Yuval Ron Ensemble Study Guide
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Hand Percussion Price List
Hand Percussion Price List FOB Taiwan Rate: 29 Item Number Photo Discription PWG-F86 Fish Shape Guiro PWG-S83 Guiro PWC-1000NT Claves, 8" PWC-M1000NT Mini Claves, 20cm or 18cm PWBG-T2 Two Tone Wood Block Scraper PWKH-RD Wooden Handle Castanet PWBG-1 Single Guiro Tone Block PSS-CC Coconut Shaker YD0-2H5A2 Drum Sticks, Hickory YD0-2M5A2 Drum Sticks, Maple YD0-2O5A Drum Sticks, Oak YD0-2H5AF(GR) Drum Sticks, Hickory, Fluorescent, 2-color YD0-2TB Timbale Sticks YD0-2RASBK Rods, anti-slip ORS-3111PU Recorder, Purple Transparent ORS-3111BL Recorder, Blue Transparent ORS-3111YE Recorder, Yellow Transparent ORS-3111OR Recorder, Orange Transparent ORS-3111GR Recorder, Green Transparent ORS-32BR Recorder, Brown ORS-32CR Recorder, Creamed Colored ORS-3221IB Recorder, Creamed Colored / Brown ORS-32PB Recorder, Pink / Light Blue PBS-H25 Sleigh Bell, 25 Bells PBS-H25B Sleigh Bell, 25 Bells (Brass Bell) PBS-M24 Mounted Sleigh Bell, 24 Bells PBS-M24B Mounted Sleigh Bell, 24 Bells (Brass Bell) PBS-H13 Sleigh Bell, 13 Bells PBS-H13B Sleigh Bell, 13 Bells (Brass Bell) PBS-H12 Sleigh Bell, 12 Bells PBS-M12 Mounted Sleigh Bell, 12 Bells PBS-M9 Sleigh Bell, 9 Bells PBS-M9B Sleigh Bell, 9 Bells (Brass Bell) PBS-M7 Sleigh Bell, 7 Bells PBS-M7B Sleigh Bell, 7 Bells (Brass Bell) PBS-M5 Sleigh Bell, 5 Bells PBS-M5B Sleigh Bell, 5 Bells (Brass Bell) PBS-M4 Sleigh Bell, 4 Bells PBS-M4B Sleigh Bell, 4 Bells (Brass Bell) PBS-H3 Sleigh Bell, 3 Bells PBS-H3B Sleigh Bell, 3 Bells (Brass Bell) PBS-M13 Mounted Sleigh Bell, 13 Bells PBS-M13B Mounted Sleigh Bell, 13 Bells -
Santas Headed South Tambourine, Trumpet and Big Bass Drum
BOOKLETS, FORMS A T IR OFFICE FOR FIRESTONE PARTIES Start Early On Applications ^ ^ Santas Headed South ELLESMERE ISLAND (Spe news received at this most cial)—Word received here from northerly island of the Arctic For Company Scholarships the North Pole headquarters of Archipelago said that the Fire Santa Claus confirms his annual stone Yule parties would go ac Explanatory booklets and pany by January 1, 1961; and in schedule for a Southland stop cording to traditional schedule application forms for the the upper half of his or her over in Gastonia, and a pre- — this year, on Saturday, 1961 Firestone scholarship class, scholastically. Christmas Eve visit with chil December 17. program for employees’ chil Only children of those em dren of Firestone Textiles It will be St. Nick’s 21st dren are available at the In ployees whose average income households. December pilgrimage Southward dustrial Relations office. does not exceed $800 per month, Further confirmation of the for the children’s parties, stag To employees who have sons without overtime, will be eli ed through the years at the gible. Webb and Palace theatres in or daughters ready for college ☆ ☆ ☆ next fall, and who are interest FIRESTONE scholarships pay Gastonia. ed in applying: the cost of full tuition, fees, and CHILDREN through 13 years Deadline for application for books and a substantial part of North Country Visitor; of age who are members of living expenses at college. scholarships is March L 1961. It He's Making A List Firestone employee households is most important that high Scholarships are always al will be honored guests at the school seniors start early to pre located to the various sections traditional company parties. -
A Review of the Origin and Evolution of Uygur Musical Instruments
2019 International Conference on Humanities, Cultures, Arts and Design (ICHCAD 2019) A Review of the Origin and Evolution of Uygur Musical Instruments Xiaoling Wang, Xiaoling Wu Changji University Changji, Xinjiang, China Keywords: Uygur Musical Instruments, Origin, Evolution, Research Status Abstract: There Are Three Opinions about the Origin of Uygur Musical Instruments, and Four Opinions Should Be Exact. Due to Transliteration, the Same Musical Instrument Has Multiple Names, Which Makes It More Difficult to Study. So Far, the Origin of Some Musical Instruments is Difficult to Form a Conclusion, Which Needs to Be Further Explored by People with Lofty Ideals. 1. Introduction Uyghur Musical Instruments Have Various Origins and Clear Evolution Stages, But the Process is More Complex. I Think There Are Four Sources of Uygur Musical Instruments. One is the National Instrument, Two Are the Central Plains Instruments, Three Are Western Instruments, Four Are Indigenous Instruments. There Are Three Changes in the Development of Uygur Musical Instruments. Before the 10th Century, the Main Musical Instruments Were Reed Flute, Flute, Flute, Suona, Bronze Horn, Shell, Pottery Flute, Harp, Phoenix Head Harp, Kojixiang Pipa, Wuxian, Ruan Xian, Ruan Pipa, Cymbals, Bangling Bells, Pan, Hand Drum, Iron Drum, Waist Drum, Jiegu, Jilou Drum. At the Beginning of the 10th Century, on the Basis of the Original Instruments, Sattar, Tanbu, Rehwap, Aisi, Etc New Instruments Such as Thar, Zheng and Kalong. after the Middle of the 20th Century, There Were More Than 20 Kinds of Commonly Used Musical Instruments, Including Sattar, Trable, Jewap, Asitar, Kalong, Czech Republic, Utar, Nyi, Sunai, Kanai, Sapai, Balaman, Dapu, Narre, Sabai and Kashtahi (Dui Shi, or Chahchak), Which Can Be Divided into Four Categories: Choral, Membranous, Qiming and Ti Ming. -
African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle. -
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, -
Kontakt 3 Library Manual
Kontakt 3 Library Manual Kontakt 3 Library Manual 1 Kontakt 3 Library Manual Copyright © 2007 Native Instruments Software Synthesis GmbH. All rights reserved. Manual written by Nicki Marinic Last changed: October 9, 2007 Table of Content Overview.................................................................................................................................. 3 General Structure of the Library .............................................................................................. 3 Drum and Percussion Kit Layout ............................................................................................. 6 Options Page ........................................................................................................................ 6 MIDI CC Assignments ............................................................................................................ 7 Info Tags.............................................................................................................................. 9 Saving CPU Resources........................................................................................................... 9 The Instrument Collections ......................................................................................................10 Band ................................................................................................................................. 10 Orchestral ......................................................................................................................... -
Kraftmaschine
Kraftmaschine Instrumentation • Recorder 1: Baroque Sopranino Recorder in A=440Hz, Baroque Alto Recorder in A=415Hz, Baroque Sopranino Recorder in A=415Hz, Renaissance Soprano Recorder in A=440Hz. • Recorder 2: Baroque Soprano Recorder in A=440Hz, Baroque Alto Recorder in A=415Hz, Baroque Soprano Recorder in A=415Hz, Renaissance Soprano Recorder in A=440Hz. • Recorder 3: Baroque Tenor Recorder in A=440Hz, Baroque Alto Recorder in A=415Hz, Baroque Soprano Recorder in A=415Hz, Renaissance Soprano Recorder in A=440Hz, Baroque Soprano Recorder in A=415Hz. • Recorder 4: Baroque Sub-Bass Recorder in A=440Hz, Baroque Voice Flute (tenor in D) in A=415Hz, Kirchenratschen (ratchet), Baroque Soprano Recorder in A=415Hz, Baroque Alto Recorder in A=440Hz, Baroque Alto Recorder in A=415Hz. • Percussion 1: Marimba, Basque Tambourine, Snare Drum, Güiro. • Percussion 2: Litophone; Glockenspiel, Darabukka, Gran Cassa, Suspended Cymbal. • Percussion 3: Crash Cymbals, Snare Drum, Tom-toms (high-medium- low), Sake Pot, Wood Blocks (high-low). _____________________________________________________________ Kraftmaschine, for recorders and percussion. Duration: 10 minutes. ‘Kraftmaschine’ was commissioned by the Orff Zentrum and the ADevantgarde Festival in Munich and it was inspired by Carl Orff's approach into building musical structures out of basic rhythmical and melodic patterns. It uses a wide variety of Renaissance, Baroque and modern day recorders, bringing out their subtle differences of timbre. Due to its versatility and directness, this interesting instrumental ensemble (four recorder players & three percussion players) also encouraged me to incorporate elements from Peruvian folk music in four brief episodes that are playfully interrupted by an intrusive ratchet. In the final section, I make use of the aulos technique in which each of the four players is asked to play two recorders simultaneously in an obsessively repetitive –but nevertheless constantly shifting- group of five notes. -
ANADOLU GELENEKSEL NEFESLĠ ÇALGILARI Ve BU ÇALGILAR ÜZERĠNE ÖZGÜN BAĞDALAR A
ANADOLU GELENEKSEL NEFESLĠ ÇALGILARI ve BU ÇALGILAR ÜZERĠNE ÖZGÜN BAĞDALAR A. Serdar KASTELLĠ Sanatta Yeterlik Tezi DanıĢman: Prof. Dr. M. Hakan CEVHER Mayıs, 2014 Afyonkarahisar T.C. AFYON KOCATEPE ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ MÜZĠK ANASANAT DALI SANATTA YETERLĠK TEZĠ ANADOLU GELENEKSEL NEFESLĠ ÇALGILARI ve BU ÇALGILAR ÜZERĠNE ÖZGÜN BAĞDALAR Hazırlayan A. Serdar KASTELLĠ DanıĢman Prof. Dr. M. Hakan CEVHER AFYONKARAHĠSAR 2014 YEMĠN METNĠ Sanatta Yeterlik tezi olarak sunduğum “Anadolu Geleneksel Nefesli Çalgıları ve Bu Çalgılar Üzerine Özgün Bağdalar” adlı çalıĢmanın, tarafımdan bilimsel ahlak ve geleneklere aykırı düĢecek bir yardıma baĢvurmaksızın yazıldığını ve yararlandığım eserlerin Kaynakça‟da gösterilen eserlerden oluĢtuğunu, bunlara atıf yapılarak yararlanmıĢ olduğumu belirtir ve bunu onurumla doğrularım. 07/05/2014 Ahmet Serdar KASTELLĠ ii TEZ JÜRĠSĠ KARARI VE ENSTĠTÜ MÜDÜRLÜĞÜ ONAYI JÜRĠ ÜYELERĠ ĠMZA Tez DanıĢmanı : Prof. Dr. M. Hakan CEVHER ……… Jüri Üyeleri : Prof. Dr. Fırat KUTLUK ……….. Prof. Dr. Öcal ÖZBĠLGĠN ……… Doç. Dr. Uğur TÜRKMEN ……… Yrd. Doç. Dr. Bahadır TUTU ……….. Müzik anasanat dalı sanatta yeterlik öğrencisi A. Serdar KASTELLĠ‟nin, “Anadolu Geleneksel Nefesli Çalgıları ve Bu Çalgılar Üzerine Özgün Bağdalar” baĢlıklı tezi 07/05/2014 tarihinde, saat 10:00‟da Lisanüstü Eğitim Öğretim ve Sınav Yönetmeliğinin ilgili maddeleri uyarınca, yukarıda isim ve imzaları bulunan jüri üyeleri tarafından değerlendirilerek kabul edilmiĢtir. Prof. Dr. Selçuk AKÇAY MÜDÜR iii ÖZET ANADOLU GELENEKSEL NEFESLĠ ÇALGILARI ve BU ÇALGILAR ÜZERĠNE ÖZGÜN BAĞDALAR A. Serdar KASTELLĠ AFYON KOCATEPE ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ MÜZĠK ANASANAT DALI Mayıs 2014 DanıĢman: Prof. Dr. M. Hakan CEVHER Nefesli çalgılar, insanoğlunun müziği keĢfettiğinden beri kullandığı müzik araçlarıdır. BoĢ bir ağaç veya kamıĢ parçası, Ģekil değiĢtirerek çalgıya dönüĢmüĢ, bulunduğu toplumun folklor örüntülerinden birini oluĢturmuĢtur. -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
Hand Percussion
GETTING STARTED Engaging & HAND PERCUSSION Inspiring Musicians Excerpted from MakingMusicMag.com Q Hand percussion instruments are among the oldest known to hu- manity, and all the varieties—congas, cajóns, and djembes—can trace their lineage back to prehistoric hand drums made from hollowed-out logs and animal skins. Commonly sold in music stores today, afford- CONGA able, modern hand percussion instruments are a great addition to any instrument collection. They are perfect for acoustic jams seesions or CAJÓN impromptu drum circles. A cajón is a box-shaped percussion Congas are common in Latin and Carribean music, such as salsa, instrument originally from Peru. You merengue, and reggae. Often made of either fiberglass or wood with a sit on a cajón and play it by slapping leather or synthetic “head” (drum skin), they come in several sizes. The the front face and other parts. Look for cajóns made from quality wood “requinto” is a small conga, the “tumba” large, and the “conga” itself a with snare wires for a buzzing effect. medium-sized drum. Several sounds can be produced from the tune- able head, depending on how it is struck and whether or not the tones are played open or dampened with one hand pressed against the skin. The first cajóns were homemade instruments, made out of fruit or ship- DJEMBE ping crates, or any similar box with a resonant tone. Introduced into A traditional djembe is a rope-tuned, Peruvian music in the 1970s, modern cajóns are more sophisticated, skin-covered goblet drum played in with snares inside to add a buzzing tone, adjustable screws for tuning, much the same way as a conga (and and sound holes. -
Warn Doctors on High Fees, Unavailability
WEATHER Partly cloudy today, tonight Far Al aad .tomerrew. Chaaca «f a few showers today* High today le\ SHodyiide 141010 aad lew tonight la the Me. High a«ar W temorrow. SiM page I. Ked Register limed Dally, Monday through Friday, tntered M second Clan Matter VOLUME LXXXII NO. 63 at Ui« p»t Ofllc* at Ked Bank, H. I., under tbe Act ot March 3, 1S7». RED BANK. N. J.. THURSDAY, NOVEMBER 12, 1959 7c PER COPY PAGE ONE From Bog to Headlines Warn Doctors Cranberry Growers Want U.S. To Pay Damages for Losses On High Fees, WASHINGTON (AP) - The has existed, but "The Cranberry a total of 14 tont-of allegedly event! that have raited the cran-Episode" u Secretary of Wei- contamined West Cout cranber berry from the bog to the na<fare Arthur S. Flemming calls It, irles . But th^ e Inciden—'"'t 'i"s affect"-*- Unavailability tton's beadlinei spotlight the marks one of its most sweeping ing, at least temporarily, an en- power of the government In application!. tire crop. guarding the nation'i food sup- Formal court actions. Wed this There were these develop- Matawan Will Sot DEAL — New Jersey doctars. ply. week in San Frandsco, asked ments: /ere warned last night that "aa* For hilf a century this power seizure of two small shipments— 1. Ocean Spray Cranberries, Delay School Vote vailability, arrogance, aad high Inc., a major grower co-opera by some praetioners ^hfi tive. says it is working closely MATAWAN - The Board el icriously impaired tbe with the government to assure Education, meetieg la special f the entire profession. -
Wake up Sleepyhead! Easy School Band Arrangement
Wake Up Sleepyhead! Easy school band arrangement by Kurt Hahn Instruments: Voice Soprano Recorders Soprano Xylophone Alto Xylophone Bass Xylophone Maracas Guiro Triangle Tambourine Three Easy Band Arrangements Sheet 1 Teacher's Score 1 Wake Up Sleepyhead! Kurt Hahn 1 2 3 4 5 Voice Wake up Wake up Wake up Slee - py head Wake crescendo poco a poco Soprano Recorder Soprano Recorder Soprano Xylophone Alto Xylophone Bass Xylophone Maracas Guiro Triangle Tambourine Three Easy Band Arrangements Sheet 2 Teacher's Score 2 Wake Up Sleepyhead! Kurt Hahn 6 7 8 9 10 11 Voice up it's time to get rea - dy for break-fast and get your - self to school Soprano Recorder Soprano Recorder Soprano Xylophone Alto Xylophone Bass Xylophone Maracas Guiro Triangle Tambourine Three Easy Band Arrangements Sheet 3 Name ......................................... Descant Recorder and Voice Wake Up Sleepyhead! Kurt Hahn 1 2 3 4 5 Voice Wake up Wake up Wake up Slee - py head Wake crescendo poco a poco Soprano Recorder Soprano Recorder 6 7 8 9 10 11 Voice up it's time to get rea - dy for break-fast and get your - self to school Soprano Recorder Soprano Recorder Three Easy Band Arrangements Sheet 4 Name ......................................... Xylophones Wake Up Sleepyhead! Kurt Hahn 1 2 3 4 5 Soprano Xylophone Alto Xylophone Bass Xylophone 6 7 8 9 10 11 Soprano Xylophone Alto Xylophone Bass Xylophone Three Easy Band Arrangements Sheet 5 Name ......................................... Maracas and Guiro Wake Up Sleepyhead! Kurt Hahn 1 2 3 4 5 Maracas Guiro 6 7 8 9 10 11 Maracas Guiro Three Easy Band Arrangements Sheet 6 Name ........................................