Malletopia Instrument List

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Cinekinetik: Malletopia Instrument list 125 Instrument presets Glockenspiel Alloy Hall Glockenspiel Alloy Mallet Glockenspiel Alloy Q Room Glockenspiel Alloy Spaces Glockenspiel Alloy X Cloud Glockenspiel Aluminum Hall Glockenspiel Aluminum Mallet Glockenspiel Aluminum Q Room Glockenspiel Aluminum Spaces Glockenspiel Aluminum X Cloud Glockenspiel Brass Hall Glockenspiel Brass Mallet Glockenspiel Brass Q Room Glockenspiel Brass Spaces Glockenspiel Brass X Cloud Glockenspiel Rubber Hall Glockenspiel Rubber Mallet Glockenspiel Rubber Q Room Glockenspiel Rubber Spaces Glockenspiel Rubber X Cloud Glockenspiel Wood Hall Glockenspiel Wood Mallet Glockenspiel Wood Q Room Glockenspiel Wood Spaces Glockenspiel Wood X Cloud Marimba Metal Hall Marimba Metal Mallet Marimba Metal Q Room Marimba Metal Spaces Marimba Metal X Cloud Marimba Wood Hall Marimba Wood Mallet Marimba Wood Q Room Marimba Wood Spaces Marimba Wood X Cloud Marimba Wood X Shimmer Marimba Yarn Hard Hall Marimba Yarn Hard Q Room Marimba Yarn Hard Spaces Marimba Yarn Hard X Cloud Marimba Yarn Mallet Hard Marimba Yarn Mallet Med Marimba Yarn Mallet Soft Marimba Yarn Med Hall Marimba Yarn Med Q Room Marimba Yarn Med Spaces Marimba Yarn Med X Cloud Marimba Yarn Soft Hall Marimba Yarn Soft Q Room 1 Cinekinetik: Malletopia Instrument list Marimba Yarn Soft Spaces Marimba Yarn Soft X Cloud Orchestra Chimes Fast Dive Shimmer Orchestra Chimes Fast Dive Orchestra Chimes Inﬁnite Space Orchestra Chimes Q Room Orchestra Chimes Slow Dive Shimmer Orchestra Chimes Slow Dive Orchestra Chimes Spaces Orchestra Chimes Tape Loops Orchestra Chimes Wood Hammer Orchestra Chimes X Cloud Orchestra Chimes X Shimmer P5 Celeste Luna Sea P5 Celeste Lunar P5 Celeste Shimmer P5 Celeste Shimmer Pad V Shimmer Pad PC Shimmer Pad OC Shimmer Pad M2 Shimmer Pad M1 Vibraphone Felt Hall Vibraphone Felt Mallet Vibraphone Felt Q Room Vibraphone Felt Spaces Vibraphone Felt Trem Vibraphone Felt X Cloud Vibraphone Felt X Shimmer Vibraphone Metal Hall Vibraphone Metal Mallet Vibraphone Metal Q Room Vibraphone Metal Spaces Vibraphone Metal Trem Vibraphone Metal X Cloud Vibraphone Metal X Shimmer Vibraphone Spooky Amb Vibraphone Yarn Comp Hall Vibraphone Yarn Comp Q Room Vibraphone Yarn Comp Spaces Vibraphone Yarn Comp Trem CH Vibraphone Yarn Comp Trem Vibraphone Yarn Comp X Cloud Vibraphone Yarn Dense Hall Vibraphone Yarn Dense Q Room Vibraphone Yarn Dense Spaces Vibraphone Yarn Dense Trem Vibraphone Yarn Dense X Cloud Vibraphone Yarn Hard Hall Vibraphone Yarn Hard Q Room Vibraphone Yarn Hard Spaces Vibraphone Yarn Hard Trem 2 Cinekinetik: Malletopia Instrument list Vibraphone Yarn Hard X Cloud Vibraphone Yarn Mallet Comp Vibraphone Yarn Mallet Dense Vibraphone Yarn Mallet Hard Vibraphone Yarn Mallet Med Vibraphone Yarn Mallet Soft Vibraphone Yarn Med Hall Vibraphone Yarn Med Q Room Vibraphone Yarn Med Spaces Vibraphone Yarn Med Trem Vibraphone Yarn Med X Cloud Vibraphone Yarn Soft Hall Vibraphone Yarn Soft Q Room Vibraphone Yarn Soft Spaces Vibraphone Yarn Soft Trem Vibraphone Yarn Soft X Cloud Xylophone Wood Ens1 Xylophone Wood Ens2 Xylophone Wood Ens3 Xylophone Wood Hall Xylophone Wood Mallet Xylophone Wood Q Room Xylophone Wood Spaces Xylophone Wood X Cloud 3.

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C:\Documents and Settings\Jeff Snyder.WITOLD\My Documents
Nomographs q = 66 Jeff Snyder gongs 5 crotalesf gongs crotales diamond-shaped noteheads indicate rattan beaters 5 Percussion 1 (Crotales / Gongs) 5 P F D diamond-shaped noteheads indicate rattan beaters gongs _ Percussion 2 (Glockenspiel / Gongs) 3 3 5 5 5 F p G diamond-shaped noteheads indicate rattan beaters 5 vibraphone gongs gongs 3 D, A_ vibraphone Percussion 3 (Vibraphone / Gongs) 5 F p 5 5 5 E A (crotales) A# (gong) 10 7 15 7 7 l.v. crotales gongs crotales Perc.1 gongs 5 5 f p p 7 7 7 7 Perc.2 p p A (vibraphone) gongs vibraphone C gongs vibraphone G E (gong) (vibraphone) 5 7 7 p pp Perc.3 gongs f P vibraphone p 7 p 5 (Ped.) p 7 2 (rattan on both side (damp all) A (crotales) 20 5 5 3 and center of gong) gongs 3 Perc.1 3 3 f (rattan on both side (l.v.) C# and center of gong) 3 3 3 3 3 3 Perc.2 vibraphone D (vibraphone) F vibraphone (damp all) 3 D# (gong) gong vibraphone C# gongs (vibraphone) Perc.3 3 3 5 5 gongs 3 5 25 crotales 5 30 B (rattan on side) (all) gongs 3 Perc.1 5 (rattan on both side 5 5 gongs 5 p 5 5 5 f (rattan on side) and center of gong) (all)
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Shadow of the Sun for Large Orchestra
Shadow of the Sun for Large Orchestra A dissertation submitted to the Graduate School of the University of Cincinnati In partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Department of Composition, Musicology, and Theory of the College-Conservatory of Music by Hojin Lee M.F.A. University of California, Irvine November 2019 Committee Chair: Douglas Knehans, D.M.A. Abstract It was a quite astonishing moment of watching total solar eclipse in 2017. Two opposite universal images have been merged and passed by each other. It was exciting to watch and inspired me to write a piece about that image ii All rights are reserved by Hojin Lee, 2018 iii Table of Contents Abstract ii Table of Contents iv Cover page 1 Program note 2 Instrumentation 3 Shadow of the Sun 4 Bibliography 86 iv The Shadow of the Sun (2018) Hojin Lee Program Note It was a quite astonishing moment of watching total solar eclipse in 2017. Two opposite universal images have been merged and passed by each other. It was very exciting to watch and inspired me to write a piece about that image. Instrumentation Flute 1 Flute 2 (Doubling Piccolo 2) Flute 3 (Doubling Piccolo 1) Oboe 1 Oboe2 English Horn Eb Clarinet Bb Clarinet 1 Bb Clarinet 2 Bass Clarinet Bassoon 1 Bassoon 2 Contra Bassoon 6 French Horns 4 Trumpets 2 Trombones 1 Bass Trombone 1 Tuba Timpani : 32” 28” 25” 21” 4 Percussions: Percussion 1: Glockenspiel, Vibraphone, Crotales (Two Octaves) Percussion 2: Xylophone, Triangle, Marimba, Suspended Cymbals Percussion 3: Triangle, Vibraphone,
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KASHCHEI for Nine Instruments and Electronics
KASHCHEI For Nine Instruments and Electronics Nina C. Young November 2010 KASHCHEI for nine instruments and electronics November 2010 Approximate duration: 18:00 Premiered February 8, 2011, Live@CIRMMT – Montreal, Canada Instrumentation: Program Notes: flute (+ piccolo) Kashchei, for nine instruments and electronics, was written by Nina C. Young in 2010 in partial fulfillment of the Master’s of Music degree at McGill University under the supervision of Prof. Sean clarinet in B (+ bass clarinet) b Ferguson. The piece is a representation of Kashchei – a character from Russian folklore who makes an trumpet in C (+ piccolo trumpet; straight and harmon mutes) appearance in many popular fairytales or skazki. H is a dark, evil person of ugly, senile appearance who principally menaces young women. Kashchei cannot be killed by conventional means targeting his body. 2 percussion: Rather, the essence of his life is hidden outside of his flesh in a needle within an egg. Only by finding this I – vibraphone egg and breaking the needle can one overcome Kashchei’s powers. In one skazka, the princess Tsarevna’s I – almglocken (F4, G#4, A4, C5, D#5, E5, F5, G5, A5, B5, C#6) Darissa asks Kashchei where his death lies. Infatuated by her beauty, he let’s down his guard and I – crotales (E5, F5) eventually explains, “My death is far from hence, and hard to find, on the ocean wide: in that sea is the island of I – triangle I – wind chime Buyan, and upon this island there grows a green oak, and beneath this oak is an iron chest, and in this chest is a small I – splash cymbal basket, and in this basket is a hare, and in this hare is a duck, and in this duck is an egg; and he who finds this egg and I – suspended cymbal (medium) breaks it, at the same instant causes my death.” My own piece explores the seven layers and death of Kashchei.
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Two-Part Invention for Vibraphone by David Stock
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2017 Two-Part Invention for Vibraphone by David Stock: An Analysis and Performance Guide Gustavo Henrique Miranda Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Miranda, Gustavo Henrique, "Two-Part Invention for Vibraphone by David Stock: An Analysis and Performance Guide" (2017). LSU Doctoral Dissertations. 4240. https://digitalcommons.lsu.edu/gradschool_dissertations/4240 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. TWO-PART INVENTION FOR VIBRAPHONE BY DAVID STOCK: AN ANALYSIS AND PERFORMANCE GUIDE A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The College of Music and Dramatic Arts By Gustavo Miranda B.M., Universidade Federal da Paraiba, 2009 M.M., Louisiana State University, 2013 May 2017 ©Copyright 2016 Gustavo Miranda All Rights Reserved In Memory of David Stock iii ACKNOWLEDGEMENTS I would like to thank my parents for all of their support during these challenging years of graduate school away from home. I would also like to thank my amazing wife Deborah Ribeiro for her constant support and encouragement. Most of all, I would like to thank my teachers Dr.
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Ludwig Musser Concert Percussion 2013 Catalog
Welcome to the world of Ludwig/Musser Concert Percussion. The instruments in this catalog represent the finest quality and sound in percussion instruments today from a company that has been making instruments and accessories in the USA for decades. Ludwig is “The Most famous Name in Drums” since 1909 and Musser is “First in Class” for mallet percussion since 1948. Ludwig & Musser aren’t just brand names, they are men’s names. William F. Ludwig Sr. & William F. Ludwig II were gifted percussionists and astute businessmen who were innovators in the world of percussion. Clair Omar Musser was also a visionary mallet percussionist, composer, designer, engineer and leader who founded the Musser Company to be the American leader in mallet instruments. Both companies originated in the Chicago area. They joined forces in the 1960’s and originated the concept of “Total Percussion." With our experience as a manufacturer, we have a dedicated staff of craftsmen and marketing professionals that are sensitive to the needs of the percussionist. Several on our staff are active percussionists today and have that same passion for excellence in design, quality and performance as did our founders. We are proud to be an American company competing in a global economy. This Ludwig Musser Concert Percussion Catalog is dedicated to the late William F. Ludwig II Musser Marimbas, Xylophones, Chimes, Bells, & Vibraphones are available in “The Chief.” His vision for a “Total Percussion” a wide range of sizes and models to completely satisfy the needs of beginners, company was something he created at Ludwig schools, universities and professionals.
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Harmonic Analysis of Mallet Percussion by Max Candocia Goals
Harmonic Analysis of Mallet Percussion By Max Candocia Goals • Basic understanding of sound waves and mallet percussion • Understand harmonic analysis • Understand difference in sounds of different mallets and striking location Marimba Vibraphone Recording: Vermont Counterpoint, Nathaniel Bartlett Recording: La Fille Aux Cheveux de Lin, Ozone Percussion Ensemble Photo courtesy of vichitex.com Photo courtesy of woodbrass.com Xylophone Recording: Fantasy on Japanese Wood Prints Photo courtesy of onlinerock.com Sound Waves • Vibrating medium (ie. Air, water, ground) • Longitudinal • Harmonics – Sinusoidal Components Sine: Sawtooth: Images courtesy of Wikipedia Qualities of Harmonics • Frequency – Cycles per second (Hertz); determines pitch Photo courtesy of Wikipedia • Amplitude – Power of wave; determines loudness Photo courtesy of physics.cornell.edu • Phase – Location of harmonic relative to other harmonics Photo courtesy of 3phasepower.org Harmonic Analysis Harmonics of Kelon xylophone struck in center with hard rubber mallet Vibraphone HarmonicsDry: Wet: Instrument Mallet Location # Harmonics H1 dB H2 dB H3 dB H4 dB H5 dB Vibraphone Black Dry 5 6 19 0.8 13 3 Vibraphone Black Wet 2 16 1.1 Vibraphone Red Dry 3 22 3.5 1.5 Vibraphone Red Wet 1 1 Vibraphone White Dry 4 16 0.5 9 0.6 Vibraphone White Wet 2 25 1.5 Xylophone Harmonics Instrument Mallet Location # Harmonics H1 Freq H2 Freq H3 Freq H4 Freq H5 Freq Xylophone Hard Rubber Center 4 886.9 1750 2670 5100 Xylophone Hard Rubber Edge 4 886.9 1760 2670 5150 Xylophone Hard Rubber Node 3 886.85
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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.
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University of California, San Diego
UNIVERSITY OF CALIFORNIA, SAN DIEGO Real Time Vibraphone Pitch and Timbre Classification A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Music by Kevin Larke Committee in charge: Shlomo Dubnov, Chair Miller Puckette Richard Moore 2008 The Thesis of Kevin Larke is approved, and it is accept- able in quality and form for publication on microfilm: Chair University of California, San Diego 2008 iii TABLE OF CONTENTS SignaturePage ...................................... iii TableofContents .................................... iv ListofFigures ...................................... v ListofTables ....................................... vi Abstract .......................................... vii 1 Overview ......................................... 1 1 Aboutthevibraphone .............................. 2 2 Research ....................................... 4 A PitchTracking ................................. 4 B PercussionClassification .......................... 5 C OnsetDetection ................................ 6 2 VibraphoneTracking ................................. 8 1 TheFourierTransformandtheVibraphone ................ 8 2 PeakSelection .................................... 11 3 SpectralandPeakDistanceMeasures .................... 15 4 TemplateRepresentation ............................ 21 5 OnsetDetection .................................. 27 6 TemplateGenerator ................................ 32 7 Evaluatingthesystem .............................. 34 8 FutureWork ....................................
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8 Weeks Percussion Second Half.Pub
More Rudiment Fun! Volume 1, Issue 6 Week 5 Dynamic Fun and More Inside this week: Rudiments Dynamics on 2 Orchestra Bells Dynamic Work- 3 What Gives the Keyboard Instruments sheet Their Sound? Snare Drum 4 As we briefly discussed in sounds are the resonator Rudiments #2 earlier weeks, keyboard in- tubes below the tone bars. struments create different These resonators are spe- Snare Drum 5 pitches based on their cific lengths and sizes. At Exercises #3 length, width, depth, or den- the proper dimensions the sity (composite material). resonators will help create a Weekly Practice 7 clear tone and accurate Chart Adding to the quality of pitch. The vibraphone not only has resonators, but also paddles inside the tubes. These pad- dles are turned by a motor and the speed determines the width of vibrato pro- duced. The sounds is meant to mimic that of a human voice. Chimes The resonator tubes on the The chimes are re- marimba can be quite lengthy lated to keyboard and windy. Due to the low instruments. Each pitch and timbre needed the tune on a set of resonators must be large to chimes is like one key accommodate the sound. on a keyboard instru- ment. Chimes are struck at the very top with a rawhide ham- mer. Like the piano and vibraphone it has What To Expect This Week... a dampening pedal, that when pressed, allows the notes to ring. This week we will take some great percussionist. the book and look carefully time to focus purely on the at the items listed on the On snare drum we will learn fundamentals of playing.
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Extended Performance Techniques and Compositional Style in the Solo
EXTENDED PERFORMANCE TECHNIQUES AND COMPOSITIONAL STYLE IN THE SOLO CONCERT VIBRAPHONE MUSIC OF CHRISTOPHER DEANE Joshua D. Smith, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Mark Ford, Major Professor Eugene Migliaro Corporon, Minor Professor Christopher Deane, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Smith, Joshua D., Extended performance techniques and compositional style in the solo concert vibraphone music of Christopher Deane. Doctor of Musical Arts (Performance), August 2008, 66 pp., 1 table, 8 figures, 20 musical examples, references, 29 titles. Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature. Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane’s compositions for vibraphone consistently expand the technical and musical potential of the instrument.
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Triangle & Tambourine
○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ 1 Triangle & 2001 Tambourine Rich Holly NASHVILLE NOVEMBER 14–17 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Playing percussion accessories may be some of the most gratifying performance experiences you will have. Why? Because you can be creative! Although there are time-honored traditions on how to play these instru- ments, in the last 30+ years we have seen and heard several variations on playing techniques and available sounds. Percussionists from around the world, in classical, pop, jazz, studio, and world music settings have been discovering and utilizing these other techniques with great success. It is important that you know and understand the basic playing techniques and available sounds first. These will serve you quite well in concert band, wind ensemble, and orchestral settings. Many of you will have the opportunity to play percussion in a jazz ensemble or perhaps in a band of your own. That’s where these performance variations will really come into play. These variations are based on the performance techniques of similar instruments from cultures around the world, and today’s orchestral players are finding many of these quite useful, too. The most important thing is to have fun! Try these only as a starting point – there is no limit to the use of your own creativity. Triangle When holding the triangle in a clip in the standard fashion, it is possible and often desirable to muffle the sound of the triangle with the heel and/or the fingers of the hand that is holding the clip. The following ex- ample is one way to attain a useful pattern using this technique.
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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 .............................................
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