Garageband Jam Pack 4 Orchestra Instruments Tips (Manual)
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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) -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: 29-Apr-2010 I, Tyler B Walker , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Composition It is entitled: An Exhibition on Cheerful Privacies Student Signature: Tyler B Walker This work and its defense approved by: Committee Chair: Mara Helmuth, DMA Mara Helmuth, DMA Joel Hoffman, DMA Joel Hoffman, DMA Mike Fiday, PhD Mike Fiday, PhD 5/26/2010 587 An Exhibition On Cheerful Privacies Three Landscapes for Tape and Live Performers Including Mezzo-Soprano, Bb Clarinet, and Percussion A dissertation submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2010 by Tyler Bradley Walker M.M. Georgia State University January 2004 Committee Chair: Mara Helmuth, DMA Abstract This document consists of three-musical landscapes totaling seventeen minutes in length. The music is written for a combination of mezzo-soprano, Bb clarinet, percussion and tape. One distinguishing characteristic of this music, apart from an improvisational quality, involves habituating the listener through consistent dynamics; the result is a timbrally-diverse droning. Overall, pops, clicks, drones, and resonances converge into a direct channel of aural noise. One of the most unique characteristics of visual art is the strong link between process and esthetic outcome. The variety of ways to implement a result is astounding. The musical landscapes in this document are the result of an interest in varying my processes; particularly, moving mostly away from pen and manuscript to the sequencer. -
The Percussion Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine). -
Amjad Ali Khan & Sharon Isbin
SUMMER 2 0 2 1 Contents 2 Welcome to Caramoor / Letter from the CEO and Chairman 3 Summer 2021 Calendar 8 Eat, Drink, & Listen! 9 Playing to Caramoor’s Strengths by Kathy Schuman 12 Meet Caramoor’s new CEO, Edward J. Lewis III 14 Introducing in“C”, Trimpin’s new sound art sculpture 17 Updating the Rosen House for the 2021 Season by Roanne Wilcox PROGRAM PAGES 20 Highlights from Our Recent Special Events 22 Become a Member 24 Thank You to Our Donors 32 Thank You to Our Volunteers 33 Caramoor Leadership 34 Caramoor Staff Cover Photo: Gabe Palacio ©2021 Caramoor Center for Music & the Arts General Information 914.232.5035 149 Girdle Ridge Road Box Office 914.232.1252 PO Box 816 caramoor.org Katonah, NY 10536 Program Magazine Staff Caramoor Grounds & Performance Photos Laura Schiller, Publications Editor Gabe Palacio Photography, Katonah, NY Adam Neumann, aanstudio.com, Design gabepalacio.com Tahra Delfin,Vice President & Chief Marketing Officer Brittany Laughlin, Director of Marketing & Communications Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator Caramoor / 1 Dear Friends, It is with great joy and excitement that we welcome you back to Caramoor for our Summer 2021 season. We are so grateful that you have chosen to join us for the return of live concerts as we reopen our Venetian Theater and beautiful grounds to the public. We are thrilled to present a full summer of 35 live in-person performances – seven weeks of the ‘official’ season followed by two post-season concert series. This season we are proud to showcase our commitment to adventurous programming, including two Caramoor-commissioned world premieres, three U.S. -
The Snare Drum Roll
ACADEMY OF MUSIC AND DRAMA The Snare Drum Roll Lúcia Viana da Silva Independent Project (Degree Project), 30 HEC, Master of Fine Arts in Symphonic Orchestra Performance Spring Semester, 2017 Independent Project (Degree Project), 30 higher education credits Master of Fine Arts in Symphonic Orchestra Performance Academy of Music and Drama, University of Gothenburg Spring semester, 2017 Author: Lúcia Viana da Silva Title: The Snare Drum Roll Supervisor: PhD Maria Bania Examiner: PhD. Tilman Skowroneck ABSTRACT Key words: orchestral percussion, snare drum, technique, roll. Like most other percussion instruments, the snare drum was introduced relatively late in the symphonic orchestra, and major changes and improvements concerning its playing techniques are still taking place. One of the most distinctive aspects of the snare drum is the roll, which consists of a challenge that most percussionists face eventually during their career. This project reflects my research on the snare drum roll during the last two years, gives a short background of snare drum playing and its technical development, and provides observations and reflections of different techniques to play a roll. As a percussionist myself, I analyzed and practiced on the execution of rolls as part of the research. This project includes notes on my interpretation of four orchestral excerpts, showing how technical development and control over the roll open musical possibilities to the orchestral percussionist. 2 ACKNOWLEDGEMTS I would first like to thank my supervisor, PhD Maria Bania, who was always available and responsive to my questions and supportive of my ideas. Her enthusiasm and constant demand gave me the drive and encouragement for writing this thesis. -
Relating Stave Pitches to DAW Piano & Drum Rolls for Inputting Notes Relating Notation Durations to MIDI Sequencer Note Leng
Relating Notation durations to MIDI sequencer note lengths Note Name Duration Piano roll Snap/Quantise Semibreve 4 1/1 1-DAW (Digital Audio Workstation): a digital system designed for recording and editing digital audio. It may refer to audio hardware, audio software, or both. 2-MIDI (Musical Instrument Digital Interface): the interchange Dotted 3 - of musical information between musical instruments, synthesizers and computers. Minim 3-MIDI controller: any hardware or software that generates and transmits MIDI data to electronic or digital MIDI-enabled devices, typically to trigger sounds Minim 2 1/2 and control parameters of an electronic music performance. 4-Sequencer: a software application or a digital electronic device that can record, save, play and edit audio files. Dotted 1 ½ - 5-Arrange Window: the main window of Logic Pro. It incorporates other Logic Pro Crotchet editors and it's where you do most of your work. 6-Drum Machine: An electronic device containing a sequencer that can be Crotchet 1 1/4 programmed to arrange and alter digitally stored drum sounds. 7-Tempo: the pace or speed at which a section of music is played. 8-Quantise/Quantisation: the rhythmic correction of audio or MIDI regions to a Dotted ¾ - specific time grid. Quaver 9- Fader: a device for gradually increasing or decreasing the level of an audio signal. Basic Functions of a DAW Quaver ½ 1/8 Audio Recording: The basic function of any DAW is record audio. DAWs can handle dozens to hundreds of audio tracks without causing too much strain on most systems. Audio Editing: Audio clips can be cut, copied and pasted. -
Repor 1 Resumes
REPOR 1RESUMES ED 018 277 PS 000 871 TEACHING GENERAL MUSIC, A RESOURCE HANDBOOK FOR GRADES 7 AND 8. BY- SAETVEIT, JOSEPH G. AND OTHERS NEW YORK STATE EDUCATION DEPT., ALBANY PUB DATE 66 EDRS PRICEMF$0.75 HC -$7.52 186P. DESCRIPTORS *MUSIC EDUCATION, *PROGRAM CONTENT, *COURSE ORGANIZATION, UNIT PLAN, *GRADE 7, *GRADE 8, INSTRUCTIONAL MATERIALS; BIBLIOGRAPHIES, MUSIC TECHNIQUES, NEW YORK, THIS HANDBOOK PRESENTS SPECIFIC SUGGESTIONS CONCERNING CONTENT, METHODS, AND MATERIALS APPROPRIATE FOR USE IN THE IMPLEMENTATION OF AN INSTRUCTIONAL PROGRAM IN GENERAL MUSIC FOR GRADES 7 AND 8. TWENTY -FIVE TEACHING UNITS ARE PROVIDED AND ARE RECOMMENDED FOR ADAPTATION TO MEET SITUATIONAL CONDITIONS. THE TEACHING UNITS ARE GROUPED UNDER THE GENERAL TOPIC HEADINGS OF(1) ELEMENTS OF MUSIC,(2) THE SCIENCE OF SOUND,(3) MUSICAL INSTRUMENTS,(4) AMERICAN FOLK MUSIC, (5) MUSIC IN NEW YORK STATE,(6) MUSIC OF THE THEATER,(7) MUSIC FOR INSTRUMENTAL GROUPS,(8) OPERA,(9) MUSIC OF OTHER CULTURES, AND (10) HISTORICAL PERIODS IN MUSIC. THE PRESENTATION OF EACH UNIT CONSISTS OF SUGGESTIONS FOR (1) SETTING THE STAGE' (2) INTRODUCTORY DISCUSSION,(3) INITIAL MUSICAL EXPERIENCES,(4) DISCUSSION AND DEMONSTRATION, (5) APPLICATION OF SKILLS AND UNDERSTANDINGS,(6) RELATED PUPIL ACTIVITIES, AND(7) CULMINATING CLASS ACTIVITY (WHERE APPROPRIATE). SUITABLE PERFORMANCE LITERATURE, RECORDINGS, AND FILMS ARE CITED FOR USE WITH EACH OF THE UNITS. SEVEN EXTENSIVE BE.LIOGRAPHIES ARE INCLUDED' AND SOURCES OF BIBLIOGRAPHICAL ENTRIES, RECORDINGS, AND FILMS ARE LISTED. (JS) ,; \\',,N.k-*:V:.`.$',,N,':;:''-,",.;,1,4 / , .; s" r . ....,,'IA, '','''N,-'0%')',", ' '4' ,,?.',At.: \.,:,, - ',,,' :.'v.'',A''''',:'- :*,''''.:':1;,- s - 0,- - 41tl,-''''s"-,-N 'Ai -OeC...1%.3k.±..... -,'rik,,I.k4,-.&,- ,',V,,kW...4- ,ILt'," s','.:- ,..' 0,4'',A;:`,..,""k --'' .',''.- '' ''-. -
NOT JUST to WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS for PEDAGOGY and ENRICHMENT by Richard David Puzzo, Jr a Docum
Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment Item Type text; Electronic Dissertation Authors Puzzo, Richard D., Jr. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 18:57:28 Link to Item http://hdl.handle.net/10150/623254 NOT JUST TO WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS FOR PEDAGOGY AND ENRICHMENT By Richard David Puzzo, Jr Copyright © Richard Puzzo, Jr. 2017 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Richard David Puzzo, Jr., titled “Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _____________________________________________ Date: December 7, 2016 Norman Weinberg _____________________________________________ Date: December 7, 2016 Edward Reid _____________________________________________ Date: December 7, 2016 Moisés Paiewonsky Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
Hedwig's Theme
Hedwig’s Theme SLS O L E ARN ING L AB Composer John Williams, best known for his movie soundtracks to films such as Star Wars and Harry Potter, has written some of the most iconic musical themes of our time. Let’s break this sentence down: • A composer is someone who writes music. • A soundtrack is music that accompanies a movie. • A musical theme is a small bit of recognizable music within a larger piece. Listen to your favorite pop song. It probably has a chorus, the recurring part that you love to sing along to. That’s kind of like a musical theme in “classical” music. Musical Themes in Hedwig’s Theme One of the most recognizable musical themes in cinematic history is Hedwig’s Theme, composed by John Williams for the movie Harry Potter and The Sorcerer’s Stone. The name suggests that the main musical theme represents Harry Potter’s owl, Hedwig. We first hear the theme played on the celesta before it is passed around to different instruments of the orchestra. A celesta, sometimes spelled celeste, looks like a miniature upright piano. When a key is pressed down, a hammer strikes a metal plate (a piano’s hammer strikes a string). You might think it sounds like a music box. Listen to the first theme from Hedwig’s Theme (0:00-0:40). Musical themes can represent different people, places, events, and even emotions. And composers aren’t limited to just one musical theme per piece. For Hedwig’s Theme, Williams composed three different musical themes. -
Áskell Másson's Solos for Snare Drum: Maximizing Musical Expression Through Varying Compositional Techniques and Experimenta
ÁSKELL MÁSSON’S SOLOS FOR SNARE DRUM: MAXIMIZING MUSICAL EXPRESSION THROUGH VARYING COMPOSITIONAL TECHNIQUES AND EXPERIMENTATION IN TIMBRE John Michael O’Neal, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2015 Christopher Deane, Major Professor Eugene Corporon, Related Field Professor Mark Ford, Committee Member Benjamin Brand, Director of Graduate Studies, College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School O’Neal, John Micheal. Áskell Másson’s Solos for Snare Drum: Maximizing Musical Expression through Varying Compositional Techniques and Experimentation in Timbre. Doctor of Musical Arts (Performance), December 2015, 38 pp., 7 figures, 29 musical examples, references, 27 titles. This dissertation and accompanying lecture recital explores the musical elements present in Áskell Másson’s three solos for snare drum, PRÍM (1984), KÍM (2001) and B2B: Back to Basics (2010). Two of the primary challenges for the performer when playing solo literature on a non-pitch oriented instrument are identifying thematic structures and understanding how to interpret all innovative sound production techniques employed within the music. A thematic and compositional analysis, as well as an investigation into the experimentation of timbre found in Másson’s three pieces for solo snare drum will help to clarify the musical complexities that are present throughout. Copyright 2015 by John Michael O’Neal ii ACKNOWLEDGEMENTS My sincere thanks and gratitude to my committee members and mentors Christopher Deane, Mark Ford and Eugene Corporon for their assistance with this project and their influence in shaping me as a teacher and performer. -
Note About the Drumsets Almost All Drum Sets Use Layer 1 for the Bass Drums, Layer 2 for the Snares, Layer 3 for the Rest, Layer 4 for Only the Hi-Hats
Intro The Techno Synth Construction Yard 32 MB ROM is a stunning collection of great new sounds designed for the dance, ambient and techno producer or artist. European sound designer Rob Papen has assembled over 600 of his best samples and coupled them with the Proteus 2000’s ultra-powerful synth engine to create a sound set like you’ve never heard before! Proteus’ 12 knob controllers let you tweak sounds to your heart’s content. Presets can morph into completely new sounds and textures at the touch of your fingers. Explore the presets by pressing the Audition button! The Techno Synth Construction Yard includes 136 spankin’ new RIFFs which you can use as backing tracks in your music. Note about the Drumsets Almost all drum sets use Layer 1 for the Bass Drums, Layer 2 for the Snares, Layer 3 for the rest, Layer 4 for only the hi-hats. This means also that the open hi-hat and closed hi-hat work together like real drums! This layering is also useful when using separate outputs or adding FX In the basic setting of the presets the knob control- lers for FX-A and B work only on Layer 2 (snares) and Layer 3 (rest of percussion and drums). Layer 1 and Layer 4 will stay dry for the FX-A knob (K). The non-GM sets have extra Bass and Snare Drums in each kit. Also Note: Many presets have a drum kit located at C-2 to A#1. 2 E-MU Systems TEKNO-Snyth 2 10/28/99, 4:36 PM Note about the MIDI G and MIDI H Controllers Almost all presets use clocked LFOs (MIDI G and MIDI H) to make the sound sync with your song. -
Download the Instrument List
Cinekinetik Instrument list 4 Libraries - 295 Instrument presets CineKinetik: Shipwreck Piano 33 Instrument presets SW Upright Piano SW Upright Piano Soft SW Upright Piano Mellow SW Upright Piano Hard SW Upright Piano Dark Shipwreck Piano Shipwreck Piano Quantum Room Shipwreck Piano Quantum Minute Shipwreck Piano Quantum Hall Shipwreck Piano Mellow Shipwreck Piano Quantum Church Shipwreck Piano Hard Shipwreck Piano Dark Shipwreck X Phase Whistle Shipwreck X Pad Shipwreck X Phase Dark Shipwreck X Pad Decay Shipwreck X Pad Jet Shipwreck X Pad Watery Shipwreck Swell Pad Dark Shipwreck Swell Pad Warm Shipwreck Swell Pad Shipwreck X Atmosphere Shipwreck X Lo-Fi Hit Shipwreck Quantum Pad Warm Shipwreck Quantum Pad Watery Shipwreck Quantum Pad Phase Shipwreck Quantum Pad Slow Shipwreck Quantum Pad Fast Shipwreck Quantum Pad Dark Shipwreck Russian Choir 2 Shipwreck Russian Choir 1 Shipwreck X Ligeti Wind 1 Cinekinetik Instrument list CineKinetik: Fractured Piano 37 Instrument presets 1914 Phantom Tron 1980 PG Tron Acid Mallets Angry Tony B Bounty Hunters MW Boys Of The Belt MW Deep Ocean Waves Electrified Piano Doom MW Funky Electric Hourglass I Can Sea Clearly Key attack from space Lo-Fi Chase piano Mothers Of The Belt Percussive and Electrified MW Piano Chain 2 MW Piano Chain Brass Piano Chain Tremolo Piano Chain Piano Felt Bass MW Piano Felt Bass Pluck 4th Piano Felt Pedal Piano Howlings B Piano Howlings C Piano Howlings Piano Metal Bar Bass Piano Metal Bar MW Poseidon Waves Space Station Lounge MW Stalker The Arrival The Camera Eye The Departure