octatonic (H-W) Scale intervals: 1,b2,b3,3,b5,5,6,b7 half-steps: 1-2-1-2-1-2-1-2 notes: C,Db,Eb,E,Gb,G,A,Bb Eb Gb Ab C D F A B C Octatonic (W-H) Scale intervals: 1,2,b3,4,b5,b6,6,7 -
Keyboard Course B a S I C M U S I C C O U R S E Keyboard Course
B A S I C M U S I C C O U R S E KEYBOARD COURSE B A S I C M U S I C C O U R S E KEYBOARD COURSE Published by The Church of Jesus Christ of Latter-day Saints Salt Lake City, Utah © 1993 by Intellectual Reserve, Inc. All rights reserved Printed in the United States of America UpdAted 2004 English ApprovAl: 4/03 CONTENTS Introduction to the Basic Music Course .....1 “In HuMility, Our SAvior”........................28 HyMns to LeArn ......................................56 The KeyboArd Course..................................2 “Jesus, the Very Thought of Thee”.........29 “How Gentle God’s Commands”............56 Purposes...................................................2 “Jesus, Once of HuMble Birth”..............30 “Jesus, the Very Thought of Thee”.........57 CoMponents .............................................2 “Abide with Me!”....................................31 “Jesus, Once of HuMble Birth”..............58 Advice to Students ......................................3 Finding and Practicing the White Keys ......32 “God Loved Us, So He Sent His Son”....60 A Note of EncourAgeMent...........................4 Finding Middle C.....................................32 Accidentals ................................................62 Finding and PrActicing C and F...............34 ShArps ....................................................63 SECTION 1 ..................................................5 Finding and PrActicing A and B...............35 FlAts........................................................63 Getting Ready to Play the Piano