DOCSLIB.ORG

Toontrack EZX Hip-Hop Expansion Pack Complete Instrument List

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Toontrack EZX Hip-Hop Expansion Pack Complete Instrument List Toontrack EZX Hip-Hop Expansion Pack Complete Instrument List Toontrack EZX: Hip-Hop Expansion Complete Instrument List Acoustic Kick Drums: Acoustic Hi-Hats: TR-606 Bent Kick Atlantic Kick 1 Noble & Cooley Star Series ‘89 Crushed Atlantic Kick 2 Camco 28” 1968 Atlantic Kick 3 Camco Oaklawn ‘60s 1972 Gretsch ‘50s Chorus Electric Long Kick Drums: Gretsch Round Badge 1 Jazz Rhythm Ace Kick 1 Gretsch Round Badge 2 Kayne Dirt Rhythm Ace Kick 2 Gretsch USA Custom Vintage 808 Kick 1 Ludwig ‘50s Acoustic Rack Toms: 808 Kick 2 Ludwig Maple Psychedelic BrokeNTipsy 808 Damped Vintage Tom Pearl Reference Imchi 808 Dirty Living Tom Pearl Hybrid Exotic MPC 60HR Kick Indie Tom Slingerland 26” RB 808 Kick Mountain Tom Slingerland Seattle Atlantic Long Kick Rolling Bomber Tom Slingerland Studio King Foley Acoustic Kick Sonor ‘60s Tom Tama Imperialstar Electric Tuned Kick Drums: Acoustic Floor Toms: Cocktail Kick Firman 808 Damped Vintage Tom Mountain Kick BrokeNTipsy 808 Dirty Living Tom Stones Kick Doden 808 Indie Tom Acoustic Snare Drums: Imchi 808 Mountain Tom Snook Short 808 Rolling Bomber Tom Academics 1 Tuned 808 Sonor ‘60s Tom Academics 2 Electric Sidesticks: Acoustic Ride Cymbals: Alchemy 1 SPTR 1207 Rim 22” Zildjian K Constantinople AZDZ Bada$$ SPTR 1208 Rim 22” Sabian HHX Manhattan Black Mill Electric Hop Rim Clapper Acoustic Crash Cymbals: MD Rim 1 Dillistic 22” Bosphorus Ferit Rivets MD Rim 2 Jazz 22” Zildjian K Constantinople Medium MD Rim 3 Mountain Electric Short Kick Drums: MD Rim 4 No Minipops Kick 1 MFB Classic Rim Room Minipops Kick 2 SP1200 FD Rim Shaker CR78 Kick TR-909 Rim Quest Eli Kick Electric Snare Centre: Wonder MD Kick Acoustic Hand Snare SPTR 1208 D-Snare Minimal MD Xtra 5 Clean 808 Snare 1 TR-707 Clean Snare Minimal MD Xtra 7 Clean 808 Snare 2 TR-808 Snare Minipops Hats 1 Clean 808 Tom 1 X7000 Fadein Snare 1 MFB Classic Hats 1 Clean 808 Tom 2 X7000 Fadein Snare 2 RB Hats 808 Snare High Clean X7000 Fadein Snare 3 SP1200 CAHS Hats 4 808 Snare High Dull Med X7000 Snare 1 SPTR 1206 Hats 1 808 Snare High Fuzzy X7000 Snare 2 SPTR 1206 Hats 2 808 Snare High Snappy Long X7000 Snare 3 SPTR 1206 B-Hats 808 Snare High Snappy Med 1 X7000 Snare 4 SPTR 1207 Hats 1 808 Snare High Snappy Med 2 X7000 Perc Snare 1 SPTR 1207 Hats 2 808 Snare High Snappy X7000 Perc Snare 2 SPTR 1208 B-Hats 1 808 Snare Low Clean X7000 Perc Snare 3 SPTR 1208 B-Hats 2 808 Snare Low Fuzzy X7000 Perc Snare 4 SPTR 1208 D-Hats 2 808 Snare Low Snappy Long Atlantic Snare 1 SPTR 1209 Hats 2 808 Snare Low Snappy Med Atlantic Snare 2 TR-606 Clean Hats 1 808 Snare Low Snappy Atlantic Snare 3 TR-606 Clean Hats 2 808 Snare Med Clean Electric Closed Hi-Hats: TR-606 Clean Hits 3 808 Snare Med Snappy TR-808 Hats 1 Clean 808 1 909 Snare 9 Foley Acoustic Hats 1 Clean 808 2 909 Snare 12 Arcade Hats 1 Electric Open Hi-Hats: 909 Snare 14 Arcade Hats 2 Electric Hop Hats 1 MD Snare 5 Atlantic Closed Hats 1 Electric Hop Hats 2 MD Snare 6 Atlantic Closed Hats 2 Amogwai Hats MD Snare 7 Atlantic Closed Hats 3 Atlantic Open Hats 1 MFB Classic Snare Atlantic Closed Hats 4 Atlantic Open Hats 2 Minipops Snare Bent HR16 Hats 2 Atlantic Open Hats 3 MPC60 HR16 Snare 8 Bent HR16 Hats 3 Atlantic Open Hats 4 MPC60 HR16 Snare 10 Bent HR16 Hats 6 Bent DD7 Hats 4 SP1200 Snare Stack Bent HR16 Hats 7 Bent HR16 Hats 15 SP1200 808 Snare 2 Bent HR16 Hats 11 Clean 808 Open 1 SP1200 808 Snare 3 Bent HR16 Hats 17 Clean 808 Open 2 SP1200 808 Snare 4 Bent HR16 Hats 18 MD Hats 15 SP1200 808 Snare 5 Electric Hop Hats 1 MD Hats 16 SP1200 808 Snare 7 MD Hats 3 Minimal MD Hats 3 SPTR 1206 Snare MD Hats 5 Minimal MD Hats 4 SPTR 1208 Snare MD Hats 7 Minipops Open Hats SPTR 1208 B-Snare MD Hats 9 MFB Classic Hats 3 SPTR 1208 C-Snare RB Small Tap Spike Shaker Triangle SPTR 1206 Hats 3 Small Shaker Anvil SPTR 1206 Hats 4 Caxixi Vibraslap 1 SPTR– 1206 B-Hats 3 Maracas 1 Vibraslap 2 SPTR 1206 B-Hats 4 Maracas 2 Woodblocks Set SPTR 1207 Hats 9 Shaker 1 Temple Blocks Set SPTR 1208 Hats 4 Shaker 2 Boobam SPTR 1208 B-Hats 4 Shaker 3 Bass Drum SPTR 1208 C-Hats 4 Shaker 4 Stomps SPTR 1208 D-Hats 4 Bell Single 1 Big Claps TR-606 Clean Hats 3 Bell Single 2 Single Snaps TR-606 Clean Hits 3 Bell Single 3 Crowd Snaps TR-808 Hats 3 Bell Single 4 Dry Snaps TR-808 Hats 4 Bell Single 5 Spike Box Open Foley Acoustic Hats 3 Glissando Slow Spike Box Closed Electric Crash Cymbals: Glissando Fast Tambourine Bells Sleight Bell Small Clave Tape Clean 808 Crash 1 Sleight Bell Large Clave Bag Clean 808 Crash 2 Brushed Bell Tree Dry Combo Clean 808 Crash 3 Chimes Tape Scratch Clean 808 Crash 4 Finger Bell Alexas Feather Jewelry Arcade Crash Castanet 1 Alexas Feather Amogwai Hits 1 Castanet 2 Measure Stick Atlantic Crash 1 Washboard Hit Measure Stick Flam Atlantic Crash 2 Clave Flam Measure Stick Bounce Atlantic Crash 3 Claves Measure Stick Bounce Jewelry Atlantic Crash 4 Dry Clave Ocean Drum Centre Atlantic Crash 5 Cowbell Ocean Drum Side Atlantic Crash 6 Woodblock Rainstick MD Crash Guiro 1 Lightning SP1200 808 Crash Guiro 2 Thunder 1 SPTR 1208 Crash Low Ratchet Thunder 2 SPTR 1208 D-Crash High Ratchet Whip Single Sampled LP 808 Crash Binzasara Whip Flam Stager Washboard Flexatone Percussion: African Shells 1 Spiral Cymbal African Shells 2 Hand Cymbal Goats Hooves Cabasa 1 Tambourine On Nail Box Cabasa 2 .
Load more

Recommended publications
  • Dominic Muldowney
    Update April 2019 Dominic Muldowney The Anatomy Lesson (1993) Sinfonietta/Dominic Muldowney violin and piano Score 0-571-56341-4 (fp) on sale, parts for hire 8 minutes Commissioned by Tasmin Little with funds from the John S Cohen Concerto for Trumpet (1993) Foundation trumpet and orchestra with click-track tape FP: 12.10.1993, Pasydy Theatre, South Nicosia, Cyprus: Tasmin Little/ 20 minutes Piers Lane 2.2.2.2(II=cbsn) – 2000 – perc(2): 4 wdbl/2 susp.cym/2 mar – pno – Piano score and part 0-571-51469-3 (fp) on sale strings (Elec requirements): pre-recorded click-track tape/7 earpieces for The Brontes Suite (1998) conductor, tpt solo, pno, 2 cls and 2 perc Commissioned by the Premiere Ensemble and South Bank Centre and orchestra supported by the Arts Council of Great Britain 12 minutes FP: 14.6.1993, Queen Elizabeth Hall, London, UK: John Wallace/ 1(=picc).1.2(II=bcl).2(II=cbsn) – 2100 – perc(1): SD/BD+ped/3 tpl.bl/ Premiere Ensemble/Mark Wigglesworth wdbl/bongos/tgl/mcas/cabaca/susp.cym/glsp – pno – strings Score, parts and click-track tape for hire FP: 9.3.1998, St John’s Smith Square, London, UK: Orchestra of St John’s Smith Square/John Lubbock Score and parts for hire Concerto for Violin (1989) violin, large orchestra, tape, two conductors and click- The Brontes (1995) track tape Ballet for orchestra 26 minutes 120 minutes 3(II+III=picc).2.3.2(=cbsn) – 4431 – perc(4): 4 wdbl/4 tpl.bl/4 1121 – 2110 – perc(2): claves/tom-t/2 tamb/BD/glsp/vib/tgl/susp.cym/ sandblock/2 claves/4 conga/2 cabaca/2 BD/2 tom-t/2 tam-t/2 mar/2 SD/cabassa/tam-t/xylo/congas/bongos/tpl.bl/mcas/3 wdbl – keyboard susp.cym/2 splash cym/2 tgl/2 drum kit(=hi-hat/SD/BD+foot ped)/2 – harp – strings mcas or chocalho – 2 harp – strings FP: 6.3.1995, Grand Theatre, Leeds, UK: Northern Ballet Theatre (Elec requirements): pre-recorded 4-track tape, 6 radio earpieces to Score and parts for hire the 2 conductors and 4 perc.
    [Show full text]
  • 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.
    [Show full text]
  • Octoban 1 Octoban
    Octoban 1 Octoban The drum kit 1 Ride cymbal | 2 Floor tom | 3 Toms 4 Bass drum | 5 Snare drum | 6 Hi-hat Other components Crash cymbal | China cymbal | Splash cymbal | Sizzle cymbal Swish cymbal | Cowbell | Wood block | Tambourine Rototom | Octoban | Hardware Octoban drums, also known as tube toms and quarter toms, are tom-toms grouped in melodically-tuned sets of eight, hence the reference to octave, from octo meaning "eight". Octobans have 15 cm (6 inch) diameter drum shells, and range in length from 280 millimeters (11 inches) to 600 millimeters (23-1/2 inches). The different lengths of the cylinders are what give each drum its distinct tone.[1] History Homemade octobans Octobans are a brand of drums introduced by Tama drums in 1978 and have become a genericized trademark used to refer to such sets of smaller diameter tube drums.[2] Other companies like Pearl and ddrum manufacture similar drums today under brand names like "Quarter Toms" and "Deccabons." [3] Octoban drum shells from other manufacturers may be of varying lengths and diameters, and made from materials like fiberglass, acrylic, aluminum, and wood. Some people build their own octobans out of PVC.[4] The boobam is probably an ancestor of the modern Octobans. Octoban 2 Notable Octoban users • Roger Taylor (Duran Duran drummer) • Mark Brzezicki • Roy Mayorga • The Blue Man Group • Billy Cobham • Tim Alexander • Mike Portnoy • Simon Phillips • Bill Bruford • Danny Carey • Jose Pasillas • Rikki Rockett • Jimmy Chamberlain • Joey Jordison • Dave Lombardo • Thomas Thomson • Dave Mackintosh • Bill Ward • Stewart Copeland • Alex Van Halen • Nick Mason • Mickey Hart • Randy Castillo • Clive Burr • Mike Mangini References [1] Tama Original Percussion (http:/ / www.
    [Show full text]
  • Arbeitshilfe AH-001 "Liste Der Normierten Besetzungsangaben"
    Arbeitsstelle für Standardisierung (AfS) Stand: 13. Oktober 2020 Arbeitshilfe Liste der normierten Besetzungsangaben Besetzung als Element nach RDA 6.15 Besetzung als Ergänzung für Sucheinstiege nach RDA 6.28 Besetzung als Teil des bevorzugten Titels für Werke für eine allgemeine oder eine bestimmte Besetzung nach RDA 6.14.2.8.2 Einleitung Die vorliegende Liste enthält die für D-A-CH normierten Begriffe für die Besetzung nach RDA 6.15 und die Verwendung für den normierten Sucheinstieg nach RDA 6.28. Die Spalten der Tabelle enthalten: A. Besetzung nach Informationsquelle B. Besetzungsangabe nach RDA 6.15 C. Verwendung im normierten Sucheinstieg nach RDA 6.28 D. Verwendungshinweise und Erläuterungen Arbeitshilfe AH-001 1 | 28 Allgemeine Verwendungshinweise Die Liste der Besetzungsangaben kann niemals vollständig sein. Als Besetzung im normierten Sucheinstieg und als Datenelement nach RDA 6.15 können daher auch Instrumente erfasst werden, z. B. seltene Volksmusikin- strumente, die nicht auf der Liste stehen, soweit sie nicht dem Sinn der Liste widersprechen. Wenn sich ein bestimmtes Instrument nicht auf der Liste befindet, bedeutet das also nicht, dass stattdessen ein unbestimmtes Instrument erfasst werden müsste. Die Schreibweise der Instrumente und Besetzungsangaben soll sich an der Dudenschreibweise orientieren. Das ist in der vorliegenden Liste noch nicht voll- ständig vollzogen. Die Besetzung als Ergänzung im Sucheinstieg weicht nur insoweit von der Besetzung nach RDA 6.15 ab, als Ausnahmen gemäß RDA 6.28 zutreffen. Die Spalte C berücksichtigt somit die einzige D-A-CH-relevante Ausnahme RDA 6.28.1.9.1 g) für den normierten Sucheinstieg, nach der bei Instrumenten die Bezeichnung der Tonart oder die Stimmlage wegzulassen sind.
    [Show full text]
  • Boobam 1 Boobam
    Boobam 1 Boobam The boobam is a percussion instrument of the membranophone family consisting of an array of tubes with membranes stretched on one end, the other end open.[1] The tuning depends partly on the tension on the membrane but mostly on the length of the tube. The boobams are probably an ancestor of the modern octoban. The tubes were originally made from lengths of giant bamboo although pipes of wood, plastic, metal, and cardboard also have been used. The membranes were originally goat or calfskin but most are now plastic. The name boobam was coined in Mill Valley, California in 1954 and was described as "bamboo spelled sideways". In 1948 Harry Partch, an American composer, developed a system of music that depended on the building of various exotic instruments that could play non-tempered scales. Some of them were based on Greek models and some on more primitive instruments like marimbas. Musician David Buck Wheat and his roommate in Sausalito, California, Bill Loughborough, a musician and electronic engineer, built such instruments for Partch as a marimba which was hit with a large soft mallet over the chamber. This device delivered low-cycled tones that were barely audible. Loughborough had scientific instruments borrowed from the Navy Yard, and using an oscilloscope and audio oscillator he and Wheat were able to work on a new technical level that had not been possible before. Together they moved onto a Sausalito barge with Jak Simpson who in 1954 founded a business named the "BooBam Bamboo Drum Company".[2] Buckwheat was working on the President Lines as a bass player, sailing to the Orient.
    [Show full text]
  • Šablona JAMU
    JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra bicích nástrojů Hra na bicí nástroje Inovativní tendence v oblasti zvuků bicích nástrojů Diplomová práce Autor práce: BcA. Pavel Cafourek, DiS. Vedoucí práce: Mgr. Ing. MgA. Dan Dlouhý, Ph.D. Oponent práce: doc. Martin Opršál Brno 2012 Bibliografický záznam CAFOUREK, Pavel. Innovative tendencies in the sounds of percussion instruments. Brno: Janáčkova akademie múzických umění v Brně, Fakulta Hudební, Katedra bicích nástrojů, rok 2012, 73 s. Vedoucí diplomové práce Mgr. Ing. MgA. Dan Dlouhý, Ph.D. Anotace Diplomová práce „Inovativní tendence v oblasti zvuků bicích nástrojů“ pojednává o soudobých tendencích v oblasti zvuků nejen bicích nástrojů, společně s popisem a ukázkami nejnovějších možností hudebních nástrojů. Annotation Diploma thesis " Innovative tendencies in the sounds of percussion instruments " deals with the contemporary trends in not only the sounds of percussion instruments along with a description and examples of the latest possibilities of musical instruments. Klíčová slova Inovativní tendence, bicí nástroje, klasické bicí nástroje, etnické bicí nástroje, akustické bicí nástroje, elektro-akustické bicí nástroje, ready-mades, nezařaditelné bicí nástroje, ukázky. Keywords Innovative trends, percussion, classical percussion, ethnic percussion, acoustic percussion, electro - acoustic percussion instruments, ready- mades, miscellaneous percussion, samples Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu.
    [Show full text]
  • ŠÀ {Karāz} for Large Ensemble and Eschaton A
    Phonetics-based Techniques in My Compositional Methodology and Two Compositions: ŠÀ {karāz} for large ensemble and eschaton according to bēl-rē’u-šu for percussion trio Onur Yildirim Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2021 © 2021 Onur Yildirim All Rights Reserved Abstract Phonetics-based Techniques in My Compositional Methodology and Two Compositions: ŠÀ {karāz} for large ensemble and eschaton according to bēl-rē’u-šu for percussion trio Onur Yildirim This dissertation explores various ways of working with acoustic analyses of speech in music composition. The first chapter presents an overview of whistled languages and discusses their potential to act as blueprints for optimizing phonetic data for compositional use. The second chapter details my workflow for incorporating formant and fundamental frequency analysis data from the phonetics software Praat into my compositional methodology. Broadly inspired by the ways in which whistled utterances transform spoken language, the workflow consists of an analysis phase in Praat followed by the conversion, optimization and orchestration of the extracted phonetic data in the computer-assisted composition environments OpenMusic and bach. Also included in the dissertation are two compositions that are both informed by phonetics. The first composition, ŠÀ {karāz} for large ensemble, contains, among the various ways it attempts to instrumentally imitate speech, a section that
    [Show full text]
  • Tesi Di Musicoterapia
    Tesi di Musicoterapia “Dai suoni del corpo alla musica elettronica: differenti tipologie di strumentazione e il loro utilizzo nelle sedute di Musicoterapia” Corso di Musicoterapia presso “Casa della Musica” di Genova periodo 2009-2013 Musicoterapista Diego Pangolino Relatore Andrea Cavalieri 2 Indice • 1) Gli strumenti musicali pag. 7 Caratteristiche del suono………..………………………………………………………………………………………………….7 Classificazione degli strumenti musicali………..……………………………………………………………………………8 Idiofoni…………………………………………………………………………………………………………………………………….10 Membranofoni…………………………………………………………………………………………………………………………11 Cordofoni…………………………………………………………………………………………………………………………………13 Aerofoni…………………………………………………………………………………………………………………………………..15 Elettrofoni……………………………………………………………………………………………………………………………….16 • 2) Gli strumenti musicali del nostro corpo 18 Corpo…..…………………………………………………………………………………………………………………………………..18 Voce………..……………………………………………………………………………………………………………………………….20 • 3) La Musicoterapia 23 Le Artiterapie………………………………………………………………………..…………………………………………………23 La Musicoterapia………………………………………………..……………..…………………………………………………….23 Cervello musicale e sviluppo delle abilità musicali……………..…………………………………………………….27 Il setting……………………………………………………………………………………..……………………………………………29 Gli strumenti per la Musicoterapia………………………………………………..…………………………………………29 Strumentario Orff……………………………………………………………………………..……………………………………..34 Strumenti della Natura…………………………………………………………………………..………………………………..35 Strumenti musicali improvvisati……………………………………….………………………..…………………………….36 • 4) Soundbeam
    [Show full text]
  • Kellerre.Pdf
    NORTHWESTERN UNIVERSITY Compositional and Orchestrational Trends in the Orchestral Percussion Section Between the Years of 1960-2009 SUBMITTED TO THE MUSIC SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSIC Field of Percussion By Renee E. Keller EVANSTON, ILLINOIS June 2013 © Copyright by Renee Keller 2013 All Rights Reserved 4 ABSTRACT Compositional and Orchestrational Trends in the Orchestral Percussion Section Between the Years of 1960-2009 Renee E. Keller The purpose of this study was to identify new trends and innovations as regards the orchestral percussion section between the years of 1960-2009. In order identify possible trends this study examined 87 compositions written for orchestra between 1960 and 2009. The necessary historical background identified a number of trends already in use by 1960. Among those were increasing calls for special effects, the introduction and inclusion of the marimba and vibraphone in orchestral music, an increased demand for difficult and important mallet parts, general increases in the size and force of the percussion section, and an increased demand for expanded timpani range and tuning. Scores were examined for those trends as well for new or unusual playing techniques, the prevalence of multi-percussion setups in the orchestra, detail of composer instruction and percussion ensemble in the orchestra. Changing opinions and attitudes regarding percussion which occurred during the 19th century and the first half of the 20th century were also documented. The results indicate that a number of changes took place in orchestral percussion writing from 1960-2009. General findings show increased demands on the percussion sections of today compared to the percussion sections of the past in both number of instruments and players.
    [Show full text]
  • Percussion Pulse 2020
    PERCUSSION PULSE 2020 12th-16th February THE ROYAL DANISH ACADEMY OF MUSIC, COPENHAGEN NATIVE >> INNOVATIVE EMMANUEL SÉJOURNÉ, JOHANNES FISCHER, JU PERCUSSION GROUP, KATARZYNA MYĆKA, MARTA KLIMASARA, RAYMOND CURFS, SIMONE RUBINO, THEODOR MILKOV - AND MANY MORE SUPPORTED BY WELCOME! PERCUSSION PULSE 2020 It is always a pleasure to welcome an audience to a manifestation of this calibre – a festival with major elements drawn from the percussion arsenal of the Academy. But in the case of the Percussion PULSE 2020, it is also a very special honour to welcome the many participating professors, lecturers, associate professors, composers and students who have come here from most of northern Europe. The festival stems from an existing collaboration, and in addition to presenting a number of public concerts from the top international percussion artists of the day, it has become a recurring meeting-point for all of the international co-operation in our field. It is a network of considerable scope, which to a great extent provides a basis for inspiration and exposure of all that is happening in the musical institutions of our neighbouring countries, in which the students naturally form the focal point. The festival presents music and artists from no less than six continents: Africa, Asia, North and South America, Oceania and Europe – a true garden of earthly delights for everyone, old or young, who is enchanted by the magic of the drum. We bid you a very warm welcome. Anders Kann Elten Fredrik Engdahl Professor Gert Mortensen PERCUSSION PULSE 2020 WWW.DKDM.DK 3 NATIVE >> INNOVATIVE The festival carries the subtitle: NATIVE >> INNO- Today’s percussionists must be able to handle all kinds of instruments, from the VATIVE, which refers to a multicultural palette on hollowed-out logs of Oceania to Mongolian shaman drums, trash containers and the several levels.
    [Show full text]
  • & African Drum / Bata Drum / Tambour Africain & Afuche / Cabasa
    & African drum / Bata drum / Tambour africain & Afuche / Cabasa & Anklung, 2 octaves (Bambou) & Arbre à clochette LP sur pied / Bell-Tree Standard LP w.stand & Arbre à clochettes long / Bell-Tree large & Archet de contre-basse / Arco / Bow & Arco / Archet de contre-basse / Bow & Bac pour de l'eau, (water gong) & Badines (paire) & Bamboo chimes w.stand / Carillon de bambou moyen sur pied & Banc pour batterie & Bata drum , tambour africain large, "Lya", ( avec courroie) & Bata drum, tambour africain moyen, "Itole", (avec courroie) & Bata drum, tambour africain petit, "Oconcolo", (avec courroie) & Bâton de pluie / Rain stick & Batterie, 5 morceaux, cymbales, pieds / Drum-set w.cymbals & stands & Becken / Cymbales Frappées / pair of Hand Cymbals ( sizes 16,17,18, 19, 20, 21") & Bells w. Table / Glockenspiel sur table / Jeu de timbres & Bell-Tree large size / Arbre à clochettes long suspendu & Bell-Tree Standard LP w. Stand / Arbre à clochette LP sur pied & Bloc chinois sur pied / Temple block w. Stand & Blocs Chinois LP Granit-block, jeu de 5, sur pied / Temple Blocks LP w.stand & Blocs Chinois sur pied, jeu de 5, Vangraft / Temple Blocks Vangraft w.stand & Blocs chinois sur pied, jeu de 6, BlackSwamp / Temple blocks w. stand & Bodhráns 22", tambour irlandais & Bodhráns, support pour bodhrán & Bols Japonais 3" à 7" / Dobaci / Temple bols & Bols Japonais 8" à 12" / Dobaci / Temple bols & Bongos aigüe sur pied & Bongos, jeu de 2 sur pied & Boobam / Octoban / Tube drum & Bow / Archet de contre-basse / Arco & Brosse à frotter sur la grosse caisse & Cabasa / Afuche & Caisse claire en bois 14" x 3½" sur pied / Wood snare drum w.
    [Show full text]
  • Liste „Musikalische Besetzung“
    Katalogisierungshandbuch Besetzung und Form/Gattung Kooperative Sacherschließung musikalischer Werke Liste „Musikalische Besetzung“ Die Schlagwörter dieser Liste sind für die Erschließung nach dem Regelwerk Besetzung und Form/Gattung – koope- rative Sacherschließung musikalischer Werke obligatorisch, ausschließlich und generell zu verwenden. Die in den Anhängen 1 – 9c aufgeführten Schlagwörter dürfen jedoch ausschließlich in den speziellen Fällen verwendet werden, die in dem betreffenden Kapitel des Regelwerks, auf das sie verweisen, geregelt sind. Schlagwörter Verweisung auf Quelle (Q), Definition (D), Literatur (L), (Ansetzungen in Fettdruck) Ansetzungsform weitere Schlagwortfolgen (a cappella) D: bei Chorwerken, vgl. Regelwerk Chormusik, 3.4.2.2. A cappella Accordeon Akkordeon Accordion Akkordeon (ad libitum) D: vgl. Regelwerk 3.6. Ad libitum-Besetzungen Äoline Harmonium Q: B 1996 Äolophon Effektinstrument D: vgl. Regelwerk 3.3.5.5. Effektinstrumente Ätherophon Theremin D: Elektron. Musikinstrument Affentrommel Klappertrommel Afochê Cabaza Q: Ruf African drums Q: Ruf Agogo Q: Ruf, B 1996; D: brasilian. Handschelle Aida-Trompete Trompete Q: Ruf, B 1996 Akkordbezifferung Akkordeon Akkordzither Zither Ala Zither D: ma. Bez. für das Psalterium Alarmglocken Q: Ruf; L: G.Verdi: Don Carlos Almglocke Cowbell Alphorn Alt Singstimme (tief) D: Singstimme mit Tonumfang etwa f – c'' Altgeige Viola Q: Ruf Althorn Q: Ruf Alto <Altsaxophon> Saxophon Alto <Streichinstrument> Viola Ansprechpartnerin im BSZ: Annabel Feuerstein E-Mail: [email protected] Stand: 17.07.2020 Liste „Musikalische Besetzung“ - 1 - Katalogisierungshandbuch Schlagwörter Verweisung auf Quelle (Q), Definition (D), Literatur (L), (Ansetzungen in Fettdruck) Ansetzungsform weitere Schlagwortfolgen Altus Singstimme (hoch) Amboss Effektinstrument Q: B 1996; D: vgl. Regelwerk 3.3.5.5. Effektinstrumente, Schlaginstrument mit bestimmter Tonhöhe Amboß Effektinstrument D: vgl.
    [Show full text]