Percussion September 2001
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Premium Blend: Middle School Percussion Curriculum Utilizing Western and Non-Western Pedagogy
Premium Blend: Middle School Percussion Curriculum Utilizing Western and Non-Western Pedagogy Bob Siemienkowicz Winfield School District 34 OS 150 Park Street Winfield, Illinois 60190 A Clinic/Demonstration Presented by Bob Siemienkowicz [email protected] And The 630.909.4974 Winfield Percussion Ensembles ACT 1 Good morning. Thank you for allowing us to show what we do and how we do it. Our program works for our situation in Winfield and we hope portions of it will work for your program. Let’s start with a song and then we will time warp into year one of our program. SONG – Prelude in E minor YEAR 1 – All those instruments The Winfield Band program, my philosophy has been that rhythm is the key to success. I tell all band students “You can learn the notes and fingerings fine, but without good rhythm, no one will understand what you are playing.” This is also true in folkloric music. Faster does not mean you are a better player. How well you communicate musically establishes your level of proficiency. Our first lessons with all band students are clapping exercises I design and lessons from the Goldenberg Percussion method book. Without the impedance of embouchure, fingerings and the thought of dropping a $500 instrument on the floor, the student becomes completely focused on rhythmic study. For the first percussion lesson, the focus is also rhythmic. Without the need for lips, we play hand percussion immediately. For the first Western rudiment, we play paradiddles on conga drums or bongos (PLAY HERE). All percussion students must say paradiddle while they play it. -
A Musical Analysis of Afro-Cuban Batá Drumming
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2019 Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming Javier Diaz The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2966 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MEANING BEYOND WORDS: A MUSICAL ANALYSIS OF AFRO-CUBAN BATÁ DRUMMING by JAVIER DIAZ A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2019 2018 JAVIER DIAZ All rights reserved ii Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming by Javier Diaz This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor in Musical Arts. ——————————— —————————————————— Date Benjamin Lapidus Chair of Examining Committee ——————————— —————————————————— Date Norman Carey Executive Officer Supervisory Committee Peter Manuel, Advisor Janette Tilley, First Reader David Font-Navarrete, Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming by Javier Diaz Advisor: Peter Manuel This dissertation consists of a musical analysis of Afro-Cuban batá drumming. Current scholarship focuses on ethnographic research, descriptive analysis, transcriptions, and studies on the language encoding capabilities of batá. -
028-102-801 I4.Pdf
BELLSYSTEM PRACTICES SECTION 028-102-801 AT& TCo Standard Issue 4, April 1980 BELLS,SIGNALS, AND CHIMES • SOLENOID TYPE PIECE-PART DATA AND REPLACEMENTPROCEDURES • CONTENTS PAGE 1. GENERAL 1. GENERAL 2. APPARATUS 2 1.01 This section covers piece-part data and replacement procedures for maintenance of 3. PIECE-PART DATA 2 the KS-5595, KS-6918, KS-6919, KS-6920, KS-7228, KS-7752, and KS-20375 solenoid type bells, KS-5594 4. REPLACEMENT PROCEDURES 11 and KS-8229 solenoid type signals, and the KS-22001 • solenoid type chimes . Figures 1.02 This section is reissued for the following reasons: 1. KS-5595, LS Through Ll0, KS-6918, KS-6919, KS-6920, KS'-7228 and KS-7752 Bells 3 • To rate the KS-5594, Ll, L2, L3, L4, L5, L9, and LIO signals Mfr Disc. 2. KS-20375, Ll, Bell 2 • To rate the KS-5595, Ll, L2, L3, and L4 3. KS-5594, LS, L9, and ll0 Signals (Mfr bells Mfr Disc. Disc.) 5 • To rate the KS-6921 bells Mfr Disc. 4. KS-5594, L6, L7, and LS Signals 6 • • To rate the KS-8229, L13, L14, L15, and 5. KS-5594, L7, and LS Signals - Bar Harp L23 signals Mfr Disc. 7 • To add coverage on the KS-20375 bells 6. KS-5594, L6, Signal - Bar Harp 7 • To add coverage on the KS-22001, Ll through 7. KS-8299, L13, L14, and L15 Signals (Mfr L7 chimes Disc.) 8 • To include changes from Addendum, Issue 1 8. KS-8229, L23, Signal (Mfr Disc.) 9 • To update the piece-part numbers on all • 9. -
Bass Clarinet and Untuned Percussion
funk for bass clarinet (or E♭contrabass/contra-alto clarinet) and untuned percussion Chris Dench funk for bass clarinet and untuned percussion (may also be played on E♭ contra-alto clarinet) duration: 9 minutes Chris Dench (1988-89) for Carl Rosman and Peter Neville Must have took me for a fool Not funk but funk conquered is what is When they chucked me out of school worthy of admiration and makes life ’Cos the teacher knew I had the funk… worth having been lived. Thomas Morgan Dolby Robertson Ludwig Wittgenstein Hyperactive Notebook entry 1940 Percussion Instruments 5 tomtoms Also coperto: 5 small squares of cloth with string tied to one corner. Other end of string tied to outside of tomtoms so that to begin the piece—tomtoms coperti—cloths are on the skins, and can be flicked off during I and K without problems. 5 cymbals Third cymbal a sizzle cymbal; splashy colours. 5 woodblocks 5 cowbells Straight, trumpet variety; not almglocken. logdrum Or wooden slit-drum; two pitches. 2 brake blocks Or other resonant metal blocks; no discernible pitch content. 2 small suspended bells Not pretty, hung pieces of resonant metal will do; higher pitched than brake blocks; no discernible pitch content. 2 bongos & 2 timbales Bongos and timbales function as treble and alto tomtoms. kick bass drum Deep toned. Chinese cymbal A large foot-choked hi-hat may be substituted. 2 tamtams Hung behind player so that they can be struck without looking. Player could use elbows or fists, gently. whip or slapstick Two wooden boards struck together. -
Percussion Quartet 1.Mus
JULIÁN________________ BRIJALDO CONGANESS for Percussion Quartet www.julianbrijaldo.com [email protected] CONGANESS 5:00 INSTRUMENTATION Percussion I: Bongos Conga drum Tumbadora Percussion II: Vibraphone Marimba 4 Tom-toms Crash cymbal, Splash cymbal & China cymbal Percussion III: Vibraphone Marimba 4 Tom-toms Crash cymbal, Splash cymbal & China cymbal* Percussion IV: Glockenspiel Vibraphone 3 Timpani: 32,'' 26,'' 23'' * The percussion sets share intruments (See the suggested stage diagram) Performance Notes: . Percussion I has the leading role throughout the piece. It should not be overpowered by the other instruments at any moment. The tempo markings in parentheses are approximated. Ideally, the rhythmic flow should feel flexible. Any fermata should not last more than 5 seconds. The individual parts include an instrumental glossary. Duration up to the performers Square fermata: Duration in seconds is notated above the symbol Roll accelerando or ritardando independentely from the tempo indications for the ensemble. Program Notes: by Catalina Villamarín What makes a conga drum what it is? What gives it its distinctive round, earthy sound? Would it be possible to turn any instrument into a conga drum? CONGANESS plays with these questions, and sets out to make a conga drum out of the combination of all the instruments in this percussion quartet. The foundation of CONGANESS was the spectrographic analysis of the four strokes found in a conga-drum salsa pattern: a tumbadora open stroke, a conga-drum open stroke, a conga-drum slap stroke and a conga-drum muffled stroke. The most prominent frequencies of each of these sounds were approximated to the closest pitches available, becoming the palette of sounds with which the piece was built. -
Harmonic Analysis of Mallet Percussion by Max Candocia Goals
Harmonic Analysis of Mallet Percussion By Max Candocia Goals • Basic understanding of sound waves and mallet percussion • Understand harmonic analysis • Understand difference in sounds of different mallets and striking location Marimba Vibraphone Recording: Vermont Counterpoint, Nathaniel Bartlett Recording: La Fille Aux Cheveux de Lin, Ozone Percussion Ensemble Photo courtesy of vichitex.com Photo courtesy of woodbrass.com Xylophone Recording: Fantasy on Japanese Wood Prints Photo courtesy of onlinerock.com Sound Waves • Vibrating medium (ie. Air, water, ground) • Longitudinal • Harmonics – Sinusoidal Components Sine: Sawtooth: Images courtesy of Wikipedia Qualities of Harmonics • Frequency – Cycles per second (Hertz); determines pitch Photo courtesy of Wikipedia • Amplitude – Power of wave; determines loudness Photo courtesy of physics.cornell.edu • Phase – Location of harmonic relative to other harmonics Photo courtesy of 3phasepower.org Harmonic Analysis Harmonics of Kelon xylophone struck in center with hard rubber mallet Vibraphone HarmonicsDry: Wet: Instrument Mallet Location # Harmonics H1 dB H2 dB H3 dB H4 dB H5 dB Vibraphone Black Dry 5 6 19 0.8 13 3 Vibraphone Black Wet 2 16 1.1 Vibraphone Red Dry 3 22 3.5 1.5 Vibraphone Red Wet 1 1 Vibraphone White Dry 4 16 0.5 9 0.6 Vibraphone White Wet 2 25 1.5 Xylophone Harmonics Instrument Mallet Location # Harmonics H1 Freq H2 Freq H3 Freq H4 Freq H5 Freq Xylophone Hard Rubber Center 4 886.9 1750 2670 5100 Xylophone Hard Rubber Edge 4 886.9 1760 2670 5150 Xylophone Hard Rubber Node 3 886.85 -
Stream-Shine Concerto for Violin and Orchestra
Colin Riley Stream-Shine concerto for violin and orchestra Score 2019 ce-cr1ss1-dl-fs ce- Colin Riley Stream-Shine Concerto for V i o li n and Orchestra 2 c 18 mins 3 Solo Violin 2 Flutes (one doubling piccolo) 2 Oboes 2 Clarinets 2 Bassoons 2 Trumpets 2 Horns Percussion 1 (Glock, Suspended Cymbal, High Woodblock, Snare, Cowbell, Bass Drum) Percussion 2 (Vibes, Tam Tam, Chinese Cymbal, Low Woodblock, Maraca, Single Crotale, Hi-Hat, Cardboard) Harp Strings (8.6.6.4.2) 4 5 Slow and poised q = 52 ° 3 U U U U Flutes & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 U U U U Flute & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 U U U U Oboes & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 U U U U Oboe & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 U U U U Clarinets in Bb & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 U U U U Clarinet in Bb & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? 3 U U U U Bassoons 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ U U U U Bassoon ? 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ 4 Off-stage, playing single chime bar (soft beater) - one player only Play soft, repeating notes for the indicated duration E ° U U U E U Trumpets in Bb 3 ∑ ∑ ∑ ∑ ∑ & 4 Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ G 3 U U U ∑ ∑ U Horns in F & 4 ∑ ∑ ∑ ∑ ∑ Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ ∑ ¢ Off-stage, playing single chime bar (soft beater) #Y™ Y™ Y™ Y™ Y™ Y™ Y™ Y™ Play soft, repeating notes for the indicated duration C# ° 3 U U U U Percussion 1 / 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ U U U U Glockenspiel 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢& 4 ° 3 U U U U Percussion 2 / 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ U U U U Vibraphone 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ -
Wavedrum Voice Name List
Voice Name List Live mode Button Program Bank-a Programs 1 98 The Forest Drum 2 61 D&B Synth Head Rim Head Rim 3 15 Djembe (Double-size) No. Program No. Program Algo. Inst. Algo. Inst. Algo. Inst. Algo. Inst. 4 49 Steel Drum (F-A-B -C-F) Real Instrument 51 Balafon 7 51 25 81 Bank-b 0 Snare 1 (Double-size) 29 - - - 52 Gamelan 9 76 18 63 1 35 Tabla Drone 1 Snare 2 (Double-size) 30 - - - 53 EthnoOpera 7 61 15 72 2 75 Dance Hit Drone (Key of F) 2 Snare 3 (Double-size) 31 - - - 54 Koto Suite 20 79 20 66 3 0 Snare 1 (Double-size) 3 Velo Ambi Snare 19 17 2 12 55 Compton Kalling 20 5 22 15 4 50 Broken Kalimba 4 Multi Powerful Tom 5 22 24 21 56 Wind Bonga 7 8 19 28 Bank-c 5Krupa Abroad 2 267 10 57 Personality Split 7 10 16 78 1 59 Snare/Kick 2 (Double-size) 6 Pitched Toms w/Cowbell 19 24 4 22 Bass Drum/Snare Drum split 2 67 Kenya Street Rap 7 Ambi Taiko 9 23 19 12 58 Snare/Kick 1 (Double-size) 35 - - - 3 19 Conga (Double-size) 8 Viking War Machine 12 34 9 20 59 Snare/Kick 2 (Double-size) 36 - - - 4 82 DDL Mystic Jam 9 Vintage Electronic Toms 26 31 2 14 60 Kick The Synth 4 11 4 1 10 Okonkolo → Iya Dynamics 10 60 18 21 61 D&B Synth 4 16 23 85 11 Iya Boca/Slap Dynamics 10 58 14 29 62 Voice Perc. -
An Examination of Jerry Goldsmith's
THE FORBIDDEN ZONE, ESCAPING EARTH AND TONALITY: AN EXAMINATION OF JERRY GOLDSMITH’S TWELVE-TONE SCORE FOR PLANET OF THE APES VINCENT GASSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO MAY 2019 © VINCENT GASSI, 2019 ii ABSTRACT Jerry GoldsMith’s twelve-tone score for Planet of the Apes (1968) stands apart in Hollywood’s long history of tonal scores. His extensive use of tone rows and permutations throughout the entire score helped to create the diegetic world so integral to the success of the filM. GoldsMith’s formative years prior to 1967–his training and day to day experience of writing Music for draMatic situations—were critical factors in preparing hiM to meet this challenge. A review of the research on music and eMotion, together with an analysis of GoldsMith’s methods, shows how, in 1967, he was able to create an expressive twelve-tone score which supported the narrative of the filM. The score for Planet of the Apes Marks a pivotal moment in an industry with a long-standing bias toward modernist music. iii For Mary and Bruno Gassi. The gift of music you passed on was a game-changer. iv ACKNOWLEDGEMENTS Heartfelt thanks and much love go to my aMazing wife Alison and our awesome children, Daniela, Vince Jr., and Shira, without whose unending patience and encourageMent I could do nothing. I aM ever grateful to my brother Carmen Gassi, not only for introducing me to the music of Jerry GoldsMith, but also for our ongoing conversations over the years about filM music, composers, and composition in general; I’ve learned so much. -
Key Stage 1 Lesson Plans 54509 Sefton Music - KS1 Layout 1 22/09/2017 09:03 Page 2
54509 Sefton Music - KS1_Layout 1 22/09/2017 09:03 Page 1 Key Stage 1 Lesson Plans 54509 Sefton Music - KS1_Layout 1 22/09/2017 09:03 Page 2 Disclaimer The content within this document is for informative purposes only and may be used, reproduced or adapted to suit local need and priorities for non-commercial purposes. As a condition of using any content within this document, users agree to indemnify the authors and SKY Music Hub (Sefton MBC and Knowsley MBC) from and against any and all actions, claims, losses, damages, liabilities and expenses (including legal fees) arising out of their use of any content. “Singing Sherlock Book 1 (pub. B&H) and 3 Little Pigs (pub. A&C Black) have been purchased and are provided as a supporting resource to this scheme of work.” 54509 Sefton Music - KS1_Layout 1 22/09/2017 09:03 Page 3 Key Stage 1 - Lesson Plan Autumn Unit 1 - Class bands Autumn Unit 2 - Toys In this unit we will be exploring vocal, instrumental and body In this unit we shall use our voices in different ways. We will percussion sounds. We shall be learning to handle percussion listen and move to music, keeping the steady beat, there will be instruments and follow the conductors instructions to start, stop opportunities to play simple rhythm patterns. Children will be and make loud and quiet sounds. able to choose sounds using instruments in response to a stimulus and identify changes in high/low, loud and quiet sounds. Spring Unit 1 – Weather / Chinese new Year Spring Unit 2 - Spring In this unit the children are exploring their voices, instruments In this unit we shall use instrumental sounds to create a simple and body sounds to make sound effects for a rain storm. -
Relationship with Percussion Instruments
Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument. -
PP Drums 2013.Pdf
PP Drums_2013_PP 2006 03/10/2012 12:31 Page 2 PP Drums_2013_PP 2006 03/10/2012 12:32 Page 3 Contents 2-5 Drum Kits and Snare Drums 6 Stands, Drum Stools & Bass Drum Pedals 7 Drumsticks, Brushes, Cymbals & Practice Pads 8 Bags & Drum Tech Drum Parts 9 Congas, Bongos, Glockenspiel & Roto Toms 10 Cajóns, Djembes, Samba Drums & Tambourines 11 Bodhrans and Drums 12-16 Educational Percussion Sets & Packs 16 Thunder Tubes and Bead Brains 17 Multi-Cultural Instruments & Shakers 18-19 Hand Percussion Instruments Performance Percussion PP300R Metallic Red The #1 Percussion Choice! Never before have drums and percussion instruments enjoyed such an exciting profile in music. From subtle shaker tracks adding a highly effective ‘feel good’ rhythm factor to some of the funkiest chart R&B songs, to the thundering, tightly-syncopated low-end rhythms of hard rock and nu-metal, interest levels in the power and dynamics of drumming and percussion are at an all-time high. It’s time to get involved! But where to start? Well, make sure you start with the best you can buy – that’s why the comprehensive PP Drums range of drum kits, accessories and percussion instruments (traditional and multi-cultural) are the #1 choice as the best value, best equipped entry and education level range of drums and percussion. Great choice, great value, great performance; right from the convenience of PP Drums’ superb ‘everything you need to play now!’ drum kit packs, right through The PP300 has many excellent to PP World educational percussion instruments that all school children everywhere can join in with, having “qualities: it’s well-made, has fun while they learn valuable rhythm basics! sturdy hardware and good sound properties...” magazine Remo® has well and truly earned its reputation as the acknowledged 'drummer's drumheads', The PP300s come fitted* with Remo® drum heads as standard! * playing heads fitted on snare and tomtoms, bass drum front and back.