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Accordion Electronic Keyboard Electric Organ
Accordion Electronic Keyboard Electric Organ Technical Requirements & Discussion Questions for Recorded Graded Exams The following list of technical requirements should be performed to make up the Technical Work component of the exam for: • Accordion (pp.1-5 • Electronic Keyboard (pp.!-1" • Electric Organ (pp. 11-1# Candidates may choose which scales or arpeggios to perform but should& where possible& select a variety of different ke%s. Close attention should be paid to instructions on articulation and dynamics. Further guidelines on specific requirements for each grade (such as the set scales for each grade and instructions on hands together or separate performance) can be found in the rele'ant L$*+ syllabus. Accordion Grade Technical Requirements Scales ,ne ma-or scale ,ne minor scale C chromatic scale .ellow shake in C "hords - a mixture of full and broken chords should be performed in a variety of ke%s and in'ersions: one ma-or one minor one augmented one dominant 7th one diminished 7th Discussion Questions .oth questions to be answered at an% point during the exam: • Which of the pieces you pla%ed today is your fa'ourite and wh%0 • What is the mood of this piece0 1 Grade $% Technical Requirements Scales ,ne ma-or scale ,ne minor scale C chromatic scale .ellow shake in C "hords - a mixture of full and broken chords should be performed in a variety of ke%s and in'ersions: two ma-or two minor one augmented one dominant 7ths one diminished 7ths Discussion Questions .oth questions to be answered at an% point during the exam: • Which of -
MX300 User Guide IMPORTANT SAFETY INSTRUCTIONS
Stereo Reverb MX300 Effects Procesor MX300 User Guide IMPORTANT SAFETY INSTRUCTIONS WARNING FOR YOUR PROTECTION READ THE FOLLOWING: READ THESE INSTRUCTIONS. KEEP THESE INSTRUCTIONS. HEED ALL WARNINGS. FOLLOW ALL INSTRUCTIONS. The symbols shown above are internationally accepted symbols that warn of potential hazards with electrical products. The lightning flash with arrowpoint in an equilateral triangle means DO NOT USE THIS APPARATUS NEAR WATER. that there are dangerous voltages present within the unit. The exclamation point in an equilateral triangle indicates that it is CLEAN ONLY WITH A DRY CLOTH. necessary for the user to refer to the owner’s manual. FOR INDOOR USE ONLY. These symbols warn that there are no user serviceable parts inside the unit. Do not open the unit. Do not attempt to service the unit DO NOT BLOCK ANY OF THE VENTILATION OPENINGS. INSTALL IN ACCORDANCE yourself. Refer all servicing to qualified personnel. Opening the WITH THE MANUFACTURER’S INSTRUCTIONS. chassis for any reason will void the manufacturer’s warranty. Do not get the unit wet. If liquid is spilled on the unit, shut it off DO NOT INSTALL NEAR ANY HEAT SOURCES SUCH AS RADIATORS, HEAT REGISTERS, immediately and take it to a dealer for service. Disconnect the unit STOVES, OR OTHER APPARATUS (INCLUDING AMPLIFIERS) THAT PRODUCE HEAT. during storms to prevent damage. ONLY USE ATTACHMENTS/ACCESSORIES SPECIFIED BY THE MANUFACTURER. The following is indicative of low altitude use; do not use this product above UNPLUG THIS APPARATUS DURING LIGHTNING STORMS OR WHEN UNUSED FOR 2000m. LONG PERIODS OF TIME. Do not defeat the safety purpose of the polarized or grounding-type plug. -
Piano / Keyboard for Absolute Beginners
Learn How to Play Piano / Keyboard For Absolute Beginners A Self Tuition Book For Adults and Teenagers! Martin Woodward ISBN: Copyright © Martin Woodward 2015 All rights reserved Printing for buyers use only is permitted Enquires: http://gonkmusic.com 2 Copyright © Martin Woodward 2015 - www.gonkmusic.com 2 Acknowledgements To all the fantastic musicians who I’ve had the privilege of working with back in the 1960s / 70s including: Pip Williams (guitarist / record producer); Tex Marsh (drummer); Roger Flavell (bassist); Kevin Fogarty (guitarist); Ralph Denyer (singer / songwriter); Phil Childs (bassist); Jim Smith (drums); George Lee (saxophonist); Ron Thomas (bassist); Emile Ford (No. 1 UK singer / songwriter). To my early mentors: Alan Simonds (guitarist / vocalist); big bruv Steve (guitarist) and Mr. Henley (my inspirational music teacher at Warlingham School 1960 - 65). And to Myriad Software: http://www.myriad-online.com for the Melody Assistant music notation software which was used for the production of this book. - Thanks! 3 Copyright © Martin Woodward 2015 - www.gonkmusic.com 3 4 Copyright © Martin Woodward 2015 - www.gonkmusic.com 4 Contents Introduction ............................................................................................................. 11 Get the Best from this Book ................................................................................ 12 Using the links ..................................................................................................... 12 Trust Your Self ................................................................................................... -
Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music
Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music Matthew A. Bardin Experimental Music & Digital Media Center for Computation & Technology Louisiana State University Baton Rouge, Louisiana 70803 [email protected] ABSTRACT the 'play head' was utilized to reverse the process and gen- The purpose of this paper is to provide a historical context erate the output's audio signal [8]. Looking at figure 1, from to some of the common schools of thought in regards to museumofmagneticsoundrecording.org (Accessed: 03/20/2020), tape composition present in the later half of the 20th cen- the locations of the heads can be noticed beneath the rect- tury. Following this, the author then discusses a variety of angular protective cover showing the machine's model in the more common techniques utilized to create these and the middle of the hardware. Previous to the development other styles of music in detail as well as provides examples of the reel-to-reel machine, electronic music was only achiev- of various tracks in order to show each technique in process. able through live performances on instruments such as the In the following sections, the author then discusses some of Theremin and other early predecessors to the modern syn- the limitations of tape composition technologies and prac- thesizer. [11, p. 173] tices. Finally, the author puts the concepts discussed into a modern historical context by comparing the aspects of tape composition of the 20th century discussed previous to the composition done in Digital Audio recording and manipu- lation practices of the 21st century. Author Keywords tape, manipulation, history, hardware, software, music, ex- amples, analog, digital 1. -
ARTIFICIAL REVERBERATION Ainnol
ARTIFICIAL REVERBERATION Ainnol Lilisuliani Ahmad Rasidi (SID : 430566949) Digital Audio Systems, DESC9115, Semester 1 2014 Graduate Program in Audio and Acoustics Faculty of Architecture, Design and Planning, The University of Sydney -------------------------------------------------------------------------------------------------------------------------------------- 1.0 Abstract Digital reverberation is an audio effect that is very common in musical production. It can be used to enhance recorded sounds that often sounds “dry” and “flat”. The principal idea of artificial reverberation was initiated by Manfred Schroeder in the 1960’s. Since then, many artificial reverb algorithms have been created. This review will look into two types of reverberation, convolution and algorithm based reverberation, focusing on Schroeder’s delay network algorithm and the applications of artificial reverberation in many areas. 2.0 Introduction Sound is a mechanical energy that travels through air at the speed of about 344 m/s. The speed varies upon the properties of air it travels, mostly due to the change of temperature and sometimes due to the humidity. In an enclosed space, this longitudinal waves of sound would reduce its amplitude the further it travels from the source until it reaches a surface. Depending upon the characteristic of the surface, some of the energy of the sound will be absorbed while some shall be reflected back into space. The reflected sound will bounce again as it meets other surface or obstacles, hence creating a complex pattern of reflection. Reverberation is the term we use for the collection of reflected sounds from the surfaces in an enclosed space. It is measured by reverberation time, which is perceived as the time for the sound to die away 60 decibels after the sound sources ceases (Sabine, 1972) . -
Recording and Amplifying of the Accordion in Practice of Other Accordion Players, and Two Recordings: D
CA1004 Degree Project, Master, Classical Music, 30 credits 2019 Degree of Master in Music Department of Classical music Supervisor: Erik Lanninger Examiner: Jan-Olof Gullö Milan Řehák Recording and amplifying of the accordion What is the best way to capture the sound of the acoustic accordion? SOUNDING PART.zip - Sounding part of the thesis: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collapsed Cathedral SOUND SAMPLES.zip – Sound samples Declaration I declare that this thesis has been solely the result of my own work. Milan Řehák 2 Abstract In this thesis I discuss, analyse and intend to answer the question: What is the best way to capture the sound of the acoustic accordion? It was my desire to explore this theme that led me to this research, and I believe that this question is important to many other accordionists as well. From the very beginning, I wanted the thesis to be not only an academic material but also that it can be used as an instruction manual, which could serve accordionists and others who are interested in this subject, to delve deeper into it, understand it and hopefully get answers to their questions about this subject. The thesis contains five main chapters: Amplifying of the accordion at live events, Processing of the accordion sound, Recording of the accordion in a studio - the specifics of recording of the accordion, Specific recording solutions and Examples of recording and amplifying of the accordion in practice of other accordion players, and two recordings: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collasped Cathedral. -
DLM8 and DLM12 2000W Powered Loudspeakers with DL2 Digital Mixer
DLM8 and DLM12 2000W Powered Loudspeakers with DL2 Digital Mixer OWNER’S MANUAL Important Safety Instructions 1. Read these instructions. 20. NOTE: This equipment has been tested and found to comply with 2. Keep these instructions. the limits for a Class B digital device, pursuant to part 15 of the FCC 3. Heed all warnings. Rules. These limits are designed to provide reasonable protection 4. Follow all instructions. against harmful interference in a residential installation. This equipment 5. Do not use this apparatus near water. generates, uses, and can radiate radio frequency energy and, if not 6. Clean only with a dry cloth. installed and used in accordance with the instructions, may cause 7. Do not block any ventilation openings. Install in accordance with the manu- harmful interference to radio communications. However, there is no facturer’s instructions. guarantee that interference will not occur in a particular installation. 8. Do not install near any heat sources such as radiators, heat registers, stoves, If this equipment does cause harmful interference to radio or television or other apparatus (including amplifiers) that produce heat. reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or 9. Do not defeat the safety purpose of the polarized or grounding-type plug. more of the following measures: A polarized plug has two blades with one wider than the other. A grounding- type plug has two blades and a third grounding prong. The wide blade or • Reorient or relocate the receiving antenna. the third prong are provided for your safety. -
Playing Music in Just Intonation: a Dynamically Adaptive Tuning Scheme
Karolin Stange,∗ Christoph Wick,† Playing Music in Just and Haye Hinrichsen∗∗ ∗Hochschule fur¨ Musik, Intonation: A Dynamically Hofstallstraße 6-8, 97070 Wurzburg,¨ Germany Adaptive Tuning Scheme †Fakultat¨ fur¨ Mathematik und Informatik ∗∗Fakultat¨ fur¨ Physik und Astronomie †∗∗Universitat¨ Wurzburg¨ Am Hubland, Campus Sud,¨ 97074 Wurzburg,¨ Germany Web: www.just-intonation.org [email protected] [email protected] [email protected] Abstract: We investigate a dynamically adaptive tuning scheme for microtonal tuning of musical instruments, allowing the performer to play music in just intonation in any key. Unlike other methods, which are based on a procedural analysis of the chordal structure, our tuning scheme continually solves a system of linear equations, rather than relying on sequences of conditional if-then clauses. In complex situations, where not all intervals of a chord can be tuned according to the frequency ratios of just intonation, the method automatically yields a tempered compromise. We outline the implementation of the algorithm in an open-source software project that we have provided to demonstrate the feasibility of the tuning method. The first attempts to mathematically characterize is particularly pronounced if m and n are small. musical intervals date back to Pythagoras, who Examples include the perfect octave (m:n = 2:1), noted that the consonance of two tones played on the perfect fifth (3:2), and the perfect fourth (4:3). a monochord can be related to simple fractions Larger values of mand n tend to correspond to more of the corresponding string lengths (for a general dissonant intervals. If a normally consonant interval introduction see, e.g., Geller 1997; White and White is sufficiently detuned from just intonation (i.e., the 2014). -
A Brief, Comprehensive History of the Cordovox and Other Electronic Accordions” by Fabio G
“A Brief, Comprehensive History of the Cordovox and other electronic accordions” By Fabio G. Giotta Many technical and musical geniuses poured their hearts and souls in to the design and production of these amazing instruments whose electronic technology originated in the late 1950’s, 60’s and 70’s; the Ages of Technology, Space and Jet Travel. The acoustic accordion technology (typically 15,000 parts in a full size instrument) spans from roughly 1900 through the age of its electronic counterparts. This article endeavors to correct some of the rampant inaccuracies and invalid opinions about the Cordovox and other electronic accordions found on the World Wide Web, including some of the statements posted at Google Answers, and errant statements by some Ebay sellers and non-accordion oriented retailers, including musical instrument shops. Herein, I opine and make a combination of declarations, observations, and well-educated guesses based on my own personal experience with these instruments, continuing interaction with accordion industry experts such as: Gordon Piatanesi (Colombo & Sons Accordions-San Francisco, CA), Joe Petosa (Petosa Accordions-Seattle, WA), The curators of the Museo Internazionale Della Fisarmonica-Castelfidardo, Italia (International Museum of the Accordion), including Paolo Brandoni (Brandoni & Sons Accordions-General Accordion Co.), Fabio Petromilli (Comune of Castelfidardo), Beniamino Bugiolacchi-Museum President, and their colleagues Maestro Gervasio Marcosignori, concert accordionist, arranger, recording artist, and former Director of Instrument Development for Farfisa S.p.A. Organ electronics experts such as *Dave Matthews, *David Trouse, *David Tonelli and *Peter Miller, and study of written, official documents such as books, brochures, advertisements, owner’s guides, service manuals, and historical accounts, inlcluding the following: The Golden Age of the Accordion--Flynn/Davison/Chavez, Super VI Scandalli…Una Fisarmonica Nella Storia--Jercog, and Per Una Storia Della Farfisa-- Strologo. -
Basic Music Course: Keyboard Course
B A S I C M U S I C C O U R S E KEYBOARD course B A S I C M U S I C C O U R S E KEYBOARD COURSE Published by The Church of Jesus Christ of Latter-day Saints Salt Lake City, Utah © 1993 by Intellectual Reserve, Inc. All rights reserved Printed in the United States of America Updated 2004 English approval: 4/03 CONTENTS Introduction to the Basic Music Course .....1 “In Humility, Our Savior”........................28 Hymns to Learn ......................................56 The Keyboard Course..................................2 “Jesus, the Very Thought of Thee”.........29 “How Gentle God’s Commands”............56 Purposes...................................................2 “Jesus, Once of Humble Birth”..............30 “Jesus, the Very Thought of Thee”.........57 Components .............................................2 “Abide with Me!”....................................31 “Jesus, Once of Humble Birth”..............58 Advice to Students ......................................3 Finding and Practicing the White Keys ......32 “God Loved Us, So He Sent His Son”....60 A Note of Encouragement...........................4 Finding Middle C.....................................32 Accidentals ................................................62 Finding and Practicing C and F...............34 Sharps ....................................................63 SECTION 1 ..................................................5 Finding and Practicing A and B...............35 Flats........................................................63 Getting Ready to Play the Piano -
Quantifying Harmony and Dissonance in Piano Intervals and Chords Michael Blatnik University of Lynchburg
University of Lynchburg Digital Showcase @ University of Lynchburg Undergraduate Theses and Capstone Projects Spring 4-2011 Quantifying Harmony and Dissonance in Piano Intervals and Chords Michael Blatnik University of Lynchburg Follow this and additional works at: https://digitalshowcase.lynchburg.edu/utcp Part of the Other Physics Commons Recommended Citation Blatnik, Michael, "Quantifying Harmony and Dissonance in Piano Intervals and Chords" (2011). Undergraduate Theses and Capstone Projects. 137. https://digitalshowcase.lynchburg.edu/utcp/137 This Thesis is brought to you for free and open access by Digital Showcase @ University of Lynchburg. It has been accepted for inclusion in Undergraduate Theses and Capstone Projects by an authorized administrator of Digital Showcase @ University of Lynchburg. For more information, please contact [email protected]. Quantifying Harmony and Dissonance in Piano Intervals and Chords Michael Blatnik Senior Honors Project Submitted in partial fulfillment of the graduation requirements of the Westover Honors Program Westover Honors Program April, 2011 Dr. John Eric Goff Committee chair Dr. Chinthaka Liyanage Dr. Nancy Cowden 2 Abstract The level of dissonance in piano intervals and chords was quantified using both experimental and computational methods. Intervals and chords were played and recorded on both a Yamaha YPT-400 portable keyboard and a Steinway & Sons grand piano. The recordings were run through spectral analyses, and dissonance values were calculated using a dissonance equation. The result was a ranking of comparative dissonance levels between each chord and interval. Though the goal was to find a universal ranking of chords, it was instead determined that such a ranking cannot exist. The non-universal rankings revealed that the transition from least dissonant to most dissonant was gradual. -
Musical Instruments for the Music Unit
Chapter XI Instruments and Equipment Nicholas DeCarbo, Associate Dean Frost School of Music, University of Miami It goes without saying that music units need considerable equipment such as acoustical shells, staging, risers, chairs, music stands, podiums, instrument storage cabinets, laboratory workstations, music library systems, audio systems, and quality instruments. All music programs also need equipment devoted to technology, including hardware, software, and furniture. Because of advances in technology, music units use an array of electronic keyboard instruments for piano labs, classrooms, recording studios, music technology centers, and faculty studio/offices. Of course, music units also continue to need traditional acoustic instruments, such as concert grand pianos, upright pianos, harps, contra clarinets, English horns, contrabassoons, a full complement of percussion instruments, and sousaphones for the marching band. According to the Higher Education Arts Data Survey (HEADS), 474 public and private accredited and nonaccredited music units in the United States reported spending an average of $53,440 on equipment, $16,336 on leases and rentals, and $9,861 on repair during 2004–5. During that same period, 358 music units reported spending an average of $17,051 on technology. This chapter discusses the planning process needed for the purchase and/or lease of equipment, instruments, and technology-related items, along with guidelines for maintaining inventories. Planning for Equipment and Instrument Purchases Due to the lack of competition, the cost of equipment for performance venues, rehearsal spaces, and faculty studios is high compared to equipment purchases in many other areas of the university, excepting the sciences. Moreover, the music executive is often in the position of having to convince the higher administration that the needs are valid.