Enjoy Playing Your Acoustic Guitar Accompanied by a Variety of Rhythms

Total Page:16

File Type:pdf, Size:1020Kb

Enjoy Playing Your Acoustic Guitar Accompanied by a Variety of Rhythms Enjoy playing your acoustic guitar accompanied by a variety of rhythms Owner’s Manual Enjoy Sounds Like These 2 Advanced Use (Settings) 13 Panel Descriptions 4 Appendices 20 Installing Batteries 5 USING THE UNIT SAFELY 22 Playing Rhythms 6 IMPORTANT NOTES 22 Saving Favorite Settings (Favorite) 8 Advanced Use (Performing) 10 Before using this unit, carefully read “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (the leaflet “USING THE UNIT SAFELY” and the Owner’s Manual (p. 22)). After reading, keep the document(s) where it will be available for immediate reference. © 2017 Roland Corporation Enjoy Sounds Like These Shaker, Maracas Bells Whistle Both contain tiny beads, and This instrument is shaken to This whistle (called an “apito” produce sound when shaken. produce sound. Since there are in Portuguese) is used in samba Frequently used in Latin music. many objects called bells that performance. By opening or Maracas are made using the are not used as instruments, closing the holes at the two fruit of the maraca tree, which these are also called “sleigh sides of the instrument while is a type of palm. Maracas is the bells.” blowing, you can change the plural form of “maraca.” pitch. Hand-claps, Bongo Paila Finger-snaps Conga This is a Cuban This is an ethnic ethnic instrument instrument with a head (skin) of Cuba that stretched over connects two This is the sound a barrel-shaped drums of different body. Originally, diameters. (performance technique) of its name differed The smaller drum striking the body depending on These are the is called the of the timbales. the size of the sounds of hand- “macho” (male) “Paila” is a term head, but they are claps or finger- and the larger for the body of a collectively called snaps. the “hembra” timbale. “congas.” (female). Drum set This is a set of multiple percussion instruments that includes a snare drum, bass drum, and cymbals. The DR-01s contains standard, rock, brush, and electro drum sets. 2 Enjoy Sounds Like These Shaker, Maracas Bells Whistle Tambourine Claves Triangle This percussion instrument consists This instrument of two sticks that are This is suspended from has multiple small played by striking one a string, and played by cymbals attached to a striking it with a metal Both contain tiny beads, and This whistle (called an “apito” against the other. This instrument is shaken to round frame (body). It rod. produce sound when shaken. in Portuguese) is used in samba produce sound. Since there are produces sound when Frequently used in Latin music. performance. By opening or many objects called bells that struck or shaken. Cowbell Maracas are made using the are not used as instruments, closing the holes at the two Guiro fruit of the maraca tree, which these are also called “sleigh sides of the instrument while Pandeiro is a type of palm. Maracas is the bells.” blowing, you can change the plural form of “maraca.” pitch. This is a Brazilian This percussion percussion instrument instrument is a bell This instrument is carved Hand-claps, Bongo Paila whose pitch can be made to be attached to notches in body side. It Finger-snaps changed by varying the the neck of a cow. It is is played by rubbing it tension of the skin while played by striking it with with a stick. you strike it. a stick. Conga This is a Cuban This is an ethnic ethnic instrument Use the VARIATION [I] [H] buttons to switch instrument with a head (skin) rhythm patterns or instruments (p. 7). of Cuba that stretched over connects two This is the sound a barrel-shaped drums of different Cajon This percussion (performance body. Originally, diameters. instrument originated technique) of its name differed in Peru; the player sits The smaller drum striking the body depending on These are the on the box-shaped is called the of the timbales. the size of the sounds of hand- body and plays it “macho” (male) “Paila” is a term head, but they are claps or finger- by striking it on its and the larger for the body of a collectively called snaps. surface or edge. the “hembra” timbale. “congas.” (female). Sometimes, snares (strung wires) are attached inside the box. Drum set This is a set of multiple percussion instruments that includes a snare Metronome This metronome can Sound effects The sounds of surf, drum, bass drum, and cymbals. produce the sound birdsong, and rain are The DR-01s contains standard, rock, of a mechanical provided. brush, and electro drum sets. metronome, as well as electronic sounds or the sounds of drum sticks. A metronome is a musical tool that emits sound at a fixed tempo. 3 Panel Descriptions Front Panel [s] button Display TEMPO [I] [H] Starts/stops the Shows information button rhythm (p. 6). such as the Adjust the tempo of instrument or the rhythm pattern tempo. Instrument buttons that’s playing (p. 6). Select the Tempo LED instrument [EXIT] button (percussion) that Blinks in time Cancels an plays the rhythm with the beat. operation. (p. 2). VOLUME [I] [H] [L] button button Turns the power on/ Adjust the volume. [BEAT] button off (p. 6). You can also Switches the individually adjust time signature VARIATION [ ] [ ] the volume of each I H of the rhythm button instrument (p. 6). pattern (p. 7). Switches the rhythm pattern to play. 4 inches speaker [FAVORITE] button [TAP TEMPO] button [COUNT IN] button While compact, The current settings Sets the tempo of the Sounds count when this outputs clear can be saved in one rhythm to the interval the unit starts playing sound. of 50 memories for at which you repeatedly a rhythm (p. 10). later recall (p. 8). press this button (p. 6). Rear Panel Place the AC adaptor so the side with the LINE OUT jack CTL 1, 2 jack indicator (see illustration) faces upwards You can connect You can connect and the side with textual information faces an external speaker a footswitch downwards. The indicator will light when (sold separately) here. (sold separately) here. you plug the AC adaptor into an AC outlet. To outlet Battery compartment Install six AA alkaline batteries. Power cord AUX IN jack You can connect an audio player (or smartphone) here. 4 Installing Batteries If you want to use the unit on batteries, MEMO install six AA alkaline batteries, making sure that each battery is oriented correctly. If the following display appears, the batteries have run low. Battery low bt indication The batteries are low. The indication disappears when you press any of the buttons, but reappears after a minute. Either connect an AC adaptor, or * When turning the unit over, be careful so install fresh batteries. as to protect the buttons and knobs from damage. Also, handle the unit carefully; do not drop it. * If you handle batteries improperly, you risk explosion and fluid leakage. Make sure that you carefully observe all of the items related to batteries that are listed in leaflet “USING THE UNIT SAFELY” and Owner’s manual (p. 22). * The magnetism of the speaker might make the batteries adhere to the battery compartment, but this is not a malfunction. * The power to this unit will be turned off automatically after a predetermined amount of time has passed since it was last used for playing music, or its buttons or controls were operated (Auto Off function). If you do not want the power to be turned off automatically, disengage the Auto Off function (p. 19). NOTE 5 Any settings that you are in the process of editing will be lost when the power is turned off. To avoid losing important settings, make a note of them beforehand. 5 To restore power, turn the power on again (p. 6). 5 Playing Rhythms 5 You can switch the measure Turning On the Power indication between displayed and hidden by holding down the 1. Press the [L] button [EXIT] button and pressing the The power turns on. [COUNT IN] button. To turn off the power, press the [L] button once again. Adjusting the Volume Selecting Instruments 1. Use the VOLUME [I] [H] buttons to adjust the volume of the rhythm 1. Press an instrument button to Volume select a sound (p 2) Indicates the volume 100 of the DR-01s. Adjusting the Tempo 1. Use the VOLUME [I] [H] buttons to adjust the tempo of the rhythm Tempo Indicates the tempo 120 of the rhythm. The instrument button you pressed is lit. MEMO 2. Press the [s] button You can set the tempo by pressing the [TAP TEMPO] button multiple times at the desired interval of timing. Stopping the Rhythm The rhythm plays using the instrument you selected. 1. Press the [s] button Measure The rhythm stops. Indicates the measure 2 of the rhythm. MEMO 5 You can press multiple instrument buttons. The rhythm plays with the selected instruments layered. 6 Playing Rhythms Selecting a Rhythm Pattern Changing the Time Signature Multiple rhythm patterns are included for each You can switch the time signature of the instrument. rhythm pattern between 3/4, 4/4, and 6/8 time. 1. Select the instrument whose rhythm pattern you want to switch 1. Press the [BEAT] button Make an instrument button light. If you press a lit instrument button, that button goes dark (the instrument is not heard). In this case, press the instrument button once again to make it light (so that the The current time signature is shown. instrument is heard). BEAT (time signature) 2. Press VARIATION [I] [H] buttons indication 4/4 Indicates the time signature of the rhythm pattern. (Example: 4/4 time) The rhythm pattern switches.
Recommended publications
  • Sampletank 4 MAX - NEW Sounds - Master Instruments
    SampleTank 4 MAX - NEW sounds - master instruments Acoustic Piano Size (MB) C7 Close Mics 12,000 C7 Coincident Mics 12,000 C7 Binaural Mics 12,000 Electric Piano Size (MB) Stage Electric Piano (Rhodes MKI) 717 Wurly Suitcase (Wurlitzer 200a) 451 Electric Bass Size (MB) Stick Bass 1 636 Stick Bass 2 61 Stick Melody 375 P-Bass 5-String 1,740 Finger Pick Slap 4001 Sunburst Bass 2,100 Finger Pick Bass Harmonics 100 Finger Pick Brass Size (MB) Euphonium 1,300 Crescendo (Slow, Fast) Doits (Slow, Fast) Espressivo Falls (Slow, Fast) Marcato Sforzando (Slow, Fast) Staccato Sustain 1 SampleTank 4 MAX - NEW sounds - master instruments Trombone 2,900 Crescendo (Slow, Fast) Doits (Slow, Fast) Espressivo Falls (Slow, Fast) Growl Marcato Rips Scoop Sforzando (Slow, Fast) Staccato Sustain Trumpet 2,800 Crescendo (Slow, Fast) Doits (Slow, Fast) Espressivo Falls (Slow, Fast) Growl Marcato Rips Scoop Sforzando (Slow, Fast) Staccato Sustain French Horn 1,500 Crescendo (Slow, Fast) Doits (Slow, Fast) Espressivo Falls (Slow, Fast) Marcato Sforzando (Slow, Fast) Staccato Sustain Flugel Horn 1,100 Crescendo (Slow, Fast) Doits (Slow, Fast) 2 SampleTank 4 MAX - NEW sounds - master instruments Espressivo Falls (Slow, Fast) Marcato Sforzando (Slow, Fast) Staccato Sustain Tuba 1,500 Crescendo (Slow, Fast) Doits (Slow, Fast) Espressivo Falls (Slow, Fast) Marcato Sforzando (Slow, Fast) Staccato Sustain Chromatic Size (MB) Clavinet 547 Clavinet BT-DA Clavinet S-DA Marimba 292 Vibraphone 625 Studio Xylophone 139 Brass Xylophone 127 Glockenspiel 118 Bells 200 Acoustic
    [Show full text]
  • 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.
    [Show full text]
  • Brasilian Rhythms and Drumming Techniques
    BRASILIAN RHYTHMS AND DRUMMING TECHNIQUES Dr. Jason Koontz Director of Percussion Studies Eastern Kentucky University GENERAL CHARACTERISTICS OF AFRO-BRASILIAN MUSIC *Call and response *Rhythmic complexity (syncopation & polyrhythm) *Structure based on melodic/rhythmic ostinato patterns *Use of timeline/clave *Music as means of communal participation SAMBA - AFRO-BRASILIAN URBAN POPULAR SONG/DANCE FORM Carnival samba (e.g. Samba Batucada and Samba Enredo (Rio,São Paulo), Axé (Bahia) §Characterized by heavy percussion, songs about themes presented in Carnival Pagode (Year-round) samba §Characterized by light percussion and plucked string accompaniment (guitar, cavaquinho) §Songs often satiric, witty, improvised Partido Alto Rhythm Variations A ™2 ≈ ¿™ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ™ / 4 J 3 B ™ ¿ ¿ ≈ ¿ ¿ ≈ ¿™ ¿ ¿ ™ / J 5 C ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ¿™ ¿ ™ / J 7 D ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ≈ ¿ ¿ ™ / J 9 E *"palma da mão" rhythm ™ ¿™ ¿ ‰ ¿ ¿™ ¿ ‰ ¿ / J J PAGODE INSTRUMENTS: Surdo de Mão – Bass drum instrument played with the hand (a.k.a. Tan Tan, Rebolo) Tamborim (tom-boo-reem), a small single-headed frame drum Pandeiro, (pahn-dey-roo) a tambourine Reco-Reco (hecko-hecko) – scraped metal spring instrument (like a metal Guiro) Cuica (Kwee-Ka) friction drum Cavaquinho – Brasilian counterpart to the Portuguese Cavaquinho, and Ukulele (steel strings G-D-B-G) Pagode (pah-go-jee) rhythms A pattern 1 B pattern 2 > > > > > > > > ° ™2 œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ Cuíca / ™4 ≈ œ œ œ ≈ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ ™2 ≈ ≈ ™ ™ ≈ ≈ ™ Tamborim / ™4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ ™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ *"Teleco-teco" rhythm (based on Partido Alto) >. >. >o >. >. >. >o >. ™ o o ™ ™ ™ 2 >¿ >¿ o >¿ ≈ o o ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Pandeiro / ™4 ≈ œ œ œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ t f h f t f h f t f h f t f h f .
    [Show full text]
  • Universidade Estadual De Campinas Rodolfo Vilaggio
    UNIVERSIDADE ESTADUAL DE CAMPINAS RODOLFO VILAGGIO ARILHO ESTUDO INTERPRETATIVO DA OBRA VARIAÇÕES RÍTMICAS OPUS 15 DE MARLOS NOBRE CAMPINAS 2018 UNIVERSIDADE ESTADUAL DE CAMPINAS RODOLFO VILAGGIO ARILHO ESTUDO INTERPRETATIVO DA OBRA VARIAÇÕES RÍTMICAS OPUS 15 DE MARLOS NOBRE Tese de Doutorado apresentada a Pós- Graduação do Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Doutor em Música. Área de concentração: Música: Teoria, Criação e Prática. Orientador: Prof. Dr. Fernando Augusto de Almeida Hashimoto Este exemplar corresponde à versão final da tese defendida pelo aluno Rodolfo Vilaggio Arilho, e orientado pelo Prof. Dr. Fernando Augusto de Almeida Hashimoto. CAMPINAS 2018 15 Agência(s) de fomento e nº(s) de processo(s): Não se aplica. Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Artes Silvia Regina Shiroma - CRB 8/8180 Arilho, Rodolfo Vilaggio, 1979- Ar42e AriEstudo interpretativo da obra Variações Rítmicas opus 15 de Marlos Nobre / Rodolfo Vilaggio Arilho. – Campinas, SP : [s.n.], 2018. AriOrientador: Fernando Augusto de Almeida Hashimoto. AriTese (doutorado) – Universidade Estadual de Campinas, Instituto de Artes. Ari1. Nobre, Marlos, 1939-. 2. Percussão (Música). 3. Instrumentos de percussão. 4. Música brasileira. 5. Música - Interpretação (Fraseado, dinâmica, etc.). I. Hashimoto, Fernando Augusto de Almeida, 1972-. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. Informações para Biblioteca Digital
    [Show full text]
  • The Confluence of Folkloric Maraca Performance And
    The Confluence of Folkloric Maraca Performance and Contemporary Artistry: Assessing the Past, Present, and Inspiring the Future by Jeremy Muller A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2012 by the Graduate Supervisory Committee: Jeffrey Smith, Chair Michael Kocour Jeffrey Bush Mark Sunkett Glenn Hackbarth ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Venezuelan maraca playing is largely unknown to musicians with Western Art Music backgrounds. While some composers utilize the instrument and its associated performance practices, the resources available to learn about the subject are limited and scattered. Through research, observations, and studying with correspondences, this document will explore the vastness of Venezuelan musical concepts and maraca techniques to seek out common goals and generate a resource that is accessible to musicians and musicologists. A large part of this research will focus on the Contemporary Music in the Western tradition that has been inspired by Venezuelan maraca playing. I will explain the context in which this music is commonly found and how to apply it to a contemporary setting. The individuals I interviewed span a variety of backgrounds and expertise. All have extensive experience in Venezuelan maraca traditions. Their individual points of view will give unique perspectives to help affix the music of the past to the creation of music in the future. The limited resources on this subject inhibit education, performance quality, new music, and further research. Ultimately, my document and recordings will provide imperative examples to help develop a greater understanding of an understudied Venezuelan art form. i ACKNOWLEDGMENTS The audio and video recording that accompanies this document would not have been possible without the support of the JumpStart Research Grant (2011) from the Graduate & Professional Student Association at Arizona State University.
    [Show full text]
  • 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.
    [Show full text]
  • Maracas in the Venezuelan Joropo: a Proposed Pedagogical
    MARACAS IN THE VENEZUELAN JOROPO: A PROPOSED PEDAGOGICAL NOTATIONAL SYSTEM by STEPHEN PATRICK PRIMATIC (Under the Direction of THOMAS MCCUTCHEN) ABSTRACT Venezuelan maraca players are highly skilled musicians who must learn many techniques in order to play the instrument properly. To date, there is no notational system that takes into account the myriad of techniques needed to play this instrument. This document proposes a notational system for Venezuelan maracas. The history of the instrument and its use in indigenous music is examined along with notational problems inherent in percussion writing. Transcriptions of performances utilizing this new notation conclude this document. INDEX WORDS: maraca, joropo, notation, percussion, Venezuela. MARACAS IN THE VENEZUELAN JOROPO: A PROPOSED PEDAGOGICAL NOTATIONAL SYSTEM by STEPHEN PATRICK PRIMATIC B.M., Wilkes University 1989 M.M., University of Miami 1991 A Document Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2004 © 2004 Stephen Primatic All Rights Reserved MARACAS IN THE VENEZUELAN JOROPO: A PROPOSED PEDAGOGICAL NOTATIONAL SYSTEM by STEPHEN PATRICK PRIMATIC Major Professor: Thomas McCutchen Committee: William Davis Susan Thomas Fred Mills Leonard Ball Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2004 iv DEDICATION This document is dedicated to my wife Maria and my daughters Jennifer and Daniela. They provided me with the determination to complete this degree. v ACKNOWLEDGEMENTS Many people provided invaluable assistance in the preparation of this document. My father-in-law Joaquin Hadamovsky made much of this document possible.
    [Show full text]
  • RS-70 Sound List
    Liiista de Soniiidos Liiista de Soniiidos oriiigiiinallles .......... 2 Liiista de Patches ......................... 5 Liiista de Kiiits de Riiitmo............... 11 Liiista de Patrones ..................... 17 Liiista de Plllantiiillllllas de Arpegiiio .... 17 Liiista de Estiiilllos de Arpegiiio ........ 19 Liiista de Kiiits de Mullltiii-acordes ... 19 ‘03-4-1N 40562856 Copyright © 2003 ROLAND CORPORATION Todos los derechos reservados. Ninguna parte de esta publicación puede ser reproducida de ningún modo sin el permiso escrito de ROLAND CORPORATION. Liiista de Soniiidos Oriiigiiinallles Nº. Nombre Voces Nº. Nombre Voces Nº. Nombre Voces Nº. Nombre Voces Nº. Nombre Voces 0001 Piano 1 2 0077 SA Vibe 1 0153 St.SteelGtr. 2 0229 Low Bass 2 0305 Brite Str 1 2 0002 Piano 1w 1 0078 Marimba 1 0154 RS Ac.Gtr 1 1 0230 SH Dullbass 2 0306 Brite Str 2 2 0003 European Pf 2 0079 Marimba w 1 0155 RS Ac.Gtr 2 1 0231 Deep Bass 3 0307 Velo Strings 4 0004 RS Grand 1 2 0080 Bass Marimba 1 0156 Nylon+Steel 2 0232 Dark Bass 2 0308 Oct Strings1 2 0005 RS Grand 2 2 0081 Xylophone 1 0157 12str Gtr 2 2 0233 No Rez 4 You 2 0309 Oct Strings2 2 0006 Piano F 2 0082 Tubular-bell 1 0158 12str Gtr 3 2 0234 Square Bass 2 0310 TronStrings1 1 0007 LA Piano 4 0083 Church Bell 1 0159 Jazz Gt. 1 1 0235 Jungle Bass 1 0311 TronStrings2 2 0008 Piano 2 2 0084 Carillon 1 0160 Pedal Steel 1 0236 Organ Bass 1 0312 Slow Strings 2 0009 Piano 2w 1 0085 Singing Bell 2 0161 Jazz Gt.
    [Show full text]
  • 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 .............................................
    [Show full text]
  • Advisory Staff
    Advisory Staff Profile Takaaki Kondo (Principal Timpanist of New Japan Philharmonic) Michiko Takahashi(Marimbist) Hans-Dieter Lembens(Ex-Percussionist of Berlin Philharrnonic) Tomoyuki Okada(Professor Emeritus at Senzoku Gakuen College of Music, Director of Percussion Ensemble Okada of Japan) Takaaki Kondo Michiko Takahashi Hans-Dieter Lembens Tomoyuki Okada Benedict Hoffnung Benedict Hoffnung(Percussionist of London Symphony Orchestra) Ryosuke Murayama(Lecturer at Seigakuin University, Technical Adviser) Koji Fukamachi(Associate Professor at Aichi Prefecturai University of Fine Arts and Music) Toshiaki lshiuchi(Ex- Prncipal Percussionist of Yomiuri Nippon Symphony Orchestra, Prdect Professor at Showa Academia Musicae) Masanori Izumi(Ex-Timpanist of Nagoya Philharrnonic Orchestra) Ryosuke Murayama Koji Fukamachi Toshiaki lshiuch Masanori Izumi Keiko Otsuka Keiko Otsuka(Ex- Percussionist of Vienna Radio Symphony Orchestra) Shoichi Kubo(Timpanist and Percussionist of NHK Syrnphony Orchestra) Hiroshi Sakagami(Ex- Percussionist of Osaka Philharmonic Orchestra, Chairperson of KansaI Percussion Association) Keita Shiraishi(Freelance Percussionist) Atsushi Sugahara(Ex- Principal Timpanist of Yomiuri Nippon Symphony Orchestra, Professor at Tokyo College of Music) Shoichi Kubo Hiroshi Sakagami Keita Shiraishi Atsushi Sugahara Thomas O'Kelly Thomas O'Kelly(Guest Principal Timpanist of Orchestra Ensemble Kanazawa) Hitoshi Hamada(Jazz Vibraphonist) Toshihiro Hori(Lecturer at Japan Marching Association, Street Performer) Kazunori Momose(Ex- Principal
    [Show full text]
  • PERCUSSION STUDIO HANDBOOK and CURRICULUM Kurt Gartner
    PERCUSSION STUDIO HA NDBOOK AND CURRICULUM Kurt Gartner Neil Dunn School of Music, Theatre, and Dance 130 McCain Auditorium Kansas State University Manhattan KS 66506 785-532-3808 ksu.edu/music/percussion © 2019 Kurt Gartner All Rights Reserved CONTENTS Acknowledgements ................................................................................................................................................................ 4 Introduction ............................................................................................................................................................................... 4 Overview ..................................................................................................................................................................................... 5 Requirements for entrance into the percussion program ................................................................................. 5 Master’s degree ................................................................................................................................................................... 5 Plan of study ......................................................................................................................................................................... 5 Required Core Method Books ............................................................................................................................................. 6 Drum Set ................................................................................................................................................................................
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]