(19) United States (12) Patent Application Publication (10) Pub

Total Page:16

File Type:pdf, Size:1020Kb

(19) United States (12) Patent Application Publication (10) Pub US 20040194607A1 (19) United States (12) Patent Application Publication (10) Pub. No.: US 2004/0194607 A1 Leong (43) Pub. Date: Oct. 7, 2004 (54) PLECTRUM integrally by a stepped member (14). One portion (12) may have a tear-drop shaped playing edge (112), While the other (76) Inventor: Weng Onn Leong, Singapore (SG) portion may have a pointed edge (114) at one corner and Correspondence Address: another short pointed edge (118) at the second corner. A HARNESS, DICKEY & PIERCE, P.L.C. scallop playing edge (116) is typically joined to the short P.O. BOX 828 pointed edge (118). The stepped edge (14) is preferably in BLOOMFIELD HILLS, MI 48303 (US) the shape of an arc. Other embodiments of the present invention include a plectrum (1a, 1b, 1c, 1d) having a planar (21) Appl. No.: 10/487,586 body (20) With a tear-drop shaped playing edge (112a, 112b, 1126, 112a), a pointed playing edge (114a, 114b, 1146, 114a) (22) PCT Filed: Dec. 21, 2001 and a short pointed edge (118a, 118b, 1186, 118d). Ascallop (86) PCT No.: PCT/SG01/00258 shaped edge (116a, 116b, 1166, 116a) may be joined to the short playing edge (118). On the faces of the plectrum is Publication Classi?cation preferably a ridge (201), a groove (202) or a combination of a ridge (201) and a groove (202) on the same or opposed (51) Int. Cl.7 ..................................................... .. G10D 3/16 face. The ridge or groove is optionally disposed across the (52) US. Cl. .............................................................. .. 84/322 centre of the plectrum and is in the form of an arc. The curved stepped edge (14) or the edges of the curved ridge (57) ABSTRACT (201) or groove (202) seek to provide a positive grip on the The present invention relates to a plectrum (1) having tWo plectrum. The curved edges are also formed to ?t comfort portions (10, 12) being offset transversely but connected ably With the curve of the user’s thumb or ?nger. 14 11a 1:14 120 1 03 Patent Application Publication Oct. 7, 2004 Sheet 1 0f 3 US 2004/0194607 A1 L14 120 103 Fig. 1 112 Fig. 2 Patent Application Publication Oct. 7, 2004 Sheet 2 0f 3 US 2004/0194607 A1 118a 116a 201 120a‘ 201 1a 112a 102a / 114a 104a ' (u 20 a.’ 4- 19 Fig. 5 Fig. 4 "Sb 1181: 202 12Gb‘ 202 "2b . 1012b 104" (a " “21A )/ 114b 30 ‘ lb Fig. 7 112b 120b 1031, Flg. 6 Patent Application Publication Oct. 7, 2004 Sheet 3 0f 3 US 2004/0194607 A1 116a 1 180 201 ‘ 102c 201 114C 1046 1c ~__..-1c 1120 I 1120 202 202 1030 Fig. 8 Fig. 9 11551 11841 201 201 202 202 114 1d 112d Fig. 10 Fig. 11 US 2004/0194607 A1 Oct. 7, 2004 PLECTRUM [0009] A typical plectrum has a limited number of playing edges. A playing edge is often located at an end of the FIELD OF THE INVENTION plectrum. When a variety of tones or sounds are required, the user is required to alternate betWeen a number of playing [0001] This invention relates to a plectrum for picking or edges available on a plectrum. OtherWise, he Will have to strumming the strings of a musical instrument. In particular, change to a different plectrum Whilst playing the instrument. it relates to a plectrum for holding betWeen the thumb and This may be necessary When the user desires to produce ?nger. sound texture, ranging from, for example, heavy-metal rock type to the soothing strum of the 12-string acoustic guitar. BACKGROUND OF THE INVENTION [0010] The plectrum of this invention alms at overcoming [0002] Plectrums, or picks, for a stringed instrument, such or at least alleviate some of the above shortcomings or as a guitar, banjo, harp and the like, have long been used as problems of conventional plectrums. An aim is to provide an alternative to one’s ?ngernails to pick or strum the the user With control and variety in the generation of the tone strings. These plectrums are useful devices for a user Who and quality of a stringed musical instrument With the aid of Wishes to play a stringed instrument. a plectrum. [0003] Typically, a user chooses a plectrum according to SUMMARY OF THE INVENTION its characteristics, type of strings used on the instrument, and his style and technique of playing. [0011] According to a ?rst embodiment of the invention there is provided a plectrum for a stringed musical instru [0004] A common plectrum is a ?at piece of material, ment comprising: Which may be made from plastics, Wood, bone, shell, metal or any other suitable material. Plastic plectrums have [0012] (a) a ?rst portion having a plurality of string become very common in usage and its suitability for use engaging means; With nylon strings further make them popular. Metal plec trums are hard and; rigid, and are mostly suitable for metal [0013] (b) a second portion also having a plurality of strings. These materials have their oWn characteristic stiff string engaging means, said ?rst portion being ness and are used to produce different tones and texture of attached to said second portion; and sounds. [0014] (c) a means for gripping a thumb or ?nger of [0005] Conventional plectrums are also made in various a user shapes. The typical shapes are triangular or oval (or melon [0015] Wherein the plurality of string engaging means are seed or tear-drop shapes). There are three factors that affect formed on the ?rst portion and the second portion in an the characteristic sound a plectrum may produce: the grip arrangement so as to alloW a user to play the stringed ping point betWeen the thumb and ?nger; the distance of the instrument by engaging at least one or more strings of the playing edge from the gripping point; and the thickness at stringed instrument With each of said string engaging means the playing edges. formed on either the ?rst portion or the second portion. [0006] The problem With a ?at plectrum is the dif?culty of [0016] Typically, the plectrum has a ridged or stepped having a good grip betWeen the thumb and ?nger. This member that is formed substantially across the centre of the affects the accuracy of picking the individual strings of the plectrum. The ridged or stepped member may also be curved musical instrument. To overcome this problem of providing and project into the ?rst portion. a good grip, especially for a plastic moulded plectrum, the prior art has shoWn the use of knurling or texturing the [0017] Typically, the ?rst and second portions of the gripping point. Another method is to provide an aperture at plectrum are respectively ?at members, With the ?rst posi the gripping point. By providing a good grip on the plec tion in a raised position relative to the second portion. trum, this enables the user to accurately pick the string to [0018] Optionally, the ?rst or second portions of the produce a particular note and alloWs him to express his style plectrum have at least one pointed string engaging edge, at and technique of playing con?dently. least one jagged or scallop shaped string engaging edge, and at least one oval (or melon-seed or tear-drop) shaped string [0007] The siZe of a plectrum is another factor. There is a engaging edge. trade off betWeen the siZe and ease of gripping a plectrum. A large plectrum provides a larger gripping area but its siZe [0019] Preferably, the ?rst portion of the plectrum com impedes the agile pivoting of the plectrum betWeen the prises a short pointed string engaging edge in close prox thumb and ?nger. On the other hand, the gripping area of a imity With a jagged or scallop shaped edge. smaller plectrum is limited although the smaller siZe pro [0020] Typically, the ridged or stepped member has at vides better dexterity to the user. least one end being operable as a further string engaging [0008] These conventional plectrums are commonly edge. described as “thick”, “medium” and “thin” With thickness of [0021] According to a second embodiment of the inven substantially 1, 0.7 and 0.5 mm respectively. For example, tion, there is provided a plectrum for a stringed instrument for use in playing a guitar, a “thick” plectrum produces having a ?rst end and a second end, the plectrum compris louder and more poWerful sounds, such as for solo or lead ing: roles. A “thin” plectrum produces a gentle and soft sound, such as for acoustical background sound. The “medium” [0022] (a) a ?rst substantially ?at member having a thick plectrum may be used for normal or common sounds. plurality of string engaging edges; and US 2004/0194607 A1 Oct. 7, 2004 [0023] (b) a second substantially ?at member also [0038] (c) a means for gripping a thumb or ?nger of having a plurality of string engaging edges, a user is in the form of a combination curved ridge and groove extending substantially across at least [0024] Wherein the ?rst substantially ?at member is joined one face of the plectrum, to the second substantially ?at member by a ridged or stepped member formed toWards the centre of the plectrum [0039] Wherein the plurality of string engaging means are Which provides a grip for a user’s thumb or ?nger so as to formed on the ?rst portion and the second portion in an alloW the user to play the stringed instrument by engaging at arrangement so as to alloW a user to play the stringed least one or more strings of the stringed instrument With one instrument by engaging at least one or more strings of the or more of the string engaging edges formed on either the stringed instrument With each of said string engaging means ?rst substantially ?at member or the second substantially ?at formed on either the ?rst portion or the second portion.
Recommended publications
  • Flatpicking Guitar Magazine Index of Reviews
    Flatpicking Guitar Magazine Index of Reviews All reviews of flatpicking CDs, DVDs, Videos, Books, Guitar Gear and Accessories, Guitars, and books that have appeared in Flatpicking Guitar Magazine are shown in this index. CDs (Listed Alphabetically by artists last name - except for European Gypsy Jazz CD reviews, which can all be found in Volume 6, Number 3, starting on page 72): Brandon Adams, Hardest Kind of Memories, Volume 12, Number 3, page 68 Dale Adkins (with Tacoma), Out of the Blue, Volume 1, Number 2, page 59 Dale Adkins (with Front Line), Mansions of Kings, Volume 7, Number 2, page 80 Steve Alexander, Acoustic Flatpick Guitar, Volume 12, Number 4, page 69 Travis Alltop, Two Different Worlds, Volume 3, Number 2, page 61 Matthew Arcara, Matthew Arcara, Volume 7, Number 2, page 74 Jef Autry, Bluegrass ‘98, Volume 2, Number 6, page 63 Jeff Autry, Foothills, Volume 3, Number 4, page 65 Butch Baldassari, New Classics for Bluegrass Mandolin, Volume 3, Number 3, page 67 William Bay: Acoustic Guitar Portraits, Volume 15, Number 6, page 65 Richard Bennett, Walking Down the Line, Volume 2, Number 2, page 58 Richard Bennett, A Long Lonesome Time, Volume 3, Number 2, page 64 Richard Bennett (with Auldridge and Gaudreau), This Old Town, Volume 4, Number 4, page 70 Richard Bennett (with Auldridge and Gaudreau), Blue Lonesome Wind, Volume 5, Number 6, page 75 Gonzalo Bergara, Portena Soledad, Volume 13, Number 2, page 67 Greg Blake with Jeff Scroggins & Colorado, Volume 17, Number 2, page 58 Norman Blake (with Tut Taylor), Flatpickin’ in the
    [Show full text]
  • Cuyamaca College Course Outline of Record Music 226
    Curriculum Committee Approval: 09/01/2020 Lecture Contact Hours: 32-36; Homework Hours: 64-72; Total Student Learning Hours: 96-108 CUYAMACA COLLEGE COURSE OUTLINE OF RECORD MUSIC 226 − CLASS GUITAR III 2 hours lecture, 2 units Catalog Description Guitar for non-music majors. Continuation of MUS 127 with an emphasis on high position reading, introductory chord and scale alterations, and technical development. Prerequisite “C” grade or higher or “Pass” in MUS 127 or equivalent Entrance Skills Without the following skills, competencies and/or knowledge, students entering this course will be highly unlikely to succeed: 1) Read and play guitar music from staff notation in II position. 2) Play and use a bar chord form with variations to form major, minor and dominant seventh chords. 3) Employ closed position scale fingerings to play major scales in the key signatures of G and D. 4) Read and perform rhythms using eighth notes. 5) Transpose melodies and chord progressions to other keys. 6) Read and play music from lead sheets. 7) Play basic arpeggio patterns using finger style technique. Course Content 1) Reading and playing intermediate level solo and ensemble music for the guitar 2) Scales and chords in all major and minor keys 3) Melodic position studies in all positions 4) Intermediate finger style technique 5) Fingerboard harmony and solo guitar arranging Course Objectives Students will be able to: 1) Read and play solo guitar music using both plectrum and finger style technique 2) Construct and play various seventh chords in closed position fingerings 3) Read staff notation in all 12 fingerboard positions 4) Play stylistically appropriate accompaniment patterns 5) Analyze the harmony and structure of songs and guitar works and transpose them to other keys 6) Perform intermediate level ensemble music 7) Create rudimentary solo guitar arrangements from lead sheets Method of Evaluation A grading system will be established by the instructor and implemented uniformly.
    [Show full text]
  • Guitar Performance in the Nineteenth Centuries and Twentieth Centuries Paul Sparks
    Performance Practice Review Volume 10 Article 7 Number 1 Spring Guitar Performance in the Nineteenth Centuries and Twentieth Centuries Paul Sparks Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Sparks, Paul (1997) "Guitar Performance in the Nineteenth Centuries and Twentieth Centuries," Performance Practice Review: Vol. 10: No. 1, Article 7. DOI: 10.5642/perfpr.199710.01.07 Available at: http://scholarship.claremont.edu/ppr/vol10/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Guitar Performance in the Nineteenth and Twentieth Centuries Paul Sparks By 1800 guitars with six single strings (tuned EAdgbe') had become the norm. The rosette gave way to an open sound hole, while the neck was lengthened and fitted with a raised fingerboard extending to the sound hole. Nineteen fixed metal frets eventually became standard, the top note sounding b". The bridge was raised, the body enlarged, and fan-strutting introduced beneath the table to support higher tension strings. Treble strings were made of gut (superseded by more durable nylon after World War 11), bass strings from metal wound on silk (or, more recently, nylon floss). Tablature became obsolete, guitar music being universally written in the treble clef, sounding an octave lower than written. By the 1820s makers such as Louis Panormo of London were replacing wooden tuning pegs with machine heads for more precise tuning, and creating the prototype of the modem classical guitar (a design perfected in mid-century by Antonio Torres).
    [Show full text]
  • Fingerstyle 101.Pdf
    3/15/2010 Fingerstyle 101 What Is Fingerstyle? Ok. First things first. If you have a pick anywhere NEAR your computer, hide it! Fingerstyle guitar is the technique of playing the guitar by plucking the strings directly with the fingertips, fingernails, or picks attached to fingers, as opposed to flatpicking (picking individual notes with a single plectrum called a flatpick) or strumming all the strings of the instrument in chords. The term is often used synonymously with fingerpicking. Music arranged for fingerstyle playing can include chords, arpeggios and other elements such as artificial harmonics, hammering on and pulling off with the fretting hand, using the body of the guitar percussively, and many other techniques. Physically, “Fingerstyle” refers to using each of the right (or left) hand fingers independently in order to play the multiple parts of a musical arrangement that would normally be played by several band members. Bass, harmonic accompaniment, melody, and percussion can all be played simultaneously when playing Fingerstyle. Since this course will cover not only HOW you can incorporate fingerstyle into your guitar playing, but more importantly...how you will develop ground-breaking skills as a fingerstyle guitar player, we must cover some basic material before getting too far ahead in the course. Fingerstyle Vs. Flatpicking There is a major difference between using your fingers to pick and using an actual plectrum (pick) for many reasons. Though many artists will employ the usage of both, which we'll get into later on in this program, the idea here is to forget that you've ever even learned to use a pick when playing fingerstyle guitar.
    [Show full text]
  • User Manual 2
    USER MANUAL 2 Information in this manual is subject to change without notice and does not represent a commitment on the part of Applied Acoustics Systems DVM Inc. The software described in this manual is furnished under a license agreement. The software may be used only in accordance of the terms of this license agreement. It is against the law to copy this software on any medium except as specifically allowed in the license agreement. No part of this manual may be copied, photocopied, reproduced, translated, distributed or converted to any electronic or machine-readable form in whole or in part without prior written approval of Applied Acoustics Systems DVM Inc. Copyright c 2009 Applied Acoustics Systems DVM Inc. All rights reserved. Printed in Canada. Program Copyright c 2009 Applied Acoustics Systems, Inc. All right reserved. Strum VG is a Trademark of Applied Acoustics Systems DVM Inc. Windows 98, 2000, NT, ME, XP and DirectX are either trademarks or registered trademarks of Microsoft Corporation. Macintosh, Mac OS and Audio Units are registered trademarks of Apple Corporation. VST Instruments and ASIO are trademarks of Steinberg Soft Und Hardware GmbH. RTAS is a registered trademarks of Digidesign. Adobe and Acrobat are trademarks of Adobe Systems incorporated. All other product and company names are either trademarks or registered trademarks of their respective owner. Unauthorized copying, renting or lending of the software is strictly prohibited. Visit Applied Acoustics Systems DVM Inc. on the World Wide Web at www.applied-acoustics.com Contents 1 Introduction 9 1.1 System Requirements . 9 1.2 Installation . 10 1.3 Authorization and Registration .
    [Show full text]
  • THE PLECTRUM BANJO by Ron Hinkle
    THE PLECTRUM BANJO BEYOND CHORD MELODY A New Approach to Advancement by Ron Hinkle BCM MUSIC, LLC Published by: BCM Music, LLC 451 Simpson Drive Huntsville, AL 35808 Copyright © 2011 by Ron Hinkle No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, without the prior permission of BCM Music, LLC. Please read TERMS OF STUDENT USE AGREEMENT before buying this book. In compliance with U.S. copyright laws, regulations and restrictions, this book and the song arrangements within are for the exclusive use of my students. As a banjo teacher, my objective is to encourage and stimulate the creativity of my banjo students to the ultimate enrichment of the general public. By buying this book you are agreeing to accept the terms and the conditions contained herein. If you do not agree with these terms and conditions, you must not buy or use this book or arrangements or any of the materials contained within. By buying The Plectrum Banjo: Beyond Chord Melody , you attest that you are applying for status as a banjo student and will use the materials within the book for educational purposes only. My selling and delivery of the book to you constitutes my acceptance of your enrollment as a banjo student. Ron Hinkle, Banjo Instructor Library of Congress control number: 2011911833 ISBN-13: 978-0-615-47418-2 Manufactured in the United States of America. All of my work is humbly dedicated to: The young banjoists of today and tomorrow.
    [Show full text]
  • Guitar in Oxford Music Online
    Oxford Music Online Grove Music Online Guitar article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/43006 Guitar (Fr. guitare; Ger. Gitarre; It. chitarra; Sp. guitarra; Port.viola; Brazilian Port. violão). A string instrument of the lute family, plucked or strummed, and normally with frets along the fingerboard. It is difficult to define precisely what features distinguish guitars from other members of the lute family, because the name ‘guitar’ has been applied to instruments exhibiting a wide variation in morphology and performing practice. The modern classical guitar has six strings, a wooden resonating chamber with incurved sidewalls and a flat back. Although its earlier history includes periods of neglect as far as art music is concerned, it has always been an instrument of popular appeal, and has become an internationally established concert instrument endowed with an increasing repertory. In the Hornbostel and Sachs classification system the guitar is a ‘composite chordophone’ of the lute type (seeLUTE, §1, andCHORDOPHONE). 1. Structure of the modern guitar. Fig.1 shows the parts of the modern classical guitar. In instruments of the highest quality these have traditionally been made of carefully selected woods: the back and sidewalls of Brazilian rosewood, the neck cedar and the fingerboard ebony; the face or table, acoustically the most important part of the instrument, is of spruce, selected for its resilience, resonance and grain (closeness of grain is considered important, and a good table will have a grain count about 5 or 6 per cm). The table and back are each composed of two symmetrical sections, as is the total circumference of the sidewalls.
    [Show full text]
  • Assistive Technology Individual Guitar String Plucker
    Assistive Technology Individual Guitar String Plucker A Major Qualifying Project Report Submitted to the Faculty of WORCESTER POLYTECHNIC INSTITUTE in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science by: Jia Cheng Zhou Lorenzo Dube Michael Eaton Andonios Kouninis Professor Holly K. Ault, Advisor Submitted on March 23, 2018 This report represents the work of WPI undergraduate students. It has been submitted to the faculty as evidence of completion of a degree requirement. WPI publishes these reports on its website without editorial or peer review. Abstract Music has the ability to help children and adults with developmental disabilities grow cognitively and engage socially. The goal of this project is to design a device to allow people with various physical abilities to pluck individual guitar strings. For this device, custom acrylic plectrums, each attached to two electromagnetic actuators, are suspended above the sound hole or pickups of the guitar on a mounting plate. A wooden frame clamping to the body of the guitar supports the mounting plate. Two Arduino Uno microcontrollers facilitate the alternating triggering of the actuator pairs. The mechanism can successfully pluck each individual guitar string, but will require improved coding and mounting design to allow for easier component adjustments based on guitar size and type. ii Table of Contents Abstract ........................................................................................................................................... ii List of
    [Show full text]
  • Gibson 1937 Catalog X
    INDEX GIBSON INSTRUMENTS G UI T A RS Ma ndolin Banjos . .. • . .. .. 52 Carved Top Modell ................ .. 2-21 Guitar Ba njos ..............•....... ..... 52 Flat Top Models ........... ... 22-27 Callo Banjo. .. .. .. .. .. .. • . 52 Tenor Guital"l .. ...... ..... ..• •.. ... 28 MANDOLINS ............................. 53-6 1 Plectrum Guittlrs ......... .... 28 ELECTRIC MANDOLIN ..... •.. .. •. .• ..... , 35 Hawaiian Guital"l ................. • ... ... 29-30 MANDOLAS ..... .. ... ...•....•.. .. 63 Electric Hawaiian Guitars ............ .. 32-)4 MANOO-CEllOS .. ...... ...... .. ... ... 03 El ectric Spani5h Suit,," ....... .. ..•.... 3S HARP GUiTAR .............. ... .... b4 MANDO-BASS . • . b4 BAN JOS UKULELES ..... ................ .. ' 65 Tenor Banjos . ....... .... • .... .. 37-48 Plectrum SlI"jos .........•.............. .. 49 TEN O R UKULELES . ...................... 65 Five String Banjos .............. 51 UKULELE BANJOS ....... .. ... ............. 05 GIBSON ACCESSORIE S BANJO ARM RESTS .. 77 CAS ES ........... 81 NECK CORDS ... ........ 77 PEGS BANJO HEADS ....... ... 77 CASE HANDLES ................ .81 Benio , ..•. 77 EN D PiNS ...... .............. 80 ... .. 78 BA NJ O HEAD CLEANER r. ~ o. G"it• • .. .............. 71> BANJO HEAD GUARD ... .. 7'1 FINGERBOARDS ... '1 FI NGER80ARD NUTS .. ..• 81 PEG BUnONS ..... 79 BANJO HOOKS AND NU TS . .. .. 7'1 FRETS ...... 81 PICkS . ...... 11·73 BANJO RESONATOR STUDS , ....• .. 77 GUITAR PICK GUARDS ....... 71> PITCH PIPES . ..... 80 BANJO STANDS . ..••.. .. .8 1 GUITAR STANDS.. .. .
    [Show full text]
  • Acoustic and Plectrum Guitar
    ACOUSTIC GUITAR DIGITAL GRADES: TECHNICAL WORK 2 / Initial 3 / Grade 1 4 / Grade 2 5 / Grade 3 6 / Grade 4 7 / Grade 5 8 / Grade 6 9 / Grade 7 10 / Grade 8 Before you begin your technical work, you must close your book and remove it from your music stand. You may use a list of the scales/arpeggios/exercises/chord sequences/cadences/chord progressions you are performing but no information other than their titles and dynamics should be written here. You must hold this list up to the camera before placing it on the music stand. It is permissible for someone in the room to verbally prompt you to play each one, but no additional information to the above should be announced. 1 Acoustic Guitar - Initial DIGITAL GRADES: TECHNICAL WORK Candidates prepare either section 1 or section 2. Choice of technical work should be indicated on the submission information form. All requirements are in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Initial-Grade 5. Further information is available in the graded syllabus. Either: 1. Scales and arpeggios set A (from memory) All requirements should be performed. i) Scales: • C major • D minor to 5th, ascending and min. tempo: mf ii) Arpeggios: descending ♩ = 60 • G major • D minor Or: 2. Scales and arpeggios set B (from memory) All requirements should be performed. i) Scales: • G major • D minor to 5th, ascending and min. tempo: mf ii) Arpeggios: descending ♩ = 60 • C major • D minor 2 Acoustic Guitar - Grade 1 DIGITAL GRADES: TECHNICAL WORK Candidates prepare either section 1 or section 2.
    [Show full text]
  • Cuyamaca College Course Outline of Record Music 227
    Curriculum Committee Approval: 09/01/2020 Lecture Contact Hours: 32-36; Homework Hours: 64-72; Total Student Learning Hours: 96-108 CUYAMACA COLLEGE COURSE OUTLINE OF RECORD MUSIC 227 − CLASS GUITAR IV 2 hours lecture, 2 units Catalog Description Guitar for non-music majors. Continuation of MUS 226 with an emphasis on playing solos and accompaniments in various styles and idioms. Prerequisite “C” grade or higher or “Pass” in MUS 226 or equivalent Entrance Skills Without the following skills, competencies and/or knowledge, students entering this course will be highly unlikely to succeed: 1) Play a complete solo guitar work using either plectrum or finger style technique. 2) Construct and play seventh chords using a four-string voicing family. 3) Read staff notation in II, V and VII positions. 4) Play a stylistically appropriate accompaniment pattern. 5) Play scales and chords with closed position fingerings in all major keys. 6) Perform ensemble music using rhythms up to eighth notes and closed positions. Course Content 1) Reading and playing intermediate to advanced solo and ensemble music for the guitar 2) Chromatic and altered chord construction and fingerboard harmony 3) Sight reading studies in all fingerboard positions 4) Arpeggio and scale exercises using finger style technique 5) Arranging for solo guitar in contemporary idioms Course Objectives Students will be able to: 1) Read and play intermediate to advanced solo guitar music using both plectrum and finger style technique 2) Comprehend and apply chromatic chord construction, alterations and substitutions 3) Read staff notation of melodies in all key signatures covering the entire fingerboard 4) Perform intermediate to advanced level ensemble music 5) Create intermediate level solo guitar arrangements from lead sheets Method of Evaluation A grading system will be established by the instructor and implemented uniformly.
    [Show full text]
  • Guitar Syllabus Quark with Corrections.Qxd
    Guitar Syllabus Classical & Plectrum Trinity Guildhall Examinations 89 Albert Embankment London SE1 7TP UK T + 44 (0)20 7820 6100 F + 44 (0)20 7820 6161 E [email protected] www.trinityguildhall.co.uk Patron HRH The Duke of Kent KG Director of Music & Performing Arts Examinations Mark Stringer GMusRNCM(Hons) FTCL ARCO(CHM) ARCM PGCE FRSA Chief Examiner in Music Keith Beniston GLCM FLCM PGCE FRSA Syllabus Manager Benjamin Norbury MA LTCL Copyright © Trinity College London 2006 Published by Trinity College London Fourth impression, June 2007 Contents Introduction . .3 Acknowledgements . .3 Grade examinations Structure, duration & marking . .4 Instruments . .6 Technical Work . .6 Pieces . .8 Supporting Tests: Sight Reading . .10 Aural . .12 Improvisation . .16 Musical Knowledge . .19 Requirements: Guitar (subject code GTR) . .22 Plectrum Guitar (subject code PLE) . .42 Ensemble Certificate examinations Structure, duration & marking . .54 Obtaining music — publishers’ contact details . .55 Trinity Guildhall publications . .58 2 Guitar Syllabus 2007–2009 Introduction This syllabus contains full details of Grade and Certificate examinations in Guitar and Plectrum Guitar. It is valid from 1 January 2007 to 31 December 2009, and supersedes all previous syllabuses. A new syllabus will be published in August 2009 with requirements from 2010. Note that there will be no overlap allowed in 2007 from any previous grade practical syllabus from either Trinity or Guildhall. This is due to the very significant changes introduced to the structure and mark schemes. All candidates must use the new 2007 repertoire, technical work and supporting tests. When this syllabus is replaced there will be an overlap for the first session only of 2010, during which candidates will be able to offer pieces from the 2007–2009 lists.
    [Show full text]