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Strategies for Managing Timbre and Interaction in Automatic
Strategies for Managing Timbre and Interaction in Automatic Improvisation Systems a b s t r a c t Earlier interactive improvisa- tion systems have mostly worked with note-level musical William Hsu events such as pitch, loudness and duration. Timbre is an integral component of the musi- cal language of many improvis- ers; some recent systems use timbral information in a variety of ways to enhance interactiv- ity. This article describes the imbre is an important structural element in tried to identify simple behavioral timbre-aware ARHS improvi- T mechanics that one might con- sation system, designed in free improvisation. When working with a saxophonist or other instrumentalist whose practice incorporates extended tech- sider desirable in a human im- collaboration with saxophonist John Butcher, in the context of niques and timbre variations, it is important to go beyond proviser and emulate them with recent improvisation systems note-level MIDI-like events when constructing useful descrip- some straightforward strategies. that incorporate timbral informa- tions of a performance. For example, a long tone may be held One novel aspect of my work is tion. Common practices in audio on a saxophone, with fairly stable pitch and loudness, but the the integral and dynamic part that feature extraction, performance state characterization and intensity of multiphonics is increased through embouchure timbre plays in sensing, analysis, management, response synthe- control. An experienced human improviser would perceive material generation and interaction sis and control of improvising and respond to this variation. decision-making. agents are summarized and In this paper, I will focus on systems designed to improvise Collins [9] observed that a ma- compared. -
MB1 Easy Touch-Style Bassics 20070929
Easy Touch-Style Bassics The Rapid Route to ‘Rhythm Bass’ and more ASDFASDF FDSAFDSA An original method for rapid learning of two-handed tapping on electric bass guitar*1 and megatar*2-type instruments by Henri DuPont and Traktor Topaz _____________________________________________________________ MOBIUS MEGATAR, LTD. *1 electric bass guitar must have six to eight strings to effectively utilize the method of play presented in this instructional book. *2 megatar, noun An instrument designed for two-handed touch-style play with one group of strings for bass and another group of strings for melody. page 2 Easy Touch-Style Bassics Mobius Megatar, Ltd. USA Contact: Mobius Megatar USA Post Office Box 989 Mount Shasta, CA 96067 (530) 926-1961 www.megatar.com ______________________________________ First Published in USA by Mobius Megatar USA 1999 Copyright 1999 by Action Marketing, Carson City Nevada, on behalf of Mobius Megatar, Ltd. All rights reserved. PUBLISHER’S NOTE: This publication is designed to provide an easy and accessible method for playing the ‘touch-style’ or ‘two-handed tapping’ method on amplified electric fretted instruments such as guitar or bass or the ‘megatar’ type instruments which have two groups of strings on one fretboard. This method is designed specifically for instruments which have eight or more strings, and can only be adapted to instruments with lesser numbers of strings by means of diligent effort on the part of the student. This method is provided ‘as-is’ and is believed to be a reliable method providing musical results in typical musicians, and providing compara- tively rapid advancement in mastering useful and musical technique. -
Bass Talk Multi String Bass Master GARRY GOODMAN
Bass Talk 9 Jan, 06 > 15 Jan, 06 2 Jan, 06 > 8 Jan, 06 03/01/2006 Entries by Topic All topics « Multi String Bass Master GARRY GOODMAN Control Panel I remember when I saw my first multi string bass. It was back in 1984 at a Edit your Blog Guitar Center here in Chicago. It was a Alembic 6 string. I remember taking it Build a Blog off the wall, sitting with it thinking “how in the hell do you play this thing. 14 View other Blogs years later I find myself sitting in my living room with a 6 string Ibanez saying View Profile the same thing. After climbing that mountain I decide to go back to the 4 string. I guess that’s were my heart is. Bass Links Kenn Smith Website But there are others who have DR Strings taking the multi string bass to ActiveBass.com great heights. Great players National Guitar such as Anthony Jackson, Bill Workshop Dickens and this months interviewee, Garry Goodman. Check it out! Alphonso Johnson Garry began playing bass in Carl Carter 1964 at the age of nine. He Conklin Guitar and became a full-time Basses professional bassist in the Victor Wooton 1970's. His venture in to multi Marcus Miller string instruments started in 1975 with the Chapman Stick You are not logged in. and later in 1978 he which to Log in a 7-string bass. Currently Garry plays a Tobias 7-string, Warrior 9- string and Adler 11-string bass and has developed a unique playing technique called “Percussive Harmonics”, expanding the tonal possibilities of modern electric bass. -
Woodwind Grades Syllabus
Woodwind Syllabus Flute, Clarinet, Oboe, Bassoon, Saxophone & Recorder Graded exams 2017–2022 Important information Changes from the previous syllabus Repertoire lists for all instruments have been updated. Initial exams are now offered for flute and clarinet. New series of graded flute and clarinet books are available, containing selected repertoire for Initial to Grade 8. Technical work for oboe, bassoon and recorder has been revised, with changes to scales and arpeggios and new exercises for Grades 1–5. New technical work books are available. Own composition requirements have been revised. Aural test parameters have been revised, and new specimen tests publications are available. Improvisation test requirements have changed, and new preparation materials are available on our website. Impression information Candidates should refer to trinitycollege.com/woodwind to ensure that they are using the latest impression of the syllabus. Digital assessment: Digital Grades and Diplomas To provide even more choice and flexibility in how Trinity’s regulated qualifications can be achieved, digital assessment is available for all our classical, jazz and Rock & Pop graded exams, as well as for ATCL and LTCL music performance diplomas. This enables candidates to record their exam at a place and time of their choice and then submit the video recording via our online platform to be assessed by our expert examiners. The exams have the same academic rigour as our face-to-face exams, and candidates gain full recognition for their achievements, with -
Reports & News
DRN 126 Summer 2020 Text_Double Reed 75.qxd 29/05/2020 14:29 Page 22 Reports & News BBC Young Musician 2020 The Virtual Oboe Competition Clive Fairbairn attended the category finals in March from Michael Britton Hearty congratulations are Howarth of London is pleased to announce that it is one of the due for the oboist Ewan Millar sponsors of the Virtual Oboe Competition just established by (see DRN125), who has won Claire Brazeua of the Los Angeles Chamber Orchestra. Many the Woodwind Final of this students will have been practising for the Barbirolli Oboe highly prestigious competition. Competition and the IDRS Oboe Competition so, as these have This puts him amongst the five had to be cancelled due to COVID-19, Claire thought it would category winners competing be a good idea to set up a virtual competition instead. She has in the semi-final and final. put together an excellent panel of international judges. The semi-final reduces the five instrumentalists to three; A website has been set up: www.virtualoboecompetition.com and each will then compete by more information is being added day by day. Please tell all the playing a concerto with the young oboists you know or teach; it should help motivate their BBC Philharmonic to discover practise during these difficult times! the overall winner of the competition. The BBC hopes to transmit these last stages in the autumn. This was a huge achievement for 18-year old Ewan who is in his first year reading music at St Hilda’s College, Oxford. Now Laurence Perkins’ mammoth studying with Melanie Ragge, he was a pupil of Nicky Fairbairn at Berkshire Maestros in Reading, Berkshire from the age of 8 until response to lockdown he left school last summer. -
Downbeat.Com July 2015 U.K. £4.00
JULY 2015 2015 JULY U.K. £4.00 DOWNBEAT.COM DOWNBEAT ANTONIO SANCHEZ • KIRK WHALUM • JOHN PATITUCCI • HAROLD MABERN JULY 2015 JULY 2015 VOLUME 82 / NUMBER 7 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ĺDQHWDÎXQWRY£ Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Stephen Hall ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, -
Appendix I. Search Strategy Ovid MEDLINE(R) and Epub
BMJ Publishing Group Limited (BMJ) disclaims all liability and responsibility arising from any reliance Supplemental material placed on this supplemental material which has been supplied by the author(s) BMJ Open Appendix I. Search Strategy Ovid MEDLINE(R) and Epub Ahead of Print, In-Process & Other Non-Indexed Citations and Daily <1946 to July 12, 2019> Results =12 # Search Statement Results (((music or musical or harp or harps or recorder or recorders or synthesi?er* or tuba or tubas) adj3 (performer* or artist* or player* or student* or teacher* or instructor*)).mp. or ((Musician* or instrumentalist* or accordionist* or bagpiper* or bassist* or bassoonist or cellist* or conguera* or conguero* or drummer* or fiddler* or Flautist* or flutist or harpist* or guitarist* or keyboardist* or keytarist* or organist or organists or percussionist* or pipers or saxaphonist* or trumpeter or trumpeters or tubaist or tubist or vibraphonist* or vibraharpist* or violinist* or (Accordion* or alphorn* or alpenhorn* or alpine horn* or Bagpipe* or Balalaika or (Bandura* not (Bandura* adj4 (self efficacy or theor*))) or Banjo* or Bariton* or Bass guitar* or Bassoon* or Berimbau or Bongo or Bongos or Boom whacker* or boomwhacker* or Bouzouki* or Bugle* or Cello or Cellos or Chapman Stick* or Cimbalom or Clarinet* or Clavichord or Concertina* or (Conga not glycemi*) or Contrabass* or Cor anglais* or Cornet* or Cymbal or Cymbals or Didgeridoo* or Djembe or Double bass* or Drum or Drums or Dulcimer* or Euphoni* or Fiddle or Fiddles or Fifes or Flute or Flutes -
Bass Inside Magazine 2/1/04 2:16 PM
Garry Goodman in Bass Inside Magazine 2/1/04 2:16 PM No 18 February 2004 Garry Goodman Has He Created a Whole New Way of Doing Things? One of the by- products or effects of doing this magazine has had on me this past few years is that I have developed a strong hunger to find people who are actually doing something different, something innovative. Meeting that wish has not been easy. The Slap Technique is on 90% of all CD's we receive. As is the Yngwie Effect, with 6000 notes a minute, and of course the ever popular ‘Look How Very Smokin’ I Am Syndrome’. It is an old argument, stretching back to Paginini and beyond, I am sure. The pursuit for blinding technique and speed has throttled compositional skills. Attention and effort in trying to outplay everybody else, crowded out just plain fine song writing. And then along comes Garry Goodman. Has this gentleman perhaps developed a new way of doing things? Garry has a different way of playing bass that combines left hand tapping with http://www.bassinside.com/2004/february/garry.htm Page 1 of 11 Garry Goodman in Bass Inside Magazine 2/1/04 2:16 PM right hand tapping harmonics in an unsual fashion. The end reslt is different enough to take a serious look. Is the end effect of this technique the next step in the evolution of bass playing? Bass Inside: Would you say there are similarities between the touchstyle method of playing employed by players of the Chapman Stick and what you have developed here with Percussive Harmonics? If not, how is it different and how has it been adapted to the very different layout of the bass in comparison to the Stick itself? Garry: The technique I’ve developed is really nothing like the touch-style I would use on a Chapman Stick. -
PERFORMER ROLE CODES Role Code
PERFORMER ROLE CODES To help calculate the share of revenues that individual performers should receive from use of a sound recording, a performer is assigned a contributor category and role code. Role codes are split into a number of types – not all of which are eligible for payment. Each type is further sorted into different instrumental, vocal or studio personnel performances, so that it is easy to identify what each performer contributed to a sound recording. Payable roles are generally ones which provide an audible contribution to the final sound recording. Non-payable roles are generally studio activities which add no audible contribution to the final sound recording. PAYABLE ROLES There are a number of payable roles. These are broken down into groups depending on the activity or instrument being played. See below all of the roles within each group. BRASS Role Code Alphorn ALP Alto Horn ALH Alto Trombone ATR Alto Valve Trombone AVT Bankia BKA Bass Trombone BTR Bass Trumpet BTP Bass Tuba BTB Brass Bass BRB Bugle BUE Cornet CTO Corno Da Caccia CDC Dung-Chen DUN Euphonium EUP FanfareTrumpet FFT Flugelhorn FLH French Horn FRH Horn HRN Horn HOR Hunting Horn (Valved) HHN Piccolo Trumpet PCT Sackbut SCK Slide Trumpet STP Sousaphone SOU Tenor Horn TNH Trombone TRM Trompeta TOA Trumpet TRU Trumpet (Eflat) TEF Tuba TUB ValveTrombone VTR ELECTRONICS Role Code Barrel Organ BRO Barrel Piano BPN Beat Box BBX DJ D_J DJ (Scratcher) SCT Emulator EMU Fairground Organ FGO Hurdy Gurdy HUR Musical Box BOX Ondioline OND Optigan OPG Polyphon PPN Programmer -
GRADUATION CEREMONY Friday 16 July 2021
GRADUATION CEREMONY Friday 16 July 2021 Amaryllis Fleming Concert Hall, Royal College of Music | London ALUMNI Welcome to the Royal College of Music Alumni Network. Congratulations on graduating from the Royal College of Music! You are now a member of a community of more than 9,000 illustrious alumni all over the world. We are immensely proud of the achievements of all our graduates, and we hope you continue to keep in contact with us, whatever is next in store for you. If you have not already done so, please help us to stay in touch with you by updating your details today at: www.rcm.ac.uk/alumni/update As an RCM graduate you can: • Continue to access careers support from the Creative Careers Centre for five years following graduation • Sign up to receive the weekly jobs bulletin • Set up an RCM alumni email address for life • Access RCM Studios at a discounted rate for one year following graduation • Receive invitations to alumni events • Keep up to date with regular newsletters and our termly magazine, Upbeat • Make use of our excellent Library facilities • Get discounted use of RCM venues and spaces For more information on alumni privileges, please visit: www.rcm.ac.uk/alumni/benefits STAY IN TOUCH Don’t forget to let us know what you’ve been up to by joining our RCM alumni LinkedIn group and tagging us on: @RCMLondon facebook.com/royalcollegeofmusic www.linkedin.com/groups/1806681 @RCMLondon RCMLondon You can also share your recent news by email to: Prudence DiStasio Alumni & Supporter Engagement Officer [email protected] FROM THE DIRECTOR On behalf of the Council, staff and students of the Royal College of Music, I am delighted to welcome you to this 2021 Graduation Ceremony. -
Introduction Into Playing the 12-String Tap-Guitar Text & Photos: Michael Koch
Introduction into playing the 12-string Tap-Guitar text & photos: Michael Koch Suitable to the tuning in 5ths and 4ths Crossed & Uncrossed EDITORIAL Dear all you musicians with heart and mind, in first line this short introduction into the topic 12-String Tap-Guitar shall support YOU. And it shall clarify you that it doesn't need to be super brilliant or outstanding intelligent to play this kind of guitar. Furthermore it's definitely not harder than play- ing another kind of instrument. Anyone who likes to be better, faster and greater than her/his idols has to practise, practise and practise again. There are even mani- acs who fly across the fingerboard of a ukulele - like Steve Vai on his guitar. But all musicians who are approachable to a wider array and rendition possibilities will find their own universe of amazing and fresh sounds inside the world of the Tap-Guitar. No matter if you play Pop, Rock, Hip-Hop, Funk, Progressive Rock, Metal, Jazz and so on - the instrument is an enrichment to all styles of music. "Just take your time and play the music you like the most!!!“ If this is to your appreciation there will be some people more who like it. This current BiusK feat AF, European Bassday 2010 introduction into playing the Tap-Guitar is to suggest you the playing technique, most significant chords and harmony patterns. It’s possible to listen to the associated tone examples by hearing the bass and melody strings at the same time (stereo) or divid- ed. Both signals had been recorded separately. -
TITLE Investigating the Consistency of Woodwind
Open Research Online The Open University’s repository of research publications and other research outputs Investigating the consistency of woodwind instrument manufacturing by comparing five nominally identical oboes Journal Item How to cite: Mamou-Mani, Adrien; Sharp, David; Meurisse, Thibaut and Ring, William (2012). Investigating the consistency of woodwind instrument manufacturing by comparing five nominally identical oboes. Journal of the Acoustical Society of America, 131(1) pp. 728–736. For guidance on citations see FAQs. c 2012 Journal of the Acoustical Society of America Version: Accepted Manuscript Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.1121/1.3651088 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk TITLE= Investigating the consistency of woodwind instrument manufacturing by comparing five nominally identical oboes1 = RUNNING TITLE Consistency of oboe manufacturing AUTHORS Adrien Mamou-Mani1, David Brian Sharp1, Thibaut Meurisse2, William Ring3 1 Acoustics Research Group, DDEM, MCT Faculty, The Open University, Walton Hall, Milton Keynes, MK7 6AA, UK 2 Université Pierre et Marie Curie, 4 Place Jussieu, 75005 Paris, France 3 Howarth of London, 19 Buckingham Road, Worthing, BN11 1TH, UK Email: [email protected] 1 Submitted for the special issue on Musical Acoustics 1 ABSTRACT For large-scale woodwind instrument makers, producing instruments with exactly the same playing characteristics is a constant aim. This paper explores manufacturing consistency by comparing five Howarth S10 student model oboes.