Drum-Percussion Samples List

Total Page:16

File Type:pdf, Size:1020Kb

Drum-Percussion Samples List Drum-Percussion Samples List Kick Pack 1 Snare Pack 1 Hi Hat Pack 1 Tamborin Pack 1 Crash Pack 1 SFX Pack 1 Cowbels Pack 1 Agogo Pack 1 Tom Tom Pack 1 Live Drum Pack 1 Shaker Pack 1 Electric Per Pack 1 Electric Per Pack 2 Electric Per Pack 3 Electric Per Pack 4 Electric Per Pack 5 Bingo bango Pack 1 Bingo Bango Pack 2 Bingo Bango Live Conga 1 Conga 2 Conga Live Jimbeh Pack 1 Jimbeh Pack 2 Tabla Pack 1 India Tabla 1 Cajon Claps Pack 1 Snaps Pack 1 Persian Tombak 1 Persian Daf 1 Arab Daf 1 Arab daf 2 Dayereh Zangi 1 Arab Darboka 1 Timbales Pack 1 Khanjir 1 Mir UD 1 Doh Lak 1 Zanborak Pack 1 Dohlak Hit Vocal Pack FX Azeri Naghareh Pack 1 Azeri Gosha N 1 Azeri Tabla 1 Kord Dohol 1 Kord Tombak Bass Tabla Pack 1 Grooves-Loops List Jimbeh Final Tempo 1 Tempo Zarb 1 Loop 6&8 1 Loop 6&8 2 Zarb Dayereh mp Zarb Tempo Talgh Tombak 4 Zarb Tempo Afs Tomba Black 1 HAM Tomba Ba man Ghadam Che Ehsase Gha Mix Tombak 4 1 Mixdown Zarb1 2 Mixdown Zarb 2 1 Azeri Kond 2 Azeri Tond 1 Lezgi 1 Tombak BPM 90 1 Tombak BPM 90 2 Bandari 01 2 Saidi 01 Tomba 2 1 Zarb Tempo R 1 Zarb Dayereh 2 2 2&4 1 Bossa 1 1 Slow Rock 1 1 Zarb Zarb 2 1 Tomba new In Tabla 6&8 Zarb 3 pelang 1 Zarb Tempo N 1 Zarb N 1 2 Dayereh 1 3 Tomba 6&8 2 1 Tombak 6&8 N 2 3 MultiSamples List AmpAttack-L AmpAttack-R Dx17Sirus-L Dx17Sirus-R SyncroSoft-L SyncroSoft-R DongelAttack-L DongelAttack-R DanceSyncro-L DanceSyncro-R ElectroEeicti-L ElectroEeicti-R DancePlus-L DancePlus-R MixBiSet-L MixBiSet-R AmoAnvAatack-L AmoAnvAatack-R SidSidLead-L SidSidLead-R ZipBass1-L ZipBass1-R BsKarasu-L BsKarasu-R RandomDriver AnalogSega-L AnalogSega-R FullFlange-L FullFlange-R GlassLead-L GlassLead-R BasicPluse-L BasicPluse-R CompresLead-L CompresLrad-R DarkPluts-L DarkPluts-R SaegeLead-L SaegeLead-R RmsLead-L RmsLead-R MuteAnalog-L MuteAnalog-R SyCaine-L SyCaine-R ElectroBell-L ElectroBell-R MnsMuted-L MnsMuted-R MaybePluck-L MaybePluck-R ComAndCath LifeOflts-L LifeOflts-R WarmWave-L WarmWave-R PlAnalogMute-L PlAnalogMute-R RedGigant-L RedGigant-R SyntaxError-L SyntaxError-R OnATrip-L OnATrip-R TrafficSynth MutedGuitar-L MutedGuitar-R TranceID-L TranceID-R TarD50 LeadGuitar-L LeadGuitar-R PLK1-L PLK1-R PLK2-L PLK2-R PLK3-L PLK3-R PLK4-L PLK4-R PLK5-L PLK5-R TarPersianMp SantorPersian GarmonAzer ViolinInstrument1 ViolinInstrument2 ViolinInstrument3 ViolinInstrument4 ViolinInstrument5 Program List Amp Attack Mp Dx 17 Sirus Syncro Soft Dongel Attack Dance Syncro Electri Erict Dance Plus Mix Bi Set Amp Anv Aatac Sid Sid Lead Zip Bass 1 BS Karasu Dx 17 Sirus 2 Random Driver Analog Sega Full Flange Glass Lead Basic Pluse Compres Lead Dark Pluts Saege Lead RMS Lead Mute Analog Sy Chaine Electro Bell Mns Muted Meybe Pluck Com And Cath Life Of lts Warm Wave Pl Analog Mute Red Gigant Syntax Error On A Trip Muted Guitar Trance ID Trance Sync Tar D 50 Org Lead Guitar PLK 1 PLK 2 PLK 3 PLK 4 PLK 5 LFO Trance Lead Saege Lead AT Wide Detune Lead Dx 17 Sirus 3 Porta Whine Mp Santor Persian Octav Piano Mp Tar Full Not Garmon Azeri Ms 2000 Sync Styles List Style Name Artist Scale HamaHang Sami Baigi D min Hameh Chi Tamom Valy B min Yeki Toye Zendegime Black Cats B min Delbar Omid Hajili D min Nafas Nafas Farshid Amin B min Mano To Shahab Tiam B min Rozi Ke Cheshmato Emad Talebzadeh Bb min Eyval Shahram Shapareh Bb min Eshghe Man Bash Behnam Safavi G# min Eshghe Shirin Amir Farjam Eb min Delam Che Bi Gharareh Afshin B min Che Ehsase Ghashangi Andi E min In Roza Amir Yeganeh C min Doset Daram Mohsen Yeganeh Eb min Azizam Emad Talebzadeh B min Gol Naferest Nabizadeh D min Doret Begardam Mehrshad B min Ba To Hastam Amir Yeganeh D min Gereftar Shahram Shapareh E min Dokhtar Shirazi Afshin B min Gole Bagham Saeed Mohammadi A min Parvaz Arian E min Ba Man Ghadam Bezan Mehran Atash Eb min Khodaye Asemon Ha Toofan E min Divoneh Tar Mishe Leila Frohar A min Barge Khazan Bizhan Mortazavi A min Shaneh Hayat ra Haideh F min Bosoonova 1 Slow Rock 1 Arabi Saidi 1 Kordi 1 2&4 Azeri 1 Azeri 2 Lezgi 1 Baba Karam 1 Baba Karam 2 Bandari 1 6&8 Tombak 1 4 Variation 1 4 Variation Live .
Recommended publications
  • Quantum Leap Stormdrum 3 Manual
    Quantum Leap Stormdrum 3 Virtual Instrument Users’ Manual QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT The information in this document is subject to change without notice and does not rep- resent a commitment on the part of East West Sounds, Inc. The software and sounds described in this document are subject to License Agreements and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by East West Sounds, Inc. All product and company names are ™ or ® trademarks of their respective owners. Solid State Logic (SSL) Channel Strip, Transient Shaper, and Stereo Compressor licensed from Solid State Logic. SSL and Solid State Logic are registered trademarks of Red Lion 49 Ltd. © East West Sounds, Inc., 2013. All rights reserved. East West Sounds, Inc. 6000 Sunset Blvd. Hollywood, CA 90028 USA 1-323-957-6969 voice 1-323-957-6966 fax For questions about licensing of products: [email protected] For more general information about products: [email protected] http://support.soundsonline.com ii QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT 1. Welcome 2 About EastWest and Quantum Leap 3 Producer: Nick Phoenix 4 Percussionist: Mickey Hart 5 Credits 6 How to Use This and the Other Manuals 7 Online Documentation and Other Resources Click on this text to open the Master Navigation Document 1 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Welcome About EastWest and Quantum Leap Founder and producer Doug Rogers has over 35 years experience in the audio industry and is the recipient of many recording industry awards including “Recording Engineer of the Year.” In 2005, “The Art of Digital Music” named him one of “56 Visionary Artists & Insiders” in the book of the same name.
    [Show full text]
  • Hâfez and Betinis: a Conductor’S Approach to Ancient Persian Poetry As Voiced by a Twenty-First Century, Western Composer
    HÂFEZ AND BETINIS: A CONDUCTOR’S APPROACH TO ANCIENT PERSIAN POETRY AS VOICED BY A TWENTY-FIRST CENTURY, WESTERN COMPOSER Peter C. Steenblik, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2015 APPROVED: Dr. Jerry McCoy, Major Professor and Director of Choral Studies Dr. Stephen Austin, Committee Member and Director of Vocal Studies Dr. Richard Sparks, Committee Member and Chair of the Division of Conducting and Ensembles Dr. Benjamin Brand, Director of Graduate Studies, College of Music Dr. John C. Scott, Dean of the College of Music Dr. Costas Tsatsoulis, Dean of the Toulouse Graduate School Steenblik, Peter C. Hâfez and Betinis: A Conductor’s Approach to Ancient Persian Poetry as Voiced by a Twenty-First Century, Western Composer. Doctor of Musical Arts (Performance), December 2015, 91 pp., 1 table, 20 illustrations, bibliography, 67 titles. The choral music of Abbie Betinis is being widely performed and commissioned by prominent high school, university, and civic choruses. This study examines From Behind the Caravan: Songs of Hâfez, a five-movement work by Betinis for women’s chorus, vielle, oud, and Persian percussion. Four ghazals by Hâfez of Shiraz, a fourteenth century Sufi poet, are used as the text for Betinis’s Caravan. When considering a performance of this work, a conductor must understand proper treatment of the text, available translation options, Hâfez’s vast world of imagery, vocal demands inherent to the work, alternate instrumentations available and the benefits of each, how to approach improvisatory passages, how to engage heterophonic elements, and how to prepare a Western choir and audience with very little to no understanding of the philosophies of Sufism that heavily influence the work.
    [Show full text]
  • MP-Price-List-2020-EUR.Pdf
    PRICE LIST 2020 EURO Model Description Price PICKUP PICKUP INSTRUMENTS NEW MPDS1 digital percussion stomp box 199,00 € NEW MPS1 analog percussion stomp box 89,00 € NEW MPSM stomp box mount 49,90 € FX10 fx pedal 169,00 € PBASSBOX pickup bassbox 129,00 € PSNAREBOX pickup snarebox 119,00 € NEW MIC-PERC percussion microphone 24,90 € KA9P-AB pickup kalimba, african brown 99,90 € PICKUP CAJONS NEW PAESLDOB artisan edition pickup cajon, solea line 299,00 € PWCP100MB pickup cajon, woodcraft professional, makah-burl frontplate 199,00 € PSC100B pickup cajon, snarecraft, baltic birch frontplate 149,00 € PSUBCAJ6B pickup vertical subwoofer cajon, baltic birch 249,00 € PTOPCAJ2WN pickup slaptop cajon, turbo, walnut playing surface 189,00 € PTOPCAJ4MH-M pickup slaptop cajon, mahogany playing surface 149,00 € NEW PBASSCAJ-KIT cocktail cajon kit 499,00 € NEW PBASSCAJ cocktail cajon 169,90 € NEW PBC1B pickup bongo cajon 79,90 € NEW PCST pickup cajon snare tap 74,90 € NEW PCTT pickup cajon tom tap 69,90 € NEW MMCS mini cajon speaker 59,90 € PA-CAJ cajon preamp 99,00 € NEW CMS cajon microphone stand 9,90 € CAJONS ARTISAN EDITION CAJONS AEMLBI martinete line, brazilian ironwood with ukola woodframe frontplate 1.199,00 € AEFLIH fandango line, indian heartwood frontplate 699,00 € AESELIH seguiriya line, indian heartwood frontplate 469,00 € AESELCB seguiriya line, canyon-burl frontplate 469,00 € AECLWN cantina line, walnut frontplate 499,00 € AEBLLB buleria line, lava-burl frontplate 299,00 € AEBLMY buleria line, mongoy frontplate 299,00 € AESLEYB soleà line,
    [Show full text]
  • Doud-E-Oud Overtour [In Nava] Arranger: Saeidi-Rad, Morteza Copyright: Copyright © Morteza Saeidi-Rad Publisher: Saeidi-Rad, Morteza Style: Blank Sheet Music
    Morteza Saeidi-Rad Arranger, Composer, Director, Teacher Iran, Tehran Artist page : http://www.free-scores.com/Download-PDF-Sheet-Music-mortezasaeidi-rad.htm About the piece Title: Doud-e-Oud overtour [In Nava] Arranger: Saeidi-Rad, Morteza Copyright: Copyright © Morteza Saeidi-Rad Publisher: Saeidi-Rad, Morteza Style: Blank sheet music Morteza Saeidi-Rad on free-scores.com This work is not Public Domain. You must • share your interpretation contact the artist for any use outside the • comment • contact the artist private area. Prohibited distribution on other website. First added the : 2017-02-02 Last update : 2017-02-02 01:32:58 Score Doud-e-Oud Nava in G P.Meshkatian M.Saeedi-Rad Andante ( ) Ney Tombak Daff Bendir Santoor I Santoor II Tar I Tar II Oud Tar Bass & Robab Kamanche I Div. Kamanche II Div. Kamanche Alto & Gheychak Alto Gheychak Bass © 2 Doud-e-Oud 7 Ney 7 Tom. 7 Daff 7 Bnd. 7 San. I San. II Tar I Tar II Oud T.B. R. 7 Kam I Kam II K.A. Gh.A. Gh.B. Doud-e-Oud 3 13 Ney
    [Show full text]
  • Pandeiro 1 Pandeiro
    Pandeiro 1 Pandeiro Pandeiro Other names Pandeiro, drums Classification hand percussion Playing range High sound of jingles, plus some have a skin with a lower sound. Related instruments Riq, Buben, Dayereh, Daf, Kanjira, Frame drum The pandeiro (Portuguese pronunciation: [pɐ̃ˈdejɾu]) is a type of hand frame drum. There are two important distinctions between a pandeiro and the common tambourine. The tension of the head on the pandeiro can be tuned, allowing the player a choice of high and low notes. Also, the metal jingles (called platinelas in Portuguese) are cupped, creating a crisper, drier and less sustained tone on the pandeiro than on the tambourine. This provides clarity when swift, complex rhythms are played. It is held in one hand, and struck on the head by the other hand to produce the sound. Typical pandeiro patterns are played by alternating the thumb, fingertips, heel, and palm of the hand. A pandeiro can also be shaken to make sound, or one can run a finger along the head to create a "rasp" noise. The pandeiro is used in a number of Brazilian music forms, such as Samba, Choro, Coco, and Capoeira music (see Capoeira songs). The Brazilian pandeiro derives from the pandeireta or pandereta of Spain and Portugal. Some of the best-known pandeiro players today are Paulinho Da Costa, Airto Moreira, Marcos Suzano, Cyro Baptista, and Carlinhos Pandeiro de Ouro. Artists such as Stanton Moore use it non-traditionally by tuning it low to sound like a floor tom with jingles, mounting it on a stand and integrating it into the modern drum kit.
    [Show full text]
  • 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.
    [Show full text]
  • Armenian Orchestral Music Tigran Arakelyan a Dissertation Submitted
    Armenian Orchestral Music Tigran Arakelyan A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2016 Reading Committee: David Alexander Rahbee, Chair JoAnn Taricani Timothy Salzman Program Authorized to Offer Degree: School of Music ©Copyright 2016 Tigran Arakelyan University of Washington Abstract Armenian Orchestral Music Tigran Arakelyan Chair of the Supervisory Committee: Dr. David Alexander Rahbee School of Music The goal of this dissertation is to make available all relevant information about orchestral music by Armenian composers—including composers of Armenian descent—as well as the history pertaining to these composers and their works. This dissertation will serve as a unifying element in bringing the Armenians in the diaspora and in the homeland together through the power of music. The information collected for each piece includes instrumentation, duration, publisher information, and other details. This research will be beneficial for music students, conductors, orchestra managers, festival organizers, cultural event planning and those studying the influences of Armenian folk music in orchestral writing. It is especially intended to be useful in searching for music by Armenian composers for thematic and cultural programing, as it should aid in the acquisition of parts from publishers. In the early part of the 20th century, Armenian people were oppressed by the Ottoman government and a mass genocide against Armenians occurred. Many Armenians fled
    [Show full text]
  • Anthropological Study of Folk Music in Gilan Province in Iran (Instrumental Music)
    International Journal of Social Sciences (IJSS) Vol.3, No.4, 2013 Anthropological Study of Folk Music in Gilan Province in Iran (Instrumental Music) Yaghoub Sharbatian1 Ph.D. Student of Anthropology in Pune University in India and Academic member of Islamic Azad University Garmsar Branch, Semnan, Iran John S. Gaikwad2 Associate Professor, Department of Anthropology, University of Pune, (M.S), India Received 15 February 2013 Revised 18 June 2013 Accepted 23 October 2013 Abstract: Ethno-musicology is an academic field encompassing various approaches to the study of music that emphasize its cultural, social, material, cognitive, biological, and other dimensions or contexts instead of its isolated ‘sound’ component or any particular repertoire. The term ‘Ethno-musicology’ became common in1950, although the emergence of the field can be traced back to the late nineteenth century. Anthropological study of folk music of Gilan province, in Iran with regards to its richness and long history is the subject of this paper. Folk music of Gilan is a part of folklore since it represents the type of thoughts, feelings and behavior of Gilanian People. Nowadays, some Gilani music is on the verge of ‘getting forgotten’ The problem is not only the loss of a kind of music but it is feared that this change will cause another change in thinking and behavior, Therefore, the task is to identify, document and analyze Gilani folk music. In this paper, Informal interview and participant observations comprise the methods of data collection. Functional theory has been used for analysis. Keywords: Anthropology, Ethnomusicology, Iran, Gilan Province, functional theory, instrumental music. Introduction Ethno-musicology is an academic field encompassing various approaches to the study of music that emphasize its cultural, social, material, cognitive, biological, and other dimensions or contexts instead of its isolated ‘sound’ component or any particular repertoire.
    [Show full text]
  • 105674805.23.Pdf
    THE GLEN COLLECTION OF SCOTTISH MUSIC Presented by Lady Dorothea Ruggles- Brise to the National Library of Scotland, in memory of her brother. Major Lord George Stewart Murray, Black Watch, killed in action in France in 1914. 28f/t January 1927. ••• — I34TB M I S C E L L A N E 0 IT'S ZM. as, WORKS -M OF THAT Celebrated Scotch p O E T? ALLAN RAMSAY. Zef thtm cenfure, what care I ? The Herd of Cr it kies I defy. No, no, the Fair, the Gay, the Young Govern the Numbers of my Cong : / All that they approve is fweet. / And all is Senfe that they repele. ■ PRIOR from ANACREON. M DUB LIN: j Printed by S. POWELL, (of GEORGE RISK, Bookfeller, at the Corner of Ca^lc-lanc in (brer, near the Horfeguard, MDCCXXIV. JP.C in To the mofl Beautiful THE Britijh LADIES. Fair Patronejfes, ^ R your innocent Divet- fion, and to invite thofe ^ engaging Smiles which heighten your other Beau- ties, the moft Part of my Poems were wrote, having had the Plea- fure to be fometimes approved of by you, which was the Mark I chiefly aim’d at. Allow me then to lay the following Colle&ion at your Feet 5 accept of it as a grateful Return of every Thought hap- pily exprefs’d by me, they being lefs ow- ing to my natural Genius, than to the In- fpiration of your Charms. a 2 I iv 7be D E D 1C A r 1 O JSf. I fhali hope to be excus’d, when I drop the common Form, and enter not into a Detail of your Qualities, altho’the faireft Field for Panegyrick ^ but too extenfive for a Dedication, and many of them the Subjects which embellifh the whole Book.
    [Show full text]
  • Spring-Summer Guide
    2013 SPRING/SUMMER EVENT GUIDE Welcome Contents 1 County Locator Map 2 April Events 4 May Events Welcome to Wisconsin! 7 June Events 13 July Events As Governor it is my very special pleasure to 19 August Events welcome you to the great state of Wisconsin. 25 September Events 32 Ongoing Events As the days get longer and warmer, the fun 33 Changing Exhibits heats up here in Wisconsin. This guide 34 Theatre, Music & Dance highlights more than 500 events that make 38 Tourism Contacts the perfect starting point to plan a memorable This publication was produced by the spring or summer getaway. Wisconsin Department of Tourism, Stephanie Klett, Secretary. From music festivals to Native American Published January, 2013 Wisconsin Department of Tourism pow-wows, art fairs to county fairs, historic 201 W. Washington Avenue P.O. Box 8690 re-enactments to food festivals, fishing Madison, WI 53707-8690 608/266-2161 800/432-8747 tournaments to air shows, we’re confident you’ll www.travelwisconsin.com find the ideal event to fit your vacation plans. Encourage sustainability To underscore the Wisconsin Department And regardless of where you choose to spend of Tourism’s continuing commitment to stronger recycling markets in Wisconsin your vacation in Wisconsin, our special brand of and a healthier world, this publication is printed on a paper stock with a 30% post- warm Midwestern hospitality is waiting for you. consumer recycled content. The paper used is certified by the Forest Stewardship Council ,TM a mark of responsible forestry. Enjoy! The information in this guide is also available online at travelwisconsin.com.
    [Show full text]
  • Eastern Percussion Module
    Eastern Percussion Module VERSION 1.0 USER MANUAL 1. INTRODUCTION Thank you for purchasing the Zero-G Eastern Percussion Module. This fantastic library was created to help musicians and composers to achieve realistic Middle Eastern percussion sounds, rhythms and styles. EPM gives you over 5000 high quality drum samples with full mixing control coupled with high quality effects and a huge selection of MIDI grooves covering Middle Eastern, Egyptian, North African, and Turkish Styles. Each individual percussion instrument can be manipulated in a multitude of ways to create totally unique percussion instruments and tracks. EPM gives you everything you need to create realistic percussion tracks for all kinds of music production. It is a fantastic source of inspiration for all music and soundtrack producers and can enhance and give an exotic feel to any style of music. This manual will help you to install, use and fully understand the instrument and its capabilities. It also covers the most important elements to get you started. 2. FEATURES: • Over 5000 44.1 KHz, 24bit compressed samples. • Ready to use programmed mixes with 30 user preset mix slots. • 15 instrument channels. • Controllable EQ, transients, compressor, saturator, pan, volume, tune, RR, AHD, mute, solo, and reverb send for each channel. • Master reverb with 41 room impulses. • 82 pre-programmed MIDI grooves and styles with 12 variations for each, totaling almost 1000 individual rhythms. • Drag and drop MIDI to DAW functionality. • Swing and quantize function with double and half speed all synced to host tempo. • 12 controlled round robins for increased realism. • Automatic dynamic velocity.
    [Show full text]
  • Theory of Musical Instruments
    “GHEORGHE DIMA” MUSIC ACADEMY Cluj-Napoca T u d o r F e r a r u THEORY OF MUSICAL INSTRUMENTS TEXTBOOK FOR THE MUSIC GENERAL STUDIES IN ENGLISH 2016 CONTENTS page Introduction ……………5 1st Semester Lesson 1. Classification of instruments ……………5 Lesson 2. Aerophone instruments / Winds. Classification ……………5 Lesson 3. Reedless woodwind instruments / Flutes ……………6 Lesson 4. Double-reed woodwind instruments ……………8 Lesson 5. Double-reed woodwind instruments (continued) …………..10 Lesson 6. Single-reed woodwind instruments …………..11 Lesson 7. Brass instruments with mouthpiece …………..15 Lesson 8. Brass instruments with mouthpiece (continued) …………..16 Lesson 9. Polyphonic wind instruments …………..18 Lesson 10. Chordophone instruments / Strings. Classification …………..18 Lesson 11. Bowed string instruments …………..19 Lesson 12. Bowed string instruments (continued) …………..20 Lesson 13. Plucked string instruments …………..22 Lesson 14. Struck and plucked strings / Keyboards …………..23 2nd Semester Lesson 1. Electrophone instruments …………..25 Lesson 2. Percussion. Idiophone instruments. Classification …………..26 Lesson 3. Pitched metal idiophone instruments …………..26 Lesson 4. Pitched metal idiophone instruments (continued – part 1) …………..27 Lesson 5. Pitched metal idiophone instruments (continued – part 2) …………..28 Lesson 6. Pitched wood idiophone instruments …………..29 Lesson 7. Pitched wood idiophone instruments (continued) …………..30 Lesson 8. Pitched glass idiophone instruments …………..30 Lesson 9. Unpitched metal idiophone instruments …………..31 Lesson 10. Unpitched wood idiophone instruments …………..33 Lesson 11. Membranophone instruments / Skins. Classification …………..34 Lesson 12. Pitched membranophone instruments …………..35 Lesson 13. Unpitched membranophone instruments / Drums …………..36 Lesson 14. Various traditional percussion instruments …………..38 Reading List …………..40 3 INTRODUCTION The aim of the Theory of Musical Instruments textbook is to describe the construction elements and technical abilities of various musical instruments.
    [Show full text]