BK-3 Tone & Drum Kit List
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Core Instrumentation of the “Typical” American Community Concert Band: an Approach to Scoring Guidelines for Composers and Arrangers
Core Instrumentation of the “Typical” American Community Concert Band: An Approach to Scoring Guidelines for Composers and Arrangers Findings based on a 2012 Online survey by Composer/Conductor David Avshalomov, D.M.A 1 Approach In early 2012, after extensive observation of online email threads around the practical challenges of presenting concerts with community bands, the author decided to create and run an open online survey with the goal of gathering a sampling of reasonably reliable statistical information about the “typical” core instrumentation of a community concert band in the US. The definition of community concert band used here begins by distinguishing it from a full- instrumentation concert band or symphonic wind ensemble having all the “outlier/outsize” instruments and generally carrying only one (or perhaps at most two) players per part except for Bb clarinets. In the US these full bands are almost exclusively conservatory, university, college, community college, or advanced/large high school ensembles. Few professional concert bands exist in the US. The definition of community concert band here also excludes marching bands—school, municipal, or private—as these too have a separate and distinct instrumentation profile. Although there are some community concert bands that have fairly full instrumentation, initial observations from the survey results confirm that most, if not all, have what could be characterized as significant gaps by comparison with the “full” symphonic wind ensemble. They also often have much heavier doublings in certain common sections such as flutes and clarinets. GOAL: The intention of the survey was to draw a rough line around a “safe” core scoring, and additionally to define tentative guidelines for the inclusion of instruments outside that line, for composers and arrangers who wish to serve the community concert band population with music targeted to such groups’ strengths, not their weaknesses. -
Intraoral Pressure in Ethnic Wind Instruments
Intraoral Pressure in Ethnic Wind Instruments Clinton F. Goss Westport, CT, USA. Email: [email protected] ARTICLE INFORMATION ABSTRACT Initially published online: High intraoral pressure generated when playing some wind instruments has been December 20, 2012 linked to a variety of health issues. Prior research has focused on Western Revised: August 21, 2013 classical instruments, but no work has been published on ethnic wind instruments. This study measured intraoral pressure when playing six classes of This work is licensed under the ethnic wind instruments (N = 149): Native American flutes (n = 71) and smaller Creative Commons Attribution- samples of ethnic duct flutes, reed instruments, reedpipes, overtone whistles, and Noncommercial 3.0 license. overtone flutes. Results are presented in the context of a survey of prior studies, This work has not been peer providing a composite view of the intraoral pressure requirements of a broad reviewed. range of wind instruments. Mean intraoral pressure was 8.37 mBar across all ethnic wind instruments and 5.21 ± 2.16 mBar for Native American flutes. The range of pressure in Native American flutes closely matches pressure reported in Keywords: Intraoral pressure; Native other studies for normal speech, and the maximum intraoral pressure, 20.55 American flute; mBar, is below the highest subglottal pressure reported in other studies during Wind instruments; singing. Results show that ethnic wind instruments, with the exception of ethnic Velopharyngeal incompetency reed instruments, have generally lower intraoral pressure requirements than (VPI); Intraocular pressure (IOP) Western classical wind instruments. This implies a lower risk of the health issues related to high intraoral pressure. -
TD-30 Data List
Data List Preset Drum Kit List No. Name Pad pattern No. Name Pad pattern 1 Studio 41 RockGig 2 LA Metal 42 Hard BeBop 3 Swingin’ 43 Rock Solid 4 Burnin’ 44 2nd Line 5 Birch 45 ROBO TAP 6 Nashville 46 SATURATED 7 LoudRock 47 piccolo 8 JJ’s DnB 48 FAT 9 Djembe 49 BigHall 10 Stage 50 CoolGig LOOP 11 RockMaster 51 JazzSes LOOP 12 LoudJazz 52 7/4 Beat LOOP 13 Overhead 53 :neotype: 1SHOT, TAP 14 Looooose 54 FLA>n<GER 1SHOT, TAP 15 Fusion 55 CustomWood 16 Room 56 50s King 17 [RadioMIX] 57 BluesRock 18 R&B 58 2HH House 19 Brushes 59 TechFusion 20 Vision LOOP, TAP 60 BeBop 21 AstroNote 1SHOT 61 Crossover 22 acidfunk 62 Skanky 23 PunkRock 63 RoundBdge 24 OpenMaple 64 Metal\Core 25 70s Rock 65 JazzCombo 26 DrySound 66 Spark! 27 Flat&Shallow 67 80sMachine 28 Rvs!Trashy 68 =cosmic= 29 melodious TAP 69 1985 30 HARD n’BASS TAP 70 TR-808 31 BazzKicker 71 TR-909 32 FatPressed 72 LatinDrums 33 DrumnDubStep 73 Latin 34 ReMix-ulator 74 Brazil 35 Acoutronic 75 Cajon 36 HipHop 76 African 37 90sHouse 77 Ka-Rimba 38 D-N-B LOOP 78 Tabla TAP 39 SuperLoop TAP 79 Asian 40 >>process>>> 80 Orchestra TAP Copyright © 2012 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland and V-Drums are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries. -
Elton John and Billy Joel
TECHNICAL REQUIREMENTS: Back To Back - Elton John and Billy Joel GENERAL: In our experience we have for the most part found the house techs/sound companies as provided by host orchestras to be highly competent professionals who know and understand the needs of their orchestra and their performance venue. As such we are comfortable in trusting their recommendation and expertise. Conceptually all Jeans ‘n Classics productions are designed to feature the sound of the orchestra and as such the band and the orchestra should be equally sharing the musical picture as opposed to the orchestra being mixed into the back ground. The following are simply guidelines. MICS - BAND & SINGERS: Lead Vocalist (s) - 1 lead vocal mic required (cordless) - 1 lead vocal mic required (cordless)- Back Up Vocalist (s) - 2 backup vocal mics required (cordless) Band - 1 vocal mic required at piano MICS - ORCHESTRA: Strings - Contact mics on all strings is ideal - If impossible separate mics per player or minimally 1 mic per desk Winds - 1 mic per wind Brass - 1 mic per brass instrument Percussion - Individual mics on the congas/bongos area - Ambient mics on the "toys" for wind chime, tambourine etc, where the player can approach the mic - Individual mics on the vibes/marimbas area - Timpani and bass drums may or may not need ambient mics depending on the venue Special - up front solo violin on "Piano Man" BAND INSTRUMENTS: Electric Bass - Bass player will need DI line, or in some cases may bring his own ears / (Mitch Tyler) mixer and therefore will need a line to the mixer - Bass guitar to be provided: - 4- String Fender Precision (American made preferred) with strap Guitars - 1 DI lines will be required for an acoustic guitar played by lead vocalist from time to time - 2 guitar stands to be provided Piano - Grand piano will be required please. -
MOXF6/MOXF8 Data List 2 Voice List
Data List Table of Contents Voice List..................................................2 Drum Voice List ......................................12 Drum Voice Name List............................. 12 Drum Kit Assign List ................................ 13 Waveform List ........................................32 Performance List ....................................45 Master Assign List ..................................47 Arpeggio Type List .................................48 Effect Type List.......................................97 Effect Parameter List..............................98 Effect Preset List ..................................106 Effect Data Assign Table......................108 Mixing Template List ............................116 Remote Control Assignments...............117 Control List ...........................................118 MIDI Data Format.................................119 MIDI Data Table ...................................123 MIDI Implementation Chart...................146 EN Voice List PRE1 (MSB=63, LSB=0) Category Category Number Voice Name Element Number Voice Name Element Main Sub Main Sub 1 A01 Full Concert Grand Piano APno 2 65 E01 Dyno Wurli Keys EP 2 2 A02 Rock Grand Piano Piano Modrn 2 66 E02 Analog Piano Keys Synth 2 3 A03 Mellow Grand Piano Piano APno 2 67 E03 AhrAmI Keys Synth 2 4 A04 Glasgow Piano APno 4 68 E04 Electro Piano Keys EP 2 5 A05 Romantic Piano Piano APno 2 69 E05 Transistor Piano Keys Synth 2 6 A06 Aggressive Grand Piano Modrn 3 70 E06 EP Pad Keys EP 3 7 A07 Tacky Piano Modrn 2 71 E07 -
Drum Kit List
DRUM KIT LIST LISTE DES KITS DE BATTERIE LISTA DE CONJUNTOS DE BATERÍA DRUM KIT-LISTE Drum Kit List / Liste des kits de batterie/ Lista de conjuntos de batería / Drum Kit-Liste • Same as Standard Kit 1 • Comme pour Standard Kit 1 • No Sound • Absence de son • Each percussion voice uses one note. • Chaque sonorité de percussion utilise une note unique. Voice No. 117 118 119 120 121 122 Keyboard Standard Kit 1 Standard Kit 1 Indian Kit Arabic Kit SE Kit 1 SE Kit 2 Note# Note + Chinese Percussion C1 36 C 1 Seq Click H Baya ge Khaligi Clap 1 Cutting Noise 1 Phone Call C#1 37 C# 1Brush Tap Baya ke Arabic Zalgouta Open Cutting Noise 2 Door Squeak D1 38 D 1 Brush Swirl Baya ghe Khaligi Clap 2 Door Slam D#1 39 D# 1Brush Slap Baya ka Arabic Zalgouta Close String Slap Scratch Cut E1 40 E 1 Brush Tap Swirl Tabla na Arabic Hand Clap Scratch F1 41 F 1 Snare Roll Tabla tin Tabel Tak 1 Wind Chime F#1 42 F# 1Castanet Tablabaya dha Sagat 1 Telephone Ring G1 43 G 1 Snare Soft Dhol 1 Open Tabel Dom G#1 44 G# 1Sticks Dhol 1 Slap Sagat 2 A1 45 A 1 Bass Drum Soft Dhol 1 Mute Tabel Tak 2 A#1 46 A# 1 Open Rim Shot Dhol 1 Open Slap Sagat 3 B1 47 B 1 Bass Drum Hard Dhol 1 Roll Riq Tik 3 C2 48 C 2 Bass Drum Dandia Short Riq Tik 2 C#2 49 C# 2 Side Stick Dandia Long Riq Tik Hard 1 D2 50 D 2 Snare Chutki Riq Tik 1 D#2 51 D# 2 Hand Clap Chipri Riq Tik Hard 2 E2 52 E 2 Snare Tight Khanjira Open Riq Tik Hard 3 Flute Key Click Car Engine Ignition F2 53 F 2 Floor Tom L Khanjira Slap Riq Tish Car Tires Squeal F#2 54 F# 2 Hi-Hat Closed Khanjira Mute Riq Snouj 2 Car Passing -
FA-06 and FA-08 Sound List
Contents Studio Sets . 3 Preset/User Tones . 4 SuperNATURAL Acoustic Tone . 4 SuperNATURAL Synth Tone . 5 SuperNATURAL Drum Kit . .15 PCM Synth Tone . .15 PCM Drum Kit . .23 GM2 Tone (PCM Synth Tone) . .24 GM2 Drum Kit (PCM Drum Kit) . .26 Drum Kit Key Assign List . .27 Waveforms . .40 Super NATURAL Synth PCM Waveform . .40 PCM Synth Waveform . .42 Copyright © 2014 ROLAND CORPORATION All rights reserved . No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION . © 2014 ローランド株式会社 本書の一部、もしくは全部を無断で複写・転載することを禁じます。 2 Studio Sets (Preset) No Studio Set Name MSB LSB PC 56 Dear My Friends 85 64 56 No Studio Set Name MSB LSB PC 57 Nice Brass Sect 85 64 57 1 FA Preview 85 64 1 58 SynStr /SoloLead 85 64 58 2 Jazz Duo 85 64 2 59 DistBs /TranceChd 85 64 59 3 C .Bass/73Tine 85 64 3 60 SN FingBs/Ac .Gtr 85 64 60 4 F .Bass/P .Reed 85 64 4 61 The Begin of A 85 64 61 5 Piano + Strings 85 64 5 62 Emotionally Pad 85 64 62 6 Dynamic Str 85 64 6 63 Seq:Templete 85 64 63 7 Phase Time 85 64 7 64 GM2 Templete 85 64 64 8 Slow Spinner 85 64 8 9 Golden Layer+Pno 85 64 9 10 Try Oct Piano 85 64 10 (User) 11 BIG Stack Lead 85 64 11 12 In Trance 85 64 12 No Studio Set Name MSB LSB PC 13 TB Clone 85 64 13 1–128 INIT STUDIO 85 0 1–128 129– 14 Club Stack 85 64 14 INIT STUDIO 85 1 1–128 256 15 Master Control 85 64 15 257– INIT STUDIO 85 2 1–128 16 XYZ Files 85 64 16 384 17 Fairies 85 64 17 385– INIT STUDIO 85 3 1–128 18 Pacer 85 64 18 512 19 Voyager 85 64 19 * When shipped from the factory, all USER locations were set to INIT STUDIO . -
Vibraslap 1 Vibraslap
Vibraslap 1 Vibraslap Vibraslap A Vibraslap manufactured by LP A vibraslap is a percussion instrument consisting of a piece of stiff wire (bent in a U shape) connecting a wood ball to a hollow box of wood with metal “teeth” inside. The percussionist holds the metal wire in one hand and strikes the ball (usually against the palm of their other hand). The box acts as a resonating body for a metal mechanism placed inside with a number of loosely fastened pins or rivets that vibrate and rattle against the box.[1] The instrument is a modern version of the jawbone. The Vibra-Slap was the first patent granted to the LP Vibraslap showing metal teeth instrument manufacturing company Latin Percussion.[2] The Vibra-Slap's inventor was Martin Cohen. Cohen was told by percussionist Bob Rosengarden, ‘If you want to make some money, make a jawbone that doesn’t break.' About the inventing process Cohen remembers, “I had never seen a jawbone before, but I had heard one on a Cal Tjader album. I found out that it was an animal skull that you would strike, and the sound would come from the teeth rattling in the loose sockets. So I took that concept and invented the Vibraslap, which was my first patent.” [3] The instrument is frequently used in Latin American music. The vibraslap was a ubiquitous part of jazz or pop-based film scores, primarily action films and television series, in the 1970s and early 1980s. It is also used extensively in the music of alternative rock band CAKE (as well as in "Weird Al" Yankovic’s “Close But No Cigar”, which is a parody of CAKE’s style). -
Multi-Percussion in the Undergraduate Percussion Curriculum Benjamin A
University of Miami Scholarly Repository Open Access Dissertations Electronic Theses and Dissertations 2014-12 Multi-percussion in the Undergraduate Percussion Curriculum Benjamin A. Charles University of Miami, [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations Recommended Citation Charles, Benjamin A., "Multi-percussion in the Undergraduate Percussion Curriculum" (2014). Open Access Dissertations. Paper 1324. This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact [email protected]. ! ! UNIVERSITY OF MIAMI ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM ! By Benjamin Andrew Charles ! A DOCTORAL ESSAY ! ! Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ! ! ! ! ! ! ! ! ! Coral Gables,! Florida ! December 2014 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©2014 Benjamin Andrew Charles ! All Rights Reserved UNIVERSITY! OF MIAMI ! ! A doctoral essay proposal submitted in partial fulfillment of the requirements for the degree of Doctor of Musical! Arts ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM! ! Benjamin Andrew Charles ! ! !Approved: ! _________________________ __________________________ -
Guidelines for Percussion Writing
GUIDELINES FOR PERCUSSION WRITING 1. INSTRUMENTATION The following instruments are available: Timpani (four, ranges D – B, F – d, A – f, d – bb) Bongos (two) Tom-toms (two) Large Concert Bass Drum (36”) Congas (two) Small Bass Drum (28” – pedal can be attached) Rototoms (three) Surdo Side Drum (snares on or off) Tambourim Piccolo side drum (snares on or off) Darbouka Bodhran Tenor Drum (no snares) Cowbells (three) Clash Cymbals (three pairs: 18” or 20” French, Agogo bells (two ‘pitches’) 20” Viennese) Alpenglocken (eight of various sizes) Suspended Cymbals (three: 14”, 18”, 20”) Mark tree (bell tree) Cymbal attached to bass drum Sleigh bells (two sets) Hi-Hat Cymbal with pedal Handbell (untuned) Antique (finger) cymbals (two pairs, unpitched) Anvil Tam-tam (30”) Maracas (two pairs) Gong (20”) Egg shakers Guiros (two) Triangles (six, various sizes and timbres) Reco Reco Cabasa Orchestral Tambourines (two: 10”, 12”) Chekere Rock Tambourine (no head) Vibraslap Flexatone Xylophone Rainsticks (two, one large, one small) Glockenspiel Claves (two pairs) Vibraphone Castanets (Machine and handle) Metal Castanets Tubular bells (1½ octave chromatic set, C – g) Sandpaper blocks Wood blocks (three ‘pitches’) Thunderdrum Temple blocks (five ‘pitches’) Thunder sheet Jam blocks (two ‘pitches’) Big Bom Miscellaneous whistles (referee, train, lighthouse) Apito (samba whistle) Wind chimes (bamboo) Slide whistle (swanee whistle) Whip / Clapper Bulbhorns (two: large - car, small - bicycle) Slapstick Kazoo Ratchet / Rattle Bird calls (nightingale, pigeon, cuckoo, quail, duck) If you require any additional instruments, they would have to be hired – please check with an Orchestra representative first. The most common items that fall into this category are: Piccolo Timpani (20” or smaller) (Rock/Jazz) Drumkit Timbales Cajon Crotales (low or high octave) Log Drum Bass bells (below middle C) Mahler Hammer Hang/Gubal Aluphone Steel Drum Boobams Marimba Keyed Glockenspiel Tubophone Please note that you should not take this list as an invitation to use it all – moderation is a good thing! II. -
Legal Use Requires Purchase
Grade Level: 1½ (Easy) In Search of Yeti Kirk Vogel Sasquatch, Bigfoot, the Abominable Snowman, Voormi, or Yeti—whatever the name, stories have persisted from the Arctic to the Himalayas of an ape-like creature taller than an average human being living comfortably in harsh conditions associated with snowy terrain. The scientific community has generally regarded these stories as a legend but that hasn’t stopped the search for Yeti. In Search of Yeti, written in C minor and E major, allows for studying b phrase length including two, three, and four measure phrases. Also included are individual lines allowing for development of independent playing. Varied articulations and dynamics challenge all players. INSTRUMENTATION 1 � Conductor Score 2 � Baritone T.C. SUPPLEMENTAL and 10 � Flute 2 � Tuba WORLD PARTS available for download from 2 � Oboe Percussion � 7 players: www.alfred.com/supplemental 6 � 1st B Clarinet 2 � Mallet Percussion b E Alto Clarinet 6 � 2nd B Clarinet (Bells/Xylophone) b b E Horn 2 � B Bass Clarinet 2 � Percussion 1 b b (Snare Drum, Bass Drum) Trombone in B T.C. 2 � 1st E Alto Saxophone b b 7 � Percussion 2 Trombone in B B.C. 2 � 2nd E Alto Saxophone b b (Vibraslap/Tambourine/ Baritone in B B.C. 2 � B Tenor Saxophone b b Suspended Cymbal, Tuba in B T.C. 1 � E Baritone Saxophone Flexatone/Tom-Toms/ b b Tuba in B B.C. 4 � 1st B Trumpet Ratchet/Crash Cymbals) b b Tuba in E T.C. 4 � 2nd B Trumpet 2 � Timpani Tuba in Eb B.C. -
Romanian Traditional Musical Instruments
GRU-10-P-LP-57-DJ-TR ROMANIAN TRADITIONAL MUSICAL INSTRUMENTS Romania is a European country whose population consists mainly (approx. 90%) of ethnic Romanians, as well as a variety of minorities such as German, Hungarian and Roma (Gypsy) populations. This has resulted in a multicultural environment which includes active ethnic music scenes. Romania also has thriving scenes in the fields of pop music, hip hop, heavy metal and rock and roll. During the first decade of the 21st century some Europop groups, such as Morandi, Akcent, and Yarabi, achieved success abroad. Traditional Romanian folk music remains popular, and some folk musicians have come to national (and even international) fame. ROMANIAN TRADITIONAL MUSIC Folk music is the oldest form of Romanian musical creation, characterized by great vitality; it is the defining source of the cultured musical creation, both religious and lay. Conservation of Romanian folk music has been aided by a large and enduring audience, and by numerous performers who helped propagate and further develop the folk sound. (One of them, Gheorghe Zamfir, is famous throughout the world today, and helped popularize a traditional Romanian folk instrument, the panpipes.) The earliest music was played on various pipes with rhythmical accompaniment later added by a cobza. This style can be still found in Moldavian Carpathian regions of Vrancea and Bucovina and with the Hungarian Csango minority. The Greek historians have recorded that the Dacians played guitars, and priests perform songs with added guitars. The bagpipe was popular from medieval times, as it was in most European countries, but became rare in recent times before a 20th century revival.