DOCSLIB.ORG

YAMAHA Smart Lock with Keypad PSR-F52 Owner's Manual

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
YAMAHA Smart Lock with Keypad PSR-F52 Owner's Manual DIGITAL KEYBOARD OWNER’S MANUAL Before using the instrument, be sure to read “PRECAUTIONS” on pages 3–4. PRECAUTIONS 3 Included Accessories 5 Song Book (Online Material) 5 Power Requirements 5 Basic Operations 6 Voices/Songs/Styles 8 The Functions 9 Troubleshooting 10 Specifications 10 Voice/Drum Kit/Style/Song List 11 Smart Chord Chart 16 Reading the Score 17 EN PSR-F52 Owner’s Manual 1 FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! “OFF” and “ON”, please try to eliminate the problem by using one of the follow- This product, when installed as indicated in the instructions contained in this ing measures: manual, meets FCC requirements. Modifications not expressly approved by Relocate either this product or the device that is being affected by the interfer- Yamaha may void your authority, granted by the FCC, to use the product. ence. Utilize power outlets that are on different branch (circuit breaker or fuse) cir- 2. IMPORTANT: When connecting this product to accessories and/or another cuits or install AC line filter/s. product use only high quality shielded cables. Cable/s supplied with this prod- uct MUST be used. Follow all installation instructions. Failure to follow instruc- In the case of radio or TV interference, relocate/reorient the antenna. If the tions could void your FCC authorization to use this product in the USA. antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. 3. NOTE: This product has been tested and found to comply with the require- ments listed in FCC Regulations, Part 15 for Class “B” digital devices. Compli- If these corrective measures do not produce satisfactory results, please con- ance with these requirements provides a reasonable level of assurance that tact the local retailer authorized to distribute this type of product. If you can not your use of this product in a residential environment will not result in harmful locate the appropriate retailer, please contact Yamaha Corporation of America, interference with other electronic devices. This equipment generates/uses 6600 Orangethorpe Ave. Buena Park CA90620, USA. The above statements radio frequencies and, if not installed and used according to the instructions apply ONLY to those products distributed by Yamaha Corporation of America found in the users manual, may cause interference harmful to the operation of or its subsidiaries. other electronic devices. Compliance with FCC regulations does not guaran- tee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit * This applies only to products distributed by Yamaha Corporation of America. (class B) COMPLIANCE INFORMATION STATEMENT (Supplier’s declaration of conformity procedure) Responsible Party : Yamaha Corporation of America Address : 6600 Orangethorpe Ave., Buena Park, Calif. 90620 Telephone : 714-522-9011 Type of Equipment : Digital Keyboard Model Name : PSR-F52 This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: 1) this device may not cause harmful interference, and 2) this device must accept any interference received including interference that may cause undesired operation. * This applies only to products distributed by Yamaha Corporation of America. (FCC SDoC) For the AC adaptor Explanation of Graphical Symbols The lightning flash with arrowhead symbol within an equilateral triangle is CAUTION intended to alert the user to the presence of uninsulated “dangerous volt- RISK OF ELECTRIC SHOCK age” within the product’s enclosure that may be of sufficient magnitude to DO NOT OPEN constitute a risk of electric shock to persons. CAUTION: TO REDUCE THE RISK OF The exclamation point within an equilateral triangle is intended to alert the ELECTRIC SHOCK, DO NOT REMOVE user to the presence of important operating and maintenance (servicing) COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO instructions in the literature accompanying the product. QUALIFIED SERVICE PERSONNEL. IMPORTANT SAFETY INSTRUCTIONS 1 Read these instructions. 10 Protect the power cord from being walked on or pinched particularly at 2 Keep these instructions. plugs, convenience receptacles, and the point where they exit from the 3 Heed all warnings. apparatus. 4 Follow all instructions. 11 Only use attachments/accessories specified by the manufacturer. 5 Do not use this apparatus near water. 12 Use only with the cart, stand, tripod, bracket, or table 6 Clean only with dry cloth. specified by the manufacturer, or sold with the appa- 7 Do not block any ventilation openings. Install in accordance with the ratus. When a cart is used, use caution when moving manufacturer’s instructions. the cart/apparatus combination to avoid injury from 8 Do not install near any heat sources such as radiators, heat registers, tip-over. stoves, or other apparatus (including amplifiers) that produce heat. 13 Unplug this apparatus during lightning storms or 9 Do not defeat the safety purpose of the polarized or grounding-type when unused for long periods of time. plug. A polarized plug has two blades with one wider than the other. A 14 Refer all servicing to qualified service personnel. Servicing is required grounding type plug has two blades and a third grounding prong. The when the apparatus has been damaged in any way, such as power-sup- wide blade or the third prong are provided for your safety. If the pro- ply cord or plug is damaged, liquid has been spilled or objects have vided plug does not fit into your outlet, consult an electrician for fallen into the apparatus, the apparatus has been exposed to rain or replacement of the obsolete outlet. moisture, does not operate normally, or has been dropped. WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE. (UL60065_03) 2 PSR-F52 Owner’s Manual PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING Please keep this manual in a safe and handy place for future reference. For the AC adaptor WARNING CAUTION • This AC adaptor is designed for use with only Yamaha electronic instruments. Do not use • When setting up, make sure that the AC outlet is easily accessible. If some trouble or for any other purpose. malfunction occurs, immediately turn off the power switch of the instrument and • Indoor use only. Do not use in any wet environments. disconnect the AC adaptor from the outlet. When the AC adaptor is connected to the AC outlet, keep in mind that electricity is flowing at the minimum level, even if the power switch is turned off. When you are not using the instrument for a long time, make sure to unplug the power cord from the wall AC outlet. For the instrument WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: Power supply/AC adaptor Battery • Do not place the power cord near heat sources such as heaters or radiators. Also, do not • Follow the precautions below. Failure to do so might result in explosion, fire, overheating excessively bend or otherwise damage the cord, or place heavy objects on it. or battery fluid leakage. • Only use the voltage specified as correct for the instrument. The required voltage is - Do not tamper with or disassemble batteries. printed on the name plate of the instrument. - Do not dispose of batteries in fire. • Use the specified adaptor (page 10) only. Using the wrong adaptor can result in damage - Do not expose a battery to high temperatures, such as direct sunlight or a fire. to the instrument or overheating. - Do not attempt to recharge batteries that are not designed to be charged. • Check the electric plug periodically and remove any dirt or dust which may have - Keep the batteries separate from metallic objects such as necklaces, hairpins, coins, accumulated on it. and keys. - Use the specified battery type (page 10) only. Do not open - Use new batteries, all of which are the same type, same model, and made by the same manufacturer. • This instrument contains no user-serviceable parts. Do not open the instrument or attempt to disassemble or modify the internal components in any way. If it should appear - Always make sure all batteries are inserted in conformity with the +/- polarity markings. to be malfunctioning, discontinue use immediately and have it inspected by qualified - When the batteries run out, or if the instrument is not to be used for a long time, remove Yamaha service personnel. the batteries from the instrument. - When using Ni-MH batteries, follow the instructions that came with the batteries. Use only the specified charger device when charging. Water warning • Keep batteries away from small children who might accidentally swallow them. • Do not expose the instrument to rain, use it near water or in damp or wet conditions, or • If the batteries do leak, avoid contact with the leaked fluid. If the battery fluid should come place on it any containers (such as vases, bottles or glasses) containing liquids which in contact with your eyes, mouth, or skin, wash immediately with water and consult a might spill into any openings. If any liquid such as water seeps into the instrument, turn doctor. Battery fluid is corrosive and may possibly cause loss of sight or chemical burns. off the power immediately and unplug the power cord from the AC outlet. Then have the instrument inspected by qualified Yamaha service personnel. If you notice any abnormality • Never insert or remove an electric plug with wet hands. • When one of the following problems occur, immediately turn off the power switch and Fire warning disconnect the electric plug from the outlet.
Load more

Recommended publications
  • List of Empanelled Artist
    INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ
    [Show full text]
  • Index of Fieldwork in India 1986 Peter Cooke These Recordings Were
    Index of Fieldwork in India 1986 Peter Cooke These recordings were made in 1986 during a visit funded by the Indian High Commission through the auspices of the then functioning Inter University Circuit for Indian Classical Music. The first part of the visit was spent visiting various teaching institutions in India and meeting with highly regarded classical musicians. When this tour finished I remained in India since I was interested in researching the use of the bagpipe in India: this included the Scottish Highland bagpipe which over two centuries was diffusing throughout India and which was played in many Indian army, police and school bands, but also in the indigenous bagpipe which had received rare mention in the scholarly press. After Delhi my visit took me to the foothills of the Himalayas (Almora district) and to Rajasthan where I had arranged to meet with Komal Kothari, the late director of the Rajasthani Folk Music Insitute. We first met at a camp at Dungargarh in the Rajasthan desert where he had assembled a small team of musicians in connection with the filming of a folk drama but then we returned to his home in Jodhpur where numerous musicians came to visit and we enjoyed long hours recording and discussing music together. This latter part included the recording of long epic tales played on the indigenous bagpipe by Bhopa musicians who sang and narrated as they played. The recordings were made on a stellavox stereo reel-to-reel machine with (usually) a crossed-pair of Sennheiser microphones. On return I discovered that a fault in the wiring of one of the microphones had resulted in the stereo recordings being 180 degrees out of phase.
    [Show full text]
  • Beehive L.2 the Sound of Music Learning Sheet Solutions – 3 Before You Read Name These Indian Musicians. Also Identify Which
    Beehive L.2 The Sound Of Music Learning sheet Solutions – 3 Before you Read Name these Indian Musicians. Also identify which instruments they play. (Answers) Name Instrument 1. Amjad Ali Khan Sarod 2. Ustad Zakir Hussain Tabla 3. Pandit Hariprasad Chaurasia Bansuri/flute 4. Dr. M.S. Subbalakshmi Tanpura 5. Pandit Shivkumar Sharma Santoor 6. Ravi Shankar Chowdhury Sitar 7. Ustad Bismillah Khan Shehnai/clarinet Explain 1. Answer the questions in your jotter. (a) Why did the pungi become a generic name for “reeded noisemakers”? The pungi produced loud, unpleasant music. Because of this shrill music Aurangzeb banned it in the royal house. As it was made from a reed and produced noisy sounds, it became a generic name for “reeded noisemakers”. (b) How did ‘pungi’ transform to shehnai? ‘Pungi’ a musical instrument was banned because of its shrill and unpleasant sound. A nai (barber), who had access to the royal palace, improved the tonal quality of the pungi. He chose a pipe with a natural hollow stem that was longer and broader than the pungi and made seven holes on the body of the pipe. When he played on it, soft and melodious sounds were produced and everyone was impressed. As it was played in the Shah’s chambers for the first time by a nai, the instrument was named the ‘shehnai’. (c) Why was the shehnai played in temples and weddings? The music of the shehnai was melodious and soft. It came to be believed that it was auspicious. Therefore, in the holy temples and on the happy auspicious occasions of weddings, the shehnai was played.
    [Show full text]
  • PSR-I400 Data List Voice List
    DIGITAL KEYBOARD Data List Contents Voice List ..........................................................2 Drum Kit List.....................................................9 Style List .........................................................16 Riyaz List ........................................................17 Song List .........................................................18 Arpeggio List ..................................................19 Music Database List.......................................20 Effect Type List...............................................22 Harmony Types.............................................22 Reverb Types................................................22 Chorus Types................................................22 EN Voice List Maximum Polyphony The instrument has 48-note maximum polyphony. This means that it NOTE can play a maximum of up to 48 notes at once, regardless of what • The Voice List includes MIDI program change numbers functions are used. Auto accompaniment uses a number of the for each voice. Use these program change numbers available notes, so when auto accompaniment is used the total number when playing the instrument via MIDI from an external of available notes for playing on the keyboard is correspondingly device. reduced. The same applies to the Split Voice and Song functions. If the • Program change numbers are often specified as maximum polyphony is exceeded, earlier played notes will be cut off and numbers “0–127.” Since this list uses a “1–128” the most recent notes have
    [Show full text]
  • Classification of Indian Musical Instruments with the General
    Classification of Indian Musical Instruments With the general background and perspective of the entire field of Indian Instrumental Music as explained in previous chapters, this study will now proceed towards a brief description of Indian Musical Instruments. Musical Instruments of all kinds and categories were invented by the exponents of the different times and places, but for the technical purposes a systematic-classification of these instruments was deemed necessary from the ancient time. The classification prevalent those days was formulated in India at least two thousands years ago. The first reference is in the Natyashastra of Bharata. He classified them as ‘Ghana Vadya’, ‘Avanaddha Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’.1 Bharata used word ‘Atodhya Vadya’ for musical instruments. The term Atodhya is explained earlier than in Amarkosa and Bharata might have adopted it. References: Some references with respect to classification of Indian Musical Instruments are listed below: 1. Bharata refers Musical Instrument as ‘Atodhya Vadya’. Vishnudharmotta Purana describes Atodhya (Ch. XIX) of four types – Tata, Avnaddha, Ghana and Sushira. Later, the term ‘Vitata’ began to be used by some writers in place of Avnaddha. 2. According to Sangita Damodara, Tata Vadyas are favorite of the God, Sushira Vadyas favourite of the Gandharvas, whereas Avnaddha Vadyas of the Rakshasas, while Ghana Vadyas are played by Kinnars. 3. Bharata, Sarangdeva (Ch. VI) and others have classified the musical instruments under four heads: 1 Fundamentals of Indian Music, Dr. Swatantra Sharma , p-86 53 i. Tata (String Instruments) ii. Avanaddha (Instruments covered with membrane) iii. Sushira (Wind Instruments) iv. Ghana (Solid, or the Musical Instruments which are stuck against one another, such as Cymbals).
    [Show full text]
  • THE GAZETTE of INDIA : EXTRAORDINARY [PART II—SEC. 3(I)] NOTIFICATION New Delhi, the 22Nd September, 2017 No.28/2017-Union
    66 THE GAZETTE OF INDIA : EXTRAORDINARY [P ART II—SEC . 3(i)] 111. उडुकईi 112. चंडे 113. नागारा - केटलेG स कƙ जोड़ी 114. प बाई - दो बेलनाकार Gम कƙ इकाई 115. पैराित पु, हगी - sेम Gम दो िटϝस के साथ खेला 116. संबल 117. िटक डफ या िटक डफ - लाठी के साथ खेला जाने वाला टġड मĞ डेफ 118. तमक 119. ताशा - केटलेGम का Oकार 120. उƞम 121. जलातरंग िच पēा - पीतल के ƚजगल के साथ आग टĪग 122. चĞिगल - धातु िडक 123. इलाथलम 124. गेजर - Qास पोत 125. घटक और मटकाम (िमŝी के बरतन बतϕन Gम) 126. घुंघĐ 127. खारट या िच पला 128. मनजीरा या झंज या ताल 129. अखरोट - िमŝी के बतϕन 130. संकरजांग - िल थोफोन 131. थाली - धातु लेट 132. थाकुकाजामनाई 133. कंचारांग, कांच के एक Oकार 134. कथाततरंग, एक Oकार का जेलोफ़ोन [फा सं.354/117/2017-टीआरयू-भाग II] मोिहत ितवारी, अवर सिचव Ɨट पणी : Oधान अिधसूचना सं. 2/2017- संघ राϤ यϓेJ कर (दर), तारीख 28 जून, 2017, सा.का.िन. 711 (अ) तारीख 28 जून, 2018 ůारा भारत के राजपJ , असाधारण, भाग II, खंड 3, उपखंड (i) ůारा Oकािशत कƙ गई थी । NOTIFICATION New Delhi, the 22nd September, 2017 No.28/2017-Union Territory Tax (Rate) G.S.R.1196 (E).— In exercise of the powers conferred by sub-section (1) of section 8 of the Union Territory Goods and Services Tax Act, 2017 (14 of 2017), the Central Government, being satisfied that it is necessary in the public interest so to do, on the recommendations of the Council, hereby makes the following amendments in the notification of the Government of India in the Ministry of Finance (Department of Revenue), No.2/2017-Union territory Tax (Rate), dated the 28th June, 2017, published in the Gazette of India, Extraordinary, Part II, Section 3, Sub-section (i), vide number G.S.R.
    [Show full text]
  • The Arunachal Pradesh Gazette EXTRAORDINARY PUBLISHED by AUTHORITY
    The Arunachal Pradesh Gazette EXTRAORDINARY PUBLISHED BY AUTHORITY No. 411, Vol. XXIV, Naharlagun, Wednesday, October 4, 2017 Asvina 12, 1939 (Saka) GOVERNMENT OF ARUNACHAL PRADESH DEPARTMENT OF TAX & EXCISE ITANAGAR ————— Notification No. 28/2017-State Tax (Rate) The 26th September, 2017 No. GST/24/2017.— In exercise of the powers conferred by sub-section (1) of Section 11 of the Arunachal Pradesh Goods and Services Tax Act, 2017 (7 of 2017), the State Government, on the recommendations of the Council, hereby makes the following amendments in the notification of the Government of Arunachal Pradesh, Department of Tax & Excise, No.2/2017-State Tax (Rate), dated the 28th June, 2017, published in the Extra ordinary Gazette of Arunachal Pradesh, vide number 192, Vol XXIV, dated the 30th June, 2017, namely:- In the said notification,- (B) in the Schedule,- (i) against serial number 27, in column (3), for the words “other than put up in unit containers and bearing a registered brand name”, the words, brackets and letters “other than those put up in unit container and,- (a) bearing a registered brand name; or (b) bearing a brand name on which an actionable claim or enforceable right in a court of law is available [other than those where any actionable claim or enforceable right in respect of such brand name has been foregone voluntarily, subject to the conditions as in the ANNEXURE I]”, shall be substituted ; (jj) against serial numbers 29 and 45, in column (3), for the words “other than put up in unit container and bearing a registered brand
    [Show full text]
  • History of Indian Percussion Instruments
    DEPARTMENT OF MUSIC DR.HARISINGH GOUR VISHWAVIDYALAYA,SAGAR (M.P.) M.A. Hindustani Music- (Tabla) L T P C First Semester 4 1 - 5 Hours 75 MUT-CC-121 15 Hours per unit History of Indian Percussion Instruments Unit-1 i. A brief study of Percussion Instruments as mentioned in Natyashastra, Sangeet Ratnakar and other Granthas (fourth century onwards). Mridanga, Panava, Mardal, Patah, Muraj, Dundubhi, Kartaal, kansyataal, Damru, etc. ii. A brief study of playing style of ancient Ghan Vadyas as mentioned in various Granthas. Chimta, Jhanj, Manjeera,Tasha, Daf, Chipali, Ek tara, etc. Unit-2 i) Evolution and Historical developments of Tabla. ii) Evolution and Historical developments of Pakhawaj. Unit –3 Historical Development of Different Gharanas and Baaj of Tabla. Unit -4 A detailed knowledge of Karnataka Taal System. Unit -5 Comparative study of North Indian and Karnataka Taal System. Reference Books- 1. Pakhawaj aur table ke gharane evam paramparaye by Dr. Aban Mishtri Sangeet Sadan Allahabad. 2. Indian Concept of rhythm by dr.A.K.sen, kanishsk publication new delhi. 3. Pakhawaj aur tabla ke gharane evam parampara by dr.awan mishtri, sangeet sadan Allahabad 4. Sangeet me tal vadyon ki upyogita by dr.chitra gupta,radha publication delhi. 5. Tabla puran by pt.vijay Shankar mishra ,kanishsk publication new delhi 6. Tabla grunth by pt.chotelal mishra ,kanishsk publivation new delhi. 7. Table ki Paramparagat vadan shaili ka astitwa by Dr.Rahul Swarnkar,ND Publication(seminar Proceeding ) 8. Tabla ,Arvindra Moolgaonkar, Luminus Publication. DEPARTMENT OF MUSIC DR.HARISINGH GOUR VISHWAVIDYALAYA,SAGAR (M.P. ) T P C M.A.
    [Show full text]
  • Detailed Instrument List & Descriptions
    DIRECTORY OF INSTRUMENTS IN GARRITAN WORLD INSTRUMENTS 66 THE WIND INSTRUMENTS ARIA name: Description: Controls: Africa Arghul The Arghul is a reed woodwind instrument that Vel (attack), MW consists of two asymmetrical pipes. One pipe, (vol/eq), Porta, a chanter with between five and seven finger Lgth, VAR1, holes, is dedicated to the melody. The second VAR2, FiltLv, pipe, longer than the first, produces a drone. FiltFq, VibSpd, Arghuls come in different sizes and are played in Vib Amt, AirNs, Egypt and surrounding regions. Fluttr, Auto- • Range: C3- C6 Legato, BndSpd, Keyswitches Mijwiz 1 The Mijwiz is a traditional instrument of Egypt Vel (attack), MW and is one of the oldest wind instruments. Its (vol/eq), Porta, name means “dual” as it consists of two short Lgth, VAR1, bamboo reed pipes tied together. Instead of hav- VAR2, FiltLv, ing a separate reed attached to a mouthpiece, FiltFq, VibSpd, the reed in the Mijwiz is a vibrating tongue Vib Amt, AirNs, made from a slit cut into the wall of the instru- Fluttr, Auto- ment itself. Legato, BndSpd, • Range: C3 - C6 Keyswitches Mijwiz 2 Another Mijwiz instrument with a different Vel (attack), MW range and character. (vol/eq), Porta, • Range: C4 - C6 Lgth, VAR1, VAR2, FiltLv, FiltFq, VibSpd, Vib Amt, AirNs, Fluttr, Auto- Legato, BndSpd, Keyswitches A User’s Guide to Garritan World Instruments THE WIND INSTRUMENTS ARIA name: Description: Controls: China Bawu The Bawu is a side-blown wind instrument Vel (attack), MW found throughout China. Although it re- (vol/eq), Porta, Lgth, sembles a flute, it is actually a reed instrument.
    [Show full text]
  • Garritan World Instruments Complete Instrument List
    Garritan World Instruments Complete Instrument List Garritan: World Instruments Complete Instrument List Africa: Sakara India: Sangban Arghul Bansuri 1 Sanza Mijwiz 1 Bansuri 2 Sistrum Mijwiz 2 Pungi Snake Charmer Tama (Talking Drum) Adodo Shenai Televi African Log Drum Shiva Whistle Tonetang (Stir Drum) Apentima Basic Indian Percussion Udu Drums Ashiko Chenda Begena Balafon Chimta Bolon Basic African Percussion Chippli Domu Bougarabou Dafli Kora Dawuro Damroo Ngoni Djembe Dhol Dondo China: Dholak Doun Ba Bawu Ghatam Atoke Di-Zi Ghungroo Axatse Guanzi Gong (Stinging Gong) Gankokwe Hulusi Hatheli Kagan Sheng Kanjeera Kpanlogo 1 Large Suona Khartal Kpanlogo 2 Medium Xiao Khol Kpanlogo 3 Combo Basic Chinese Percussion Manjeera Sogo Bianzhong Murchang Fontomfrom Bo Mridangam Gome Chinese Cymbals Naal Gyil Chinese Gongs Nagara Ibo Datangu Lion Drum Pakhawaj Kalimbas Pan Clappers Stir Drum Kenkeni Temple Bells Tablas Kpoko Kpoko Temple Blocks Tamte Krin Slit Drum Choazhou Guzheng Tasha Likembe Erhu Tavil Mbira Guzheng Udaku Morocco Drum Pipa Electric Sitar Nigerian Log Drum Yueqin Sarangi Sarangi Drone Thai Gong Uilleann Pipes Sitar Tibetan Cymbals Bone Flute 1 Tambura Tibetan Singing Bowls Bone Flute 2 Japan: Tibetan Bells Irish Flute Tingsha Shepherds Folk Pipe 1 Hichiriki Dan Tranh Shepherds Folk Pipe 2 Knotweed Flute Dan Ty Ba Bodhran Shakuhachi Gopichand Hang Drum Chanchiki Jaw Harps Chu-daiko Europe: Rattle Cog Daibyoshi Double Flute Hira-Daiko Dvojnice Double Flute Latin America: Hyoushigi Double Flute Drone Andean Panpipes Ko-Daiko
    [Show full text]
  • Jvf Activity Report April 2014 – March 2015
    JVF ACTIVITY REPORT APRIL 2014 – MARCH 2015 Tamasha Performance April 2, 2014 In performance: Tamasha Jaipur Virasat Foundation assists in the organization of Tamasha as it is a traditional performing art of Jaipur which is nearing extinction. It has lost all its audience as the younger generation does not understand it and does not connect with it. It is very important to organize atleast one program in a year of otherwise it will be completely forgotten. Tamasha is organized at a particular time of the year and at a particular place of the city. This year again, at the end of March, JVF partially financially supported the Tamasha performance. It was organized at Ambikeshwar Mandir Chowk in Amber. Heritage walk on the occasion of World Heritage Day April 18, 2014 On the occasion of World Heritage Day on 18th April, we organised a heritage walk from New Gate to City Palace. It was a collective effort of INTACH, Sawai Mansingh Museum Trust - City Palace and Jaipur Virasat Foundation. We invited city's key people from music, dance, sports, poetry, painting, sculptors, writers, students, cultural instituitions, architects, etc. Approx. 100 people participated in the walk. This included 4 Padamshree award winners and 3 National Award winners. We got good support from local residents as well. They did garlanding for the guests and petals showering after tea - coffee, etc. It was widely covered by the media. Gaalibaazi Performance May 10, 2014 In performance: Gaalibaazi JVF, along with Gaur Vipra Lokgeet Mandal, jointly organised Gaalibaazi at Kalyug Halwai ka Chauraha, Khunteton ka Raasta, Kishanpol Bazaar on 10th May 2014.
    [Show full text]
  • 2015 Washington, D.C
    of Out Many, August 13–16, 2015 Washington, D.C. !,, 9/5.%%$ 4/+./7 !"/54 &,54%).352!.#% WWWFLUTEINSURANCECOM ,AKEVIEW$RIVE 3UITE! 3EBRING &,53! SERVICE ANDERSON GROUPCOM &,,ICENSE,s),,ICENSEs#!,ICENSE) 43RD ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, WASHINGTON D.C., 2015 3 nfaonline.org LET’S PLAY FLUTE! AN INNOVATIVE METHOD FOR STUDENTS OF ANY AGE by Elizabeth Weinzierl & Edmund Waechter Let’s Play Flute! is a new English adaptation of a successful method by noted *HUPDQÀXWLVWVDQGSHGDJRJXHV WITH PLAY-ALONG ONLINE AUDIO: 50600096 • Method Book 1 • 50600097 • Method Book 2 • 50600098 • Repertoire Book 1 • 50600099 • Repertoire Book 2 • 50600124 • Piano accompaniments for Method Books 1 & 2 • SPECIAL CONFERENCE OFFER FOR FLUTE TEACHERS Get a FREE copy of Method Book 1 at the Hal Leonard exhibit booth #417 while supplies last. 4 43RD ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, WASHINGTON D.C., 2015 nfaonline.org rself Indulge you Choose your Powell and never look back. connect with us at booth #131. Follow us at #PowellFlutesDC. ® VERNE Q. POWELL® FLUTES INC. One Clock Tower Place, Maynard, MA 01754 USA 978.461.6111 www.PowellFlutes.com Table of Contents Letter from the President ................................................................................9 Officers, Directors, Staff, Convention Volunteers, and Competition Coordinators............................................................................14 Welcome Letter from the Mayor of Washington, D.C.............................18 From the Convention Program Chair..........................................................20
    [Show full text]