The String Family Facts List
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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Playing Harmonica with Guitar & Ukulele
Playing Harmonica with Guitar & Ukulele IT’S EASY WITH THE LEE OSKAR HARMONICA SYSTEM... SpiceSpice upup youryour songssongs withwith thethe soulfulsoulful soundsound ofof thethe harmonicaharmonica alongalong withwith youryour GuitarGuitar oror UkuleleUkulele playing!playing! Information all in one place! Online Video Guides Scan or visit: leeoskarquickguide.com ©2013-2016 Lee Oskar Productions Inc. - All Rights Reserved Major Diatonic Key labeled in 1st Position (Straight Harp) Available in 14 keys: Low F, G, Ab, A, Bb, B, C, Db, D, Eb, E, F, F#, High G Key of C MAJOR DIATONIC BLOW DRAW The Major Diatonic harmonica uses a standard Blues tuning and can be played in the 1st Position (Folk & Country) or the 2 nd Position (Blues, Rock/Pop Country). 1 st Position: Folk & Country Most Folk and Country music is played on the harmonica in the key of the blow (exhale) chord. This is called 1 st Position, or straight harp, playing. Begin by strumming your guitar / ukulele: C F G7 C F G7 With your C Major Diatonic harmonica Key of C MIDRANGE in its holder, starting from blow (exhale), BLOW try to pick out a melody in the midrange of the harmonica. DRAW Do Re Mi Fa So La Ti Do C Major scale played in 1st Position C D E F G A B C on a C Major Diatonic harmonica. 4 4 5 5 6 6 7 7 ©2013-2016 Lee Oskar Productions Inc. All Rights Reserved 2nd Position: Blues, Rock/Pop, Country Most Blues, Rock, and modern Country music is played on the harmonica in the key of the draw (inhale) chord. -
Home School Winter Spring 2019.Pub
WINTER // SPRING 2019 HOME SCHOOL Winter January 16th-March 6th 8 Weeks Spring March 20th-May 15th 8 Weeks, SKIPS APRIL 3rd 10:00am-11:00am ARTIST TRADING CARDS (AGE 7+) Join Miles Davis in creating your very own trading cards. From Pokémon to Star Wars, trading cards are able to capture your imagination. Create your own characters, cartoons and more in this Artist Trading Cards class. Instructor Miles Davis Fees per session: $48 (R) $72(N) Supply Fee: $10 Winter: 7085 Wed Jan 16th-Mar 6th Spring: 7086 Wed Mar 20th-May 15th ART-RAGEOUS ABSTRACT ADVENTURES (AGE 6-11) Get ready for wild art ride! Students will work with a variety of unique and crea- tive materials to create abstract art of all types! Instructor: Kimberly Ford Fees per session: $48(R) $72(N) Supply Fee: $10 Winter: 7087 Wed Jan 16th-Mar 6th Spring: 7088 Wed Mar 20th-May 15th AGES 9-18 $250 TO REGISTER FOR AUDITIONS BEGINNER UKULELE (AGE 6-8) Begin the process of learning the Ukulele. This group class setting will teach the CALL 770-819-3285 FOR MORE DETAILS. basics of Ukulele, chords, and simple songs. Ukulele's provided. Instructor: Reid Stevens Fees per session: $48 (R) $72(N) Supply Fee: $5 Winter: 7091 Wed Jan 16th-Mar 6th Spring: 7092 Wed Mar 20th-May 15th A TOUCH OF HISTORY (AGE 5-8) Through stories, crafts and activities, Children will learn about Native Americans, Pilgrims, Gold Rush, Slavery, and the Underground Railroad and more. Special Activities will include: River Cane Blow Gun Demonstration, Panning for Gold, making a north star quilt scrap (paper). -
Instrument Care Guide Contents
Kent Music Instrument Care Guide Contents Introduc� on Pg 3 About Instrument Hire Pg 4 Guitars and Ukuleles Pg 5 Brass Pg 6 Percussion Pg 8 Strings Pg 12 Woodwind Pg 14 Introduction An essential part of the Music Resources Kent Hire/Loan Agreement is that you take good care of the musical instruments supplied to your school. It is important to keep them safe and well maintained. This booklet aims to give you basic guidelines on how to store, clean, and look after musical instruments. Schools should be aware that musical instruments are fragile and expensive. It is the school’s responsibility to maintain the instruments Hired/Loaned to them. It is recommended that you: • Ensure the instruments are treated with care at all times as directed by the teacher • Only allow instruments to be used by pupils as appropriate • Make sure that space is made available for the safe keeping of the instruments. When instruments are not being played, they should be kept securely in the cases provided For information regarding tuition and ensembles, please visit our website www.kent-music.com. If you would like any further instrument advice, please contact us at Music Resources Kent. Felicity Redworth Music Resources Team Leader 01622 358442 [email protected] 3 About Music Resources Kent Instrument hire is available for all Kent schools and academies through Music Resources Kent. Music Plus instruments are available for free whilst non-Music Plus instruments are hired at a special school rate. Music Resources Kent offer a free delivery and collection service by arrangement. -
Tonal Quality of the Clavichord : the Effect of Sympathetic Strings Christophe D’Alessandro, Brian Katz
Tonal quality of the clavichord : the effect of sympathetic strings Christophe d’Alessandro, Brian Katz To cite this version: Christophe d’Alessandro, Brian Katz. Tonal quality of the clavichord : the effect of sympathetic strings. Intl Symp on Musical Acoustics (ISMA), 2004, Nara, Unknown Region. pp.21–24. hal- 01789802 HAL Id: hal-01789802 https://hal.archives-ouvertes.fr/hal-01789802 Submitted on 21 Dec 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Proceedings of the International Symposium on Musical Acoustics, March 31st to April 3rd 2004 (ISMA2004), Nara, Japan 1-P1-7 Tonal quality of the clavichord: the effect of sympathetic strings Christophe d'Alessandro & Brian F.G. Katz LIMSI-CNRS, BP133 F-91403 Orsay, France [email protected], [email protected] Abstract part of the strings the “played strings”. Only few works have included efforts specifically devoted to the In the clavichord, unlike the piano, the slanting strings acoustics of the clavichord [2][3][4]. Experiments with between the bridge and the hitch pins are not damped physical modeling synthesis of the clavichord are with felt. The effect of these “sympathetic strings” on described in [5]. -
Modelling of Sympathetic String Vibrations Jean-Loic Le Carrou, François Gautier, Nicolas Dauchez, Joël Gilbert
Modelling of Sympathetic String Vibrations Jean-Loic Le Carrou, François Gautier, Nicolas Dauchez, Joël Gilbert To cite this version: Jean-Loic Le Carrou, François Gautier, Nicolas Dauchez, Joël Gilbert. Modelling of Sympathetic String Vibrations. Acta Acustica united with Acustica, Hirzel Verlag, 2005, 91, pp.277 - 288. hal- 00474982 HAL Id: hal-00474982 https://hal.archives-ouvertes.fr/hal-00474982 Submitted on 21 Apr 2010 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Modelling of Sympathetic String Vibrations Jean-Lo¨ıc Le Carrou,∗ Francois Gautier, Nicolas Dauchez, and Jo¨el Gilbert Laboratoire d’Acoustique de l’Universit´edu Maine, UMR CNRS 6613, 72085 Le Mans Cedex 9, France (Dated: October 5, 2004) Abstract String instruments are usually composed of several strings connected to a vibrating body allowing efficient sound radiation. For some special string tunings, sympathetic vibrations can occur: if one string is excited, some others are also excited via the body. In order to investigate this phenomenon, an analytical model of a simplified generic string in- strument has been developed. The body of the instrument is represented by a beam clamped at both ends, to which several strings are attached. -
Two Common Errors About the Proportions of the ‛Ūd
ICONEA 2011 On the other hand, the‛ūd as we know it in its current form since the eleventh century, due to various, principally ideological considerations, has been the catalyst of most of the organological er- rors and arbitrary postulations3. In the present paper, we shall explore mainly two obvious errors about the instrument. The first one being Farmer’s description of a-ţ-ŢaĦĦān’s TWO COMMON ERRORS 'archlute', of great importance because it reveals the ABOUT careless attitude of Orientalist musicology towards scientific truth. The second is Poché’s so-called THE PROPORTIONS hemispherical body of al-Kindī’s‛ūd. Both errors are extremely misleading especially because of their OF THE ‛ŪD: wide repute in the literature4. Ibn a-ţ-ŢaĦĦān Ibn a-ţ-ŢaĦĦān’s’5 archlute according to Farmer 1 and al-Kindī In 1939, Henry George Farmer’6 described an archlute which would have been 180 cm tall. It would have been designed by Abū-l-Ģassan ibn a-ţ- Amine Beyhom ŢaĦĦān, a musician from Fatimid Egypt. In 1979, Curtis Bouterse7 corrected Farmer’s assumption on Introduction the basis of logic. A-ţ-ŢaĦĦān’s lute was brought back to a more reasonable size, closer to modern The ‛ūd and the ţunbūr are generically called proportions. However, the misinterpretation per- 'lutes' in archaeomusicology. This leads to persistent sisted for forty years during which musicologists misunderstandings about the origins of both were amazed at the size of this instrument, without instruments. They are, as far as we know, distinct disputing Farmer’s description. In the first part of in their origins as well as in their organology. -
Easy Fancy Chords (Etc.) for Beginners and Non-Beginners — Part 2 (Updated March 18, 2021)
Easy Fancy Chords (etc.) for beginners and non-beginners — Part 2 (updated March 18, 2021) Wood County District Public Library Ukulele Club — WCDPL.org/ukulele-club Grande Royale Ükulelists of the Black Swamp — grubsmusic.com For more Ukulele Club stuff, including the “Uke Club Shorts” video series and Part 1 of this document, see the library website: https://wcdpl.org/ukulele-club Questions? We’re reachable by email at [email protected] or on Facebook at https:// www.facebook.com/grubsmusic/ Part 1 was aimed mostly at beginners, and the information in this document is a bit more advanced, but as always the goal is to start making real music as early as possible, in the easiest possible ways. Ironically, C, F, and G are usually the three chords people expect beginners to learn first, so they can play songs in the “Key of C” … but as you already know they’re not the easiest to play! Each of these chords, in first position on the ukulele, requires a different number of fingers and a different hand shape. Here (and in Uke Club Shorts #8 and #9), we’ll show you how to play those “basic” C, F, and G chords at last — first the “easy fancy” way, and then the “standard” way. FYI: There are good reasons to start in the key of C when learning to play the piano and some other instruments, or when learning to read music notation, but it’s not the best place to start when learning to play the ukulele … or the guitar, or the trombone, or a lot of other instruments! The “Easy Fancy Way” to play in the key of C (Shorts #8) The fretboard diagrams below are a little taller than usual, because this set of fingerings goes all the way up to the seventh fret. -
Listening to String Sound: a Pedagogical Approach To
LISTENING TO STRING SOUND: A PEDAGOGICAL APPROACH TO EXPLORING THE COMPLEXITIES OF VIOLA TONE PRODUCTION by MARIA KINDT (Under the Direction of Maggie Snyder) ABSTRACT String tone acoustics is a topic that has been largely overlooked in pedagogical settings. This document aims to illuminate the benefits of a general knowledge of practical acoustic science to inform teaching and performance practice. With an emphasis on viola tone production, the document introduces aspects of current physical science and psychoacoustics, combined with established pedagogy to help students and teachers gain a richer and more comprehensive view into aspects of tone production. The document serves as a guide to demonstrate areas where knowledge of the practical science can improve on playing technique and listening skills. The document is divided into three main sections and is framed in a way that is useful for beginning, intermediate, and advanced string students. The first section introduces basic principles of sound, further delving into complex string tone and the mechanism of the violin and viola. The second section focuses on psychoacoustics and how it relates to the interpretation of string sound. The third section covers some of the pedagogical applications of the practical science in performance practice. A sampling of spectral analysis throughout the document demonstrates visually some of the relevant topics. Exercises for informing intonation practices utilizing combination tones are also included. INDEX WORDS: string tone acoustics, psychoacoustics, -
Beginners Ukulele Songbook
BEGINNERS UKULELE SONGBOOK 1. READING CHORD CHARTS Soprano Ukulele Neck Ukulele Chord Chart Nut Nut Fret 1 Fret 1 Fret 2 Fret 2 Fret 3 Fret 3 Fret 4 Fret 4 Fret 5 Fret 5 String = g C E A g C E A 2. COMMON CHORDS IN THE KEY OF C The white numbers in the black circles refer to which finger could be used. OR 3. HE'S GOT THE WHOLE WORLD IN HIS HANDS – 2 CHORDS IN C (Time 4/4 1…2…123 ) He's Got The [C] Whole World In His Hands He's Got The [G7] Whole, Wide World In His Hands He's Got The [C] Whole World In His Hands He's Got The [G7] Whole World In His [C] Hands He's Got The [C] Little Bitty Baby In His Hands He's Got The [G7] Little Bitty Baby In His Hands He's Got The [C] Little Bitty Baby In His Hands He's Got The [G7] Whole World In His [C] Hands He's Got [C] Everybody Here In His Hands He's Got [G7] Everybody Here In His Hands He's Got [C] Everybody Here In His Hands He's Got [G7] Whole World In His [C] Hands 4. WHEN THE SAINTS GO MARCHING IN – 4 CHORDS IN C Oh, when the [C] Saints go marching in, oh, when the Saints go marching [G7] in, I want to [C] be [C7] in that [F] number, when the [C] Saints go [G7] marching [C] in. Oh, when the [C] sun refuse to shine, oh, when the sun refuse to [G7] shine, I want to [C] be [C7] in that [F] number, when the [C] sun reG7]fuse to [C] shine. -
MGS Guitarist Sept/Oct
A Publication of the Minnesota Guitar Society • P.O. Box 14986 • Minneapolis, MN 55414 SEPTEMBER/OCTOBER 2007 VOL. 23 NO. 5 SundinSundin HallHall ConcertsConcerts AnAn ExcitingExciting NewNew SeasonSeason Begins!Begins! Lucas Harris baroque lute Saturday September Berta Rojas classical guitar Saturday October Also In This Issue News and Notes about OpenStage Local Artists concerts and more Minnesota Guitar Society Board of Directors Newsletter EDITOR OFFICERS: BOARD MEMBERS: Paul Hintz PRESIDENT Joe Haus Steve Kakos PRODUCTION Alan Norton VICE-PRESIDENT Joanne Backer i draw the line, inc. Annett Richter ARTISTIC DIRECTOR Joe Hagedorn David’s Print Shop Daniel Sturm DISTRIBUTION TREASURER Jim Campbell Kuan Teoh Todd Tipton MANAGING DIRECTOR Paul Hintz Todd Tipton Web Site Production SECRETARY Patrick Strother Brent Weaver Amy Lytton <http://www.mnguitar.org> Minnesota Guitar Society The Minnesota Guitar Society concert season is co-sponsored by Mission Statement Sundin Hall. This activity is made To promote the guitar, in all its stylistic and cultural diversity, possible in part by a grant from the through our newsletter and through our sponsorship of Minnesota State Arts Board, through public forums, concerts, and workshops. an appropriation by the Minnesota State Legislature and a grant from To commission new music and to aid in its the National Endowment for the promotion, publication, and recording. Arts. Matching funds have been To serve as an educational and social link between amateur and provided by General Mills, AT&T, professional guitarists and the community. and Ameriprise Financial. To promote and help create opportunities for Minnesota guitarists and players of related instruments. To reserve tickets for any Sundin Hall concert, call our phone line at 612-677-1151 and leave a message. -
Pasqualini Demarzi Six Sonatas for Cetra Or Kitara
Pasqualini Demarzi Six Sonatas for Cetra or Kitara Doc Rossi, 18th-century Cittern Andrea Damiani, Archlute and Baroque Guitar Doc Rossi & Andrea Damiani The Instruments The cittern seems to have started life as a conscious attempt at refashioning the Classical Greek “kithara” Sonata I: Sostenuto, Aria, Minuet to Italian Renaissance taste. The Renaissance cittern had a very shallow body, tapering from the neck (4.5-6cm) to the base (2-2.5cm) and, for the most part, used a re-entrant tuning that was well-suited to The Musical Priest (trad. arr. Rossi) playing with a plectrum, and to chording. Instruments typically had from 4 to 6 courses, double- and/or triple strung, sometimes with octaves, sometimes all unisons. Arch-citterns with up to 8 extra basses also Sonata II: Moderato, Largo, Allegro, Minuet existed. Typical fingerboard string lengths were from 44cm to 60cm, although several scholars believe that a much shorter instrument also existed, more suitable for the small but demanding solo repertoire. The Rights of Man (trad. arr. Rossi) String length has a distinctive though subtle effect on sound that is easier to hear than to describe – given the same pitch, similar string tension and double-strung courses, a longer string length is somewhat Sonata III: Moderato, Largo, Grazioso softer, with a characteristic “whoosh” during position changes that can be heard on today’s Appalachian dulcimer. The re-entrant tuning necessitates almost constant position changing when playing melodies of The Fairy Hornpipe - Whisky You're the Devil (trad. arr. Rossi) any range. The combination of shallow body and longer string length gives the Renaissance cittern a bright, jangling sound, which is further emphasized when it is played with a plectrum.