DOCSLIB.ORG

Drum-Term-Glossary.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Drum-Term-Glossary.Pdf Jump to letters in alphabet A .......................................................................................... 1 B .......................................................................................... 1 C .......................................................................................... 3 D .......................................................................................... 4 E ........................................................................................... 6 F ........................................................................................... 6 G .......................................................................................... 7 H .......................................................................................... 8 I ............................................................................................ 8 K .......................................................................................... 9 L ........................................................................................... 9 M ........................................................................................ 10 N ........................................................................................ 11 O ........................................................................................ 11 P ......................................................................................... 12 Q ........................................................................................ 13 S ......................................................................................... 14 T ......................................................................................... 16 U ........................................................................................ 18 V ......................................................................................... 18 W ........................................................................................ 18 Z ......................................................................................... 18 A Accent - A note that is played louder to accentuate it in relation to the other notes played in a piece. The opposite to an accent is a ghost note. Ad Lib – Literal meaning ‘at liberty’. Here you can play with more freedom and add your own flavour to the music. Usually within the confines of being stylistically appropriate. Articulation – If a note is cleanly played it will be more articulated. Attack – The initial sound that an object makes is described as its attack. For example some cymbals have a very loud initial sound which means they have more attack. Some create the sound more slowly so they have less attack. B Back Beat – This is our main snare placement. Commonly this is the accented snare on beats 2 and 4. Back Sticking – Often seen in marching drumming, this is where the drummer flips their stick to strike the drum with the tip and then the butt to create visual interest. Bar – Music is broken down into and then measured in bars. In 4/4 time signature a bar contains four quarter notes. Basel Drumming – Switzerland was prominent in the evolution of drum rudiments and Basel is still considered a hub for rudimental excellence. Bass Drum – The largest drum in the kit set up and therefore with the lowest frequency. The bass (or kick) drum sits on the floor and is played with a foot pedal. Common sizes range from 18”-24” although they can come in smaller or larger. Bass Drum Pedal – The bass drum is played using the foot via a pedal. Since the early 20th century a fairly standard basic design has survived although variations and extra features are constantly being marketed. Batter Head – The top head, or skin, of a drum. This is the one you hit. Battery - In marching bands this is the drum section. It generally involves cymbals, tenor, snare and bass Bead - The tip of a drum stick. Beam – The horizontal line that connects music notes. Only 8th notes are smaller can have a beam. For example quarter notes would not be connected. 1 Drum Term Glossary © 2017 www.totaldrummer.com Bearing Edge - The edge of a drum shell where the drum head makes contact. If this is damaged the drum will not tune easily. There are different angles that manufacturers cut these for varying degrees of resonance. Beat - The unit of measurement that we use within our bars of music. In 4/4 time signature we have four quarter notes in the bar, or four whole beats. Beater - The part of a bass drum pedal that strikes the drum. Beats Per Minute - The bpm of a song tells us the tempo/speed. 60bpm would mean sixty beats per minute, which would be one beat every second. Behind The Beat – This involves playing slightly behind the metronome or pulse of the song. It does not mean you have bad timing but is an effect you can use to create a laid back feel. It can be used intentionally but sometimes drummers play behind the beat without realising it. Bell (of cymbal) - The domes middle part of a cymbal. This can be hit for effect but its size also shapes the overall sound and decay of the cymbal. Blast Beat - A fast and furious rhythm type from heavy metal involving a single stroke roll or unison hands with double bass drum patterns below all playing even notes. Bodhran – An Irish frame drum played with a double ended stick called a tipper. Bomb – Dropping bombs was a second World War era effect used in jazz when spontaneous accents were played on the bass drum. Bongos – A pair of single skinned wooden drums found in Latin America. Often seen played alongside drums such as conga or timbale. Bounce – We talk about bounce a lot in drumming. This relates to the rebound of the stick after it has struck a drum head. Bow (of Cymbal) – The main mass of a cymbal between the bottom of the bell and the cymbal’s edge. Break – Drum ‘breaks’ were popular in hip hop and then later styles such as drum and bass. They were initially drum solo sections from 1960s funk music that could be looped whilst someone rapped over the top. Bridge – In a musical structure the bridge is often the section that prepares for the return of a main section. For example it’s the ‘B’ in the popular AABA structure. Brushes – A type of drum beater that creates a softer and very distinctive sound. It consists of a handle with multiple strands of metal forming a fly-swat-esque shape. Butt - The bottom end of the drum stick, as opposed to the tip. The drummer generally holds the stick near to the butt. Buzz - A fast multiple stroke which is created by pressing the stick down. This causes very fast bounces that make a buzz sound. 2 Drum Term Glossary © 2017 www.totaldrummer.com Buzz Roll – When multiple buzz strokes are played in succession a buzz roll is created C Cadence – In rhythmic terms this is a phrase that indicates the end of a section. Cajon - A box drum of Peruvian originans. It is essentially a wooden box with a thin front side that is struck whilst the player sits atop the box. Calf Skin – All drum heads used calf skins until plastic technology replaced them. They had a warm tone but were susceptible to atmospheric changes altering the tuning. Cascara - A popular Latin American rhythm often played together with a clave. China Cymbal - A cymbal with an upturned edge which creates a distinctive trashy sound. Chinese Tom – Before the drum kit as we know it evolved there were traps sets. Here they introduced Chinese toms. They were often decoratively painted and had non-tunable animal skins which were tacked on. Chops - A term used to describe combined speed and technique. That guy has chops! Clave - 1. A Latin American instrument involving two cylindrical wooden dowels that are struck together. 2. The rhythm that was traditionally played on claves. Common clave rhythms include the Son and Rumba. Click Track – A metronomic tone that is often heard through headphones in the recording studio, as well as live, so the band can easily stay in time. Clutch – The system that attached the top hi-hat cymbal to the cymbal stand. Cocktail Drum - A compact drum kit consisting of an upturned drum that often has a modified bass pedal to strike the bottom head. It then has a small snare, cymbal, and possibly a tom attached. Collar – The upright part of a drum kit that sits between the horizontal part that we hit and the metal ring. Common Time – Another term for 4/4 time signature because it is so common. Comping – Often used in jazz genres this word can be derived from ‘accompanying’ and ‘complementing’. It involves improvising certain elements of the kit (often snare and bass drum) in reaction to your fellow band mates. Concert Toms - Single-headed drums in scaling up in size. These were popular in the 1970s on drum kit but are also found in other settings such as marching band Tenor drums. 3 Drum Term Glossary © 2017 www.totaldrummer.com Conga – Derived from Cuba, these large staved barrel shaped drums are around waist height and played with the hands. Often played in pairs or with greater numbers Console – Before the current drum kit configuration the kit had a drum rack on wheels from which items could be mounted as well as a tray for auxiliary percussion. Counter Hoop – The hoop that sits at either end of the drum and is pulled down to keep the drum head secured on the shell. Often these are metal with die-cast and triple flanged being popular designs. Originally these were all wood. Cow Bell – The same as those that hang from a cow’s neck these have become a popular percussion item. They can be hand held or mounted on
Load more

Recommended publications
  • A Transcultural Perspective on the Casting of the Rose Tattoo
    RSA JOU R N A L 25/2014 GIULIANA MUS C IO A Transcultural Perspective on the Casting of The Rose Tattoo A transcultural perspective on the film The Rose Tattoo (Daniel Mann, 1955), written by Tennessee Williams, is motivated by its setting in an Italian-American community (specifically Sicilian) in Louisiana, and by its cast, which includes relevant Italian participation. A re-examination of its production and textuality illuminates not only Williams’ work but also the cultural interactions between Italy and the U.S. On the background, the popularity and critical appreciation of neorealist cinema.1 The production of the film The Rose Tattoo has a complicated history, which is worth recalling, in order to capture its peculiar transcultural implications in Williams’ own work, moving from some biographical elements. In the late 1940s Tennessee Williams was often traveling in Italy, and visited Sicily, invited by Luchino Visconti (who had directed The Glass Managerie in Rome, in 1946) for the shooting of La terra trema (1948), where he went with his partner Frank Merlo, an occasional actor of Sicilian origins (Williams, Notebooks 472). Thus his Italian experiences involved both his professional life, putting him in touch with the lively world of Italian postwar theater and film, and his affections, with new encounters and new friends. In the early 1950s Williams wrote The Rose Tattoo as a play for Anna Magnani, protagonist of the neorealist masterpiece Rome Open City (Roberto Rossellini, 1945). However, the Italian actress was not yet comfortable with acting in English and therefore the American stage version (1951) starred Maureen Stapleton instead and Method actor Eli Wallach.
    [Show full text]
  • The Snare Drum Roll
    ACADEMY OF MUSIC AND DRAMA The Snare Drum Roll Lúcia Viana da Silva Independent Project (Degree Project), 30 HEC, Master of Fine Arts in Symphonic Orchestra Performance Spring Semester, 2017 Independent Project (Degree Project), 30 higher education credits Master of Fine Arts in Symphonic Orchestra Performance Academy of Music and Drama, University of Gothenburg Spring semester, 2017 Author: Lúcia Viana da Silva Title: The Snare Drum Roll Supervisor: PhD Maria Bania Examiner: PhD. Tilman Skowroneck ABSTRACT Key words: orchestral percussion, snare drum, technique, roll. Like most other percussion instruments, the snare drum was introduced relatively late in the symphonic orchestra, and major changes and improvements concerning its playing techniques are still taking place. One of the most distinctive aspects of the snare drum is the roll, which consists of a challenge that most percussionists face eventually during their career. This project reflects my research on the snare drum roll during the last two years, gives a short background of snare drum playing and its technical development, and provides observations and reflections of different techniques to play a roll. As a percussionist myself, I analyzed and practiced on the execution of rolls as part of the research. This project includes notes on my interpretation of four orchestral excerpts, showing how technical development and control over the roll open musical possibilities to the orchestral percussionist. 2 ACKNOWLEDGEMTS I would first like to thank my supervisor, PhD Maria Bania, who was always available and responsive to my questions and supportive of my ideas. Her enthusiasm and constant demand gave me the drive and encouragement for writing this thesis.
    [Show full text]
  • The PAS Educators' Companion
    The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr.
    [Show full text]
  • Relating Stave Pitches to DAW Piano & Drum Rolls for Inputting Notes Relating Notation Durations to MIDI Sequencer Note Leng
    Relating Notation durations to MIDI sequencer note lengths Note Name Duration Piano roll Snap/Quantise Semibreve 4 1/1 1-DAW (Digital Audio Workstation): a digital system designed for recording and editing digital audio. It may refer to audio hardware, audio software, or both. 2-MIDI (Musical Instrument Digital Interface): the interchange Dotted 3 - of musical information between musical instruments, synthesizers and computers. Minim 3-MIDI controller: any hardware or software that generates and transmits MIDI data to electronic or digital MIDI-enabled devices, typically to trigger sounds Minim 2 1/2 and control parameters of an electronic music performance. 4-Sequencer: a software application or a digital electronic device that can record, save, play and edit audio files. Dotted 1 ½ - 5-Arrange Window: the main window of Logic Pro. It incorporates other Logic Pro Crotchet editors and it's where you do most of your work. 6-Drum Machine: An electronic device containing a sequencer that can be Crotchet 1 1/4 programmed to arrange and alter digitally stored drum sounds. 7-Tempo: the pace or speed at which a section of music is played. 8-Quantise/Quantisation: the rhythmic correction of audio or MIDI regions to a Dotted ¾ - specific time grid. Quaver 9- Fader: a device for gradually increasing or decreasing the level of an audio signal. Basic Functions of a DAW Quaver ½ 1/8 Audio Recording: The basic function of any DAW is record audio. DAWs can handle dozens to hundreds of audio tracks without causing too much strain on most systems. Audio Editing: Audio clips can be cut, copied and pasted.
    [Show full text]
  • Delmer Daves ̘​Í™” ˪…˶€ (Ìž'í'ˆìœ¼ë¡Œ)
    Delmer Daves ì˜í​ ™” 명부 (작품으로) The Hanging https://ko.listvote.com/lists/film/movies/the-hanging-tree-1193688/actors Tree Demetrius and https://ko.listvote.com/lists/film/movies/demetrius-and-the-gladiators-1213081/actors the Gladiators Dark Passage https://ko.listvote.com/lists/film/movies/dark-passage-1302406/actors Never Let Me https://ko.listvote.com/lists/film/movies/never-let-me-go-1347666/actors Go The https://ko.listvote.com/lists/film/movies/the-badlanders-1510303/actors Badlanders Cowboy https://ko.listvote.com/lists/film/movies/cowboy-1747719/actors Kings Go https://ko.listvote.com/lists/film/movies/kings-go-forth-2060830/actors Forth Drum Beat https://ko.listvote.com/lists/film/movies/drum-beat-2081544/actors Jubal https://ko.listvote.com/lists/film/movies/jubal-2481256/actors Hollywood https://ko.listvote.com/lists/film/movies/hollywood-canteen-261550/actors Canteen Rome https://ko.listvote.com/lists/film/movies/rome-adventure-319170/actors Adventure Bird of https://ko.listvote.com/lists/film/movies/bird-of-paradise-3204466/actors Paradise The Battle of https://ko.listvote.com/lists/film/movies/the-battle-of-the-villa-fiorita-3206509/actors the Villa Fiorita The Red https://ko.listvote.com/lists/film/movies/the-red-house-3210438/actors House Treasure of the Golden https://ko.listvote.com/lists/film/movies/treasure-of-the-golden-condor-3227913/actors Condor Return of the https://ko.listvote.com/lists/film/movies/return-of-the-texan-3428288/actors Texan Susan Slade https://ko.listvote.com/lists/film/movies/susan-slade-3505607/actors
    [Show full text]
  • An Augmented Reality Drum Kit
    ISSN (Online) 2278-1021 ISSN (Print) 2319 5940 International Journal of Advanced Research in Computer and Communication Engineering Vol. 4, Issue 10, October 2015 V-Drum: An Augmented Reality Drum Kit Nestor Lobo1 Scholar, Electronics Department, Vivekanand Education Society‟s Institute of Technology, Mumbai, India1 Abstract: Most modern drum kits are large in size and difficult to transport. Similarly, the cost of a fully stocked drum kit is far in excess of what an average enthusiast can afford. The maintenance of such equipment can be expensive and keeping the instruments properly tuned involves a considerable amount of time. All this can discourage many from seriously learning to play percussion instruments. Musicians draw inspiration from the world around them and in many cases are unable to construct a new piece due to the lack of readily available instruments. The V-Drum is a low-cost, portable drum kit whose implementation is based in Augmented Reality. With the V-Drum, any person with interest can learn to play percussion instruments and even construct music with the variety of virtual instruments at their disposal. Keywords: Human Computer Interaction, Image Processing, Musical Instrument, Augmented Reality, Pattern Recognition, Computer Vision. I. INTRODUCTION A. V-Drum Given the absence of the need to physically move A drummer, as a musician, is an integral part of any band. instruments about, the V-Drum can be used in any It is the drummer who provides the band with the beat and environment without any worry about the sound quality of timing which is vital in the creation and performance of the instruments being affected by environmental factors.
    [Show full text]
  • Strike Performance Drum Module User Guide
    User Guide English Table of Contents Introduction ................................................. 3 Trigger Mode ........................................ 19 Box Contents .......................................... 3 About Crosstalk (XTalk) .................. 20 Support ................................................... 3 Hi-Hat Pedal Setup ........................ 21 Setup ...................................................... 3 Metronome ........................................... 22 Features ....................................................... 4 Sample Mode ....................................... 23 Top Panel ................................................ 4 Recording Samples ........................ 23 Rear Panel .............................................. 6 Editing Samples ............................. 24 Saving Samples .............................. 25 Operation ..................................................... 7 Assigning Samples ......................... 26 Navigation ............................................... 7 Playing Loops ................................. 26 Controls ............................................ 7 Utility Menu .......................................... 27 Overview ........................................... 8 Kit Menu ...................................... 8 Metronome (Metro) ......................... 27 Kit FX Mode ................................. 9 Voice Mode .................................. 9 MIDI ................................................ 28 Trigger Mode ..............................
    [Show full text]
  • Power Tab Editor ❍ Appendix B - FAQ - a Collection of Frequently Asked Questions About the Power Tab Editor
    Help Topics ● Introduction - Program overview and requirements ● What's New? - Program Version history; what was fixed and/or added in each version of the program ● Quick Steps To Creating A New Score - A simple guide to creating a Power Tab Score ● Getting Started ❍ Toolbars - Information on showing/hiding toolbars ❍ Creating A New Power Tab File - Information on how to create a new file ❍ The Score Layout - Describes how each Power Tab Score is laid out ❍ Navigating In Power Tab - Lists the different ways that you can traverse through a Power Tab score. ❍ The Status Bar - Description of what each pane signifies in the status bar. ● Sections and Staves ❍ What Is A Section? - Information on the core component used to construct Power Tab songs ❍ Adding A New Section - Information on how to add a new section to the score ❍ Attaching A Staff To A Section - Describes how attach a staff to a section so multiple guitar parts can be transcribed at the same time ❍ Changing The Number Of Tablature Lines On A Staff - Describes how to change the number of tablature staff lines on an existing staff ❍ Inserting A New Section - Describes how to insert a section within the score (as opposed to adding a section to the end of a score) ❍ Removing A Section Or Staff - Describes how to remove a section or staff from the score ❍ Position Width and Line Height - Describes how to change the width between positions and the distance between lines on the tablature staves ❍ Fills - Not implemented yet ● Song Properties ❍ File Information - How to edit the score
    [Show full text]
  • PCM 80 Dual FX Presets PCM 80 Dual FX Presets the 250 Dual FX Presets Are Organized in 5 Banks (X0-X4) of 50 Presets/Bank (Numbered 0.0 Ð 4.9)
    PCM 80 Dual FX Presets PCM 80 Dual FX Presets The 250 Dual FX presets are organized in 5 Banks (X0-X4) of 50 presets/Bank (numbered 0.0 – 4.9). Press Program Banks repeatedly to cycle through the Banks. Turn SELECT to view the presets in the selected Bank. Press Load/✱ to load any displayed preset. Each preset has one or more parameters patched to the front panel ADJUST knob. This gives you instant access to some of the most interesting aspects of the effect. In addition, all of the presets marked with a T can be synchronized to tempo. To set the tempo, press the front panel Tap button twice in time with the beat. (Tempo can also be dialed in as a parameter value, or it can be determined by MIDI Clock.) Be sure to try these effects synchronized with MIDI sequence and drum patterns. Full descriptions of each preset are available in the Dual FX User Guide. 1.3 Mix>Drum>LP ADJUST: Hi Cut 0–127 3.3 15ips Echo ADJUST: Feedback 0–100 Program Bank X0 A stereo chamber optimized for drum submix, followed by a Stereo 15ips tape echo simulation. Listen to the sound change 24dB/octave lowpass filter. as it repeats. Stereo 1.4 Mix>Drum>HP ADJUST: Lo Cut 0–127 3.4 7.5ipsEkoRvb ADJUST: Feedback 0–100 The complement of Mix>Drum>LP with the drum chamber Stereo plate reverb fed by a 7.5ips tape echo simulation. Listen Presets 0.0-0.2 provide different room treatments for multiple followed by a 24dB/octave highpass filter.
    [Show full text]
  • Digital Drum Kit QUICK START GUIDE
    SD9K Digital Drum Kit QUICK START GUIDE www.simmonsdrums.net FCC Statements 1. Caution: Changes or modifications to this unit not expressly approved by the party responsible for compliance could void the user’s authority to operate the equipment. 2. Note: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: •Reorient or relocate the receiving antenna. •Increase the separation between the equipment and receiver. •Connect the equipment into an outlet on a different circuit. •Consult an experienced radio/TV technician for help. SD9K congratulations! Thank you for purchasing the Simmons® SD9K Digital Drum Kit. In an effort to be environmentally friendly and use less paper we have decided to include this “mini” Quick Start Manual. For in-depth detail on your Simmons® SD9K you can visit www.simmonsdrums.net and download a PDF file version of the full manual. We estimate that by doing this we are saving approximately 250,000 pieces of paper annually.
    [Show full text]
  • 2011 – Cincinnati, OH
    Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers.
    [Show full text]
  • Asphalt Cocktail
    Asphalt Cocktail (2009) John Mackey arranged for saxophone and percussion ensemble by Matt Evans for the Eastman Saxophone Project Originally commissioned by Howard J. Gourwitz as a gift to Dr. Kevin L. Sedatole and the Michigan State University Wind Symphony Copyright © 2009/2014 Osti Music, Inc. WWW.OSTIMUSIC.COM Instrumentation 4 soprano saxophones 4 alto saxophones 3 tenor saxophones 3 baritone saxophones 1 bass saxophone These are minimums required. In the event that an ensemble has more than 15 players available, parts should be doubled in this order: Baritone 3/Bass Tenor 2 Tenor 3 Baritone 2 Baritone 1 Tenor 1 Alto 3 Alto 4 Beyond this, it is recommended to triple the lower parts before doubling any of the soprano parts or alto 1/2. Percussion (7 players) Player 1: Timpani (4 drums, 5 if desired) Player 2: Xylophone, Marimba, Whip Player 3: Tambourine; metal cocktail shaker with nuts, etc. inside; small metal trash can filled with metal, taped shut (will be slammed to floor, sounding like a controlled crash of chains) Player 4: Hi-hat; China cymbal; upside-down 14" mini-China with 13" Trash Splash cymbal stacked inside Player 5: 4 Tom-Toms; field drum with Kevlar head; whip; metal cocktail shaker with nuts, etc. inside Player 6: 4 Cymbals: crash, Zildjian 16" ZHT EFX (or comparable), China, Splash Player 7: Bass Drum Percussion 3 ÷ ¿ œ cocktail shaker tambourine small metal– trash can Percussion 4 ¿ — ÷ ¿ hi-hat¿ (foot) hi-hat (sticks) China (or second EFX cymbal) China with Trash Splash inside Percussion 5 œ ¿ ÷ œ œ œ ¿ œ field drum with Kevlar head 4 tom-toms whip cocktail shaker Percussion 6 ¿ ¿ ÷ ¿ ¿ crash cymbal EFX cymbal China Splash Note: All trills are 1/2-step trills.
    [Show full text]