Your New Peavey Powerslide Guitar Is a Totally New Type of Instrument That
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Guitar Body Shapes May 14, 2020
Guitar Virtual Learning Guitar Body Shapes May 14, 2020 Guitar Lesson: May 14, 2020 Objective/Learning Target: What different guitar shapes are there, and what are the differences between those shapes? Warm-Up Activity Watch the following video by YouTuber “Minor7thb5” (which is a music theory reference!). In it, he plays the same piece of music two times with two different guitars. The guitars are of similar build quality and materials, but they are different shapes. One is a parlor guitar and the other is a dreadnaught. How do they sound different to you? These differences are subtle. It might be easier to hear by using headphones. 2nd Warm-Up Activity These were the two guitars he played. The one on the left is an Eastman parlor guitar, the one on the right is a Martin dreadnought. How do they look different? How do they look the same? Guitar Shapes For the lesson today, we are going to do a brief overview of the different guitar shapes and styles you can find today. This lesson will build on the lessons from earlier in the week where we discussed the differences between classical, steel-string, and electric guitars. Now, we will see what different body shapes there are, especially for the steel-string and electric guitars, and what makes them different! A Brief history of guitar shapes The word “guitar” comes from the Greek word “kithara,” which shows up in Greek mythology from thousands of years ago. These stringed instruments didn’t look much like our guitars now, but they were strummed like our guitars. -
Manual V1.0B
An Impact Soundworks Instrument for Kontakt Player 5.7+ Produced by Dimitris Plagiannis User Manual v1.0b CONTENTS INTRODUCTION 2 INSTALLATION 3 USER INTERFACE 4 PERFORMANCE CONTROLS 5 VOICE MODE 5 ARTICULATION 5 FRET POSITION 6 TONIC 6 VOLUME PEDAL 6 VIBRATO MODE 7 VIBRATO DEPTH 7 AUTO VIBRATO DELAY 7 AUTO VIBRATO ATTACK 7 AUTO VIBRATO RELEASE 7 PREFERENCES 8 RELEASE VOLUME 8 NOISE VOLUME 8 NOISE CHANCE 9 POLY LEGATO THRESHOLD 9 POLY LEGATO PRIORITY 9 SAMPLE OFFSET 9 ROUND ROBIN 10 PITCH BEND RANGE 10 HUMANIZE PITCH 10 HUMANIZE TIMING 10 EXP > VOLUME TABLE 11 VEL > PORTA TABLE 11 VEL > HARM VOL TABLE 12 TEMPERAMENT TABLE 13 HARMONIZATION 13 HARMONY 14 CAPTIONS 14 OPERATION TIPS 14 CREDITS 15 TROUBLESHOOTING 15 COPYRIGHT & LICENSE AGREEMENT 15 OVERVIEW 15 AUTHORIZED USERS 16 A. INDIVIDUAL PURCHASE 16 B. CORPORATE, ACADEMIC, INSTITUTIONAL PURCHASE 16 SCOPE OF LICENSE 16 OWNERSHIP, RESALE, AND TRANSFER 17 INTRODUCTION The pedal steel guitar’s journey to Nashville began in the Hawaiian Islands. Islanders would take an old guitar, lose the frets, raise the strings, and then slide the dull edge of a steel knife to sound wavering chords up and down the strings. Further tinkering led to the invention of the Dobro, the classic bluegrass instrument. The Dobro eventually morphed into the lap steel, which when electrified was one of the first electric guitars, and along with the ukulele became one of the signature sounds of Hawaii. After pedals were added to the lap steel, pedal modifications developed until the standardized pedal steel was born. Unlike the lap steel, the pedal steel guitar is not limited in its voicings – it allows for an unlimited amount of inversions and chords. -
Voices of the Electric Guitar
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses 2012 Voices of the electric guitar Don Curnow California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Recommended Citation Curnow, Don, "Voices of the electric guitar" (2012). Capstone Projects and Master's Theses. 369. https://digitalcommons.csumb.edu/caps_thes/369 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Voices of the Electric Guitar Don Curnow MPA 475 12-12-12 Intro The solid body electric guitar is the result of many guitars and innovations that came before it, followed by the guitar's need for volume to compete with louder instruments, particularly when soloing. In the 1930s, jazz and its various forms incorporated the guitar, but at the time there was no way for an acoustic guitar to compete with the volume of a trumpet or saxophone, let alone with an orchestra of trumpets and saxophones, such as in big band jazz. As a result, amplification of the guitar was born and the electric guitar has been evolving since, from a hollow bodied ES-150 arch-top with a pick-up used by Charlie Christian to the Les Paul played by Slash today. -
Download Donna
Donna Herula Bio Short Bio Donna Herula is a Chicago-born singer and acoustic blues slide guitarist that has a passion for playing traditional blues, roots and original songs. In 2016, she was inducted into the Chicago Blues Hall of Fame and Acoustic Guitar Magazine also featured her in an article about 10 new generation resonator guitar players. Donna has been a regular performer at Buddy Guy’s Legends in Chicago for the past 10 years and has opened for Buddy Guy multiple times. She has performed at the Chicago Blues Festival, King Biscuit Blues Fest in Helena, Arkansas, the Juke Joint Fest in Clarksdale, Mississippi, numerous folk music festivals and was also the headliner at the Durban International Blues Festival in South Africa. Donna is a guitar teacher at the Old Town School of Folk Music in Chicago where she teaches group and individual guitar and slide guitar lessons. She has taught guitar and slide at blues and folk clubs and guitar camps. Her third and most recent CD, Bang at the Door, was released in May 2021 and includes original blues, jazz, folk and Americana songs. For more information, visit: donnaherula.com. Long Bio Donna Herula is a Chicago-born singer and acoustic blues slide guitarist that has a passion for playing traditional Delta and Country Blues, early Chicago Blues, folk, roots and Americana in addition to original songs. Using acoustic and electrified resonator guitars, her sound combines her love for music of the Deep South and Chicago with her love of blues guitar improvisation. Her songwriting tips the hat to the tradition while creating a fresh, contemporary perspectives on blues and roots music. -
Meet Your Other Half
Guitars, basses and amplifiers, born in Japan since 1966. MEET YOUR OTHER HALF PRODUCT 2 LINEUP CATALOG 0 2 1 TRANSACOUSTIC GUITARS CONTENTS TransAcoustic Guitars........................................................................... 3 Silent Guitars........................................................................................ 6 PLAY, ACOUSTIC GUITARS L SERIES............................................................................................... 10 LISTEN… A SERIES............................................................................................... 14 APX/CPX SERIES................................................................................... 18 BE FG SERIES............................................................................................. 20 F SERIES............................................................................................... 24 INSPIRED F SERIES (Made In India)...................................................................... 28 CLASSICAL GUITARS............................................................................ 30 COMPACT SIZE SERIES.......................................................................... 34 ELECTRIC GUITARS PACIFICA............................................................................................... 37 1.1 REVSTAR............................................................................................... 42 RGX....................................................................................................... 44 ELECTRIC -
The Three Voices of the Electric Guitar by Eric Smith
Smith 1 Eric Smith Instructor’s Name ENGL 1013 Date The Three Voices of the Electric Guitar The electric guitar has been an integral part of popular music since its inception in the early part of the twentieth century. The immense palette of colors available to guitarists makes the electric guitar obviously stand out from the other musical instruments. However, a fairly obvious fact about the electric guitar is hiding in plain sight, a fact known to players but not immediately apparent to the general public until it is brought to their attention: the guitar is only half of a complete instrument. Without electronic amplification there would be no jarring, emotional delight to the ear that stirs the collective soul of today’s audience. Thus far in the evolution of sound reinforcement, there are three distinct types of amplifiers: the tube amp, the solid-state or transistor amp, and the modern digital processor. The vacuum tube, or valve, is a component of an antiquated technology. Along with large, heavy output transformers and point-to-point wiring, the tube amp is a remnant of the days when Americans would gather around their bulky mahogany Art Deco radios and listen to FDR’s fireside chats. Suspenders, rumble seats, fedoras, and whitewall tires were some of the other common cultural iconography in those halcyon days before the atomic bomb. The tube amp tone has a roundness to it, a warm, creamy sound that even with the volume turned up is never sharp or piercing. The guitar players that swear by tube amps are legion, and the men that designed and manufactured them have become household names; Leo Fender and Jim Marshall are two examples. -
Prek–12 EDUCATOR RESOURCES QUICK GUIDE
PreK–12 EDUCATOR RESOURCES QUICK GUIDE MUSICAL INSTRUMENT MUSEUM BRING THE WORLD OF MUSIC TO THE CLASSROOM MIM’s Educator Resources are meant to deepen and extend the learning that takes place on a field trip to the museum. Prekindergarten through 12th-grade educators can maximize their learning objectives with the following resources: • Downloadable hands-on activities and lesson plans • Digital tool kits with video clips and photos • Background links, articles, and information for educators • Free professional development sessions at MIM Each interdisciplinary tool kit focuses on a gallery, display, musical instrument, musical style, or cultural group—all found at MIM: the most extraordinary museum you’ll ever experience! RESOURCES ARE STANDARDS-BASED: Arizona K–12 Academic Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education Arizona Early Learning Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education EXPLORE MIM’S EDUCATOR RESOURCES ONLINE: • Schedule a field trip to MIM • Download prekindergarten through 12th-grade tool kits • Register for free professional development at MIM MIM.org | 480.478.6000 | 4725 E. Mayo Blvd., Phoenix, AZ 85050 (Corner of Tatum & Mayo Blvds., just south of Loop 101) SOUNDS ALL AROUND Designed by MIM Education MUSICAL INSTRUMENT MUSEUM SUMMARY Tool Kits I–III feature activities inspired by MIM’s collections and Geographic Galleries as well as culturally diverse musical selections. They are meant to extend and -
2 CHOP SHOP for Guitar About the Author
About the Author .......................................................................................................................... 4 Introduction ....................................................................................................................................... 5 Chapter 1—Theory Made Easy ................................................................................................ 6 How Music Works ....................................................................................................................... 7 The Major Scale ............................................................................................................................. 7 Major Scales and Keys .................................................................................................................. 8 Key Signatures ..............................................................................................................................10 Natural Minor Scales ...................................................................................................................11 Intervals ..........................................................................................................................................12 The Number System ...................................................................................................................12 Interval Inversion ..........................................................................................................................13 Chords -
For My Physics 398 Semester Project, I Built a Lap Steel Guitar from "Scratch"
For my Physics 398 semester project, I built a lap steel guitar from "scratch". When taking this approach to building a guitar, or any instrument for that matter, there are an infinite amount of design questions, both functional and cosmetic, that arise. For that reason, I decided to find an existing lap steel that I particularly liked and use it as a guide for construction. I ended up choosing a 1946 Fender Deluxe for my template. Many of the design questions were now answered for me, but some new ones arose as a result of me not being able to exactly replicate various elements of the Deluxe. Having chosen the style for my guitar there were many specific design choices to be made. What kind of wood should I use for the body? Should I use tuning machines that go through the headstock or mount on top? What should I use for the nut? How am I going to design the fret board? What kind of pickup and bridge should I use? Should I attach the strings to a tailpiece or mount them through the body? Where do I want the knobs and output jack? Needless to say there were many issues to address. First off, I started researching online about different woods for guitars and on the Hawaiian Steel Guitar Association's website I found this description of Honduras Mahogany...a Gibson EH-150 full, mellow midrange to slightly bass sound... which sounded pretty good to me, so Honduras Mahogany it was. I ordered a 30'' x 7 1/4'' x 1 3/4'' piece from www.rockler.com, which cost me about $45. -
Designing and Building an Electric Baritone Guitar
Hendrik Gideonse Audio Research December 14, 2008 Designing an Electric Baritone Guitar 0 Anatomy of a Guitar ................................................................................................... 2 1 Introduction ................................................................................................................. 3 2 Baritone History .......................................................................................................... 3 3 Problems with Existing Designs ................................................................................. 5 3.1 String Tension ..................................................................................................... 5 3.2 Balance, Ease of Playing 1st Position Chords and Bridge Position .................... 7 3.3 Rigidity for Tone and Sustain ........................................................................... 11 4 Designing the Baritone Guitar .................................................................................. 12 4.1 Woods, Tone and Rigidity ................................................................................ 13 4.2 Angled Headstock and ‘V’ Neck Contour ........................................................ 16 4.3 Headstock Shapes ............................................................................................. 19 4.4 Joining the Neck to the Body ............................................................................ 24 4.5 Body Shape ...................................................................................................... -
A Guitarra Clássica Como Instrumento Concertista Através De Andrés Segovia 9
UNIVERSIDADE DE ÉVORA ESCOLA DE ARTES DEPARTAMENTO DE MÚSICA Reportório de Jazz para guitarra a solo Mário Delgado Orientação: Prof. Doutor Eduardo Lopes Mestrado em Música Área de especialização: Interpretação Dissertação Évora, 2014 1 Mestrado em Música Interpretação Dissertação Reportório de Jazz para guitarra a solo Mário Delgado Orientador: Prof. Doutor Eduardo Lopes 2 Dedicada à memória dos meus pais Manuel Ribeiro da Silva Delgado e Manuela das Dores Barrela da Silva Delgado 3 Agradecimentos Em primeiro lugar cumpre-me agradecer à minha mulher Luísa Paiva Delgado e sua mãe Lídia Paiva por todo o apoio e ajuda na elaboração deste trabalho e ainda aos meus filhos que suportaram por vezes a minha ausência. Ao meu orientador Prof. Eduardo Lopes por toda ajuda, disponibilidade e sábios conselhos; Ao Prof. José Meneses e ao meu colega de mestrado Alexandre Dinis pelos aconselhamentos bibliográficos; aos meus irmãos Pedro Delgado e José Delgado pela exposição que me proporcionaram desde muito cedo a diversos tipos de música e também aos vários músicos com que tenho partilhado o palco e aos meus alunos. Índice 4 Resumo 6 Abstract 7 A Guitarra Clássica como instrumento concertista através de Andrés Segovia 9 Breve história da guitarra eléctrica 12 Charlie Christian e a implementação da guitarra eléctrica como um instrumento funcional e popular 17 Fundamentações para a análise demonstrada nos três discos de guitarra a solo 23 JOE PASS 24 Breve biografia 24 JOE PASS – Virtuoso 25 Seleção de reportório 33 Recursos estruturais de andamento -
I Gotta Know (1956) Wanda Jackson
MUSC-21600: The Art of Rock Music Prof. Freeze I Gotta Know (1956) Wanda Jackson LISTEN FOR • Contrast of country and rock and roll instrumentation • Contrast of vocal style between verse and chorus • Contrast of country waltz and 12-bar blues forms and grooves CREATION Songwriters Thelma Blackmon Label Capitol 3485 Musicians Wanda Jackson(voice), Joe Maphis (lead guitar), Buck Owens (rhythm guitar), bass, drums, fiddle, steel guitar unknown Producer Ken Nelson Recording Capitol Studios (Hollywood); June 1956; mono Charts Country 15 MUSIC Genre Rockabilly, country Form Contrasting verse-chorus Key D Meter 3/4, 4/4 MUSC-21600 Listening Guide Freeze “I Gotta Know” (Wanda Jackson, 1956) LISTENING GUIDE Time Form Lyric Cue Listen For 0:00 Intro • Instrumental version of Chorus; country waltz featuring fiddle and steel guitar. 0:09 “Well!” • Waltz stops. 0:10 Verse 1 (12) “I thought that you” • Tempo picks up; meter changes to 4/4; 12-bar blues form; fiddle and steel guitar out. • Lead guitar plays rockabilly-style licks; strong backbeat with slapback echo on snare and rhythm guitar. 0:21 “I gotta know” • Stop-time; voice invokes Presley with stylized hiccups. 0:27 Chorus (4) “If our love’s the real thing” • Vocal styling emphasizes the shift to country; waltz again features fiddle and steel guitar. 0:35 “Yeah!” • Signals return to rock and roll. 0:36 Verse 2 (12) “We rocked and rolled” • Guitar licks become more prominent; otherwise similar to Verse 1. 0:52 Chorus (4) “If our love’s the real thing” • Country texture. 1:00 • Snare fill signals return to rock and roll.