Jean Mann Jean
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Songs by Title
16,341 (11-2020) (Title-Artist) Songs by Title 16,341 (11-2020) (Title-Artist) Title Artist Title Artist (I Wanna Be) Your Adams, Bryan (Medley) Little Ole Cuddy, Shawn Underwear Wine Drinker Me & (Medley) 70's Estefan, Gloria Welcome Home & 'Moment' (Part 3) Walk Right Back (Medley) Abba 2017 De Toppers, The (Medley) Maggie May Stewart, Rod (Medley) Are You Jackson, Alan & Hot Legs & Da Ya Washed In The Blood Think I'm Sexy & I'll Fly Away (Medley) Pure Love De Toppers, The (Medley) Beatles Darin, Bobby (Medley) Queen (Part De Toppers, The (Live Remix) 2) (Medley) Bohemian Queen (Medley) Rhythm Is Estefan, Gloria & Rhapsody & Killer Gonna Get You & 1- Miami Sound Queen & The March 2-3 Machine Of The Black Queen (Medley) Rick Astley De Toppers, The (Live) (Medley) Secrets Mud (Medley) Burning Survivor That You Keep & Cat Heart & Eye Of The Crept In & Tiger Feet Tiger (Down 3 (Medley) Stand By Wynette, Tammy Semitones) Your Man & D-I-V-O- (Medley) Charley English, Michael R-C-E Pride (Medley) Stars Stars On 45 (Medley) Elton John De Toppers, The Sisters (Andrews (Medley) Full Monty (Duets) Williams, Sisters) Robbie & Tom Jones (Medley) Tainted Pussycat Dolls (Medley) Generation Dalida Love + Where Did 78 (French) Our Love Go (Medley) George De Toppers, The (Medley) Teddy Bear Richard, Cliff Michael, Wham (Live) & Too Much (Medley) Give Me Benson, George (Medley) Trini Lopez De Toppers, The The Night & Never (Live) Give Up On A Good (Medley) We Love De Toppers, The Thing The 90 S (Medley) Gold & Only Spandau Ballet (Medley) Y.M.C.A. -
Tenor Banjo by Don Meade
The Irish Tenor Banjo by Don Meade The tenor banjo is only about a century old and Early banjos were not standardized instruments was not widely played in Ireland before the but typically had a soundbox made from a dried 1960s. Until recently, in fact, the instrument had gourd with one end cut off. A small drumhead a fairly poor reputation among traditional music made from the skin of a raccoon, groundhog or cognoscenti. Times (and banjo players) have other animal was tied or tacked in place over this changed, however, and the oft-maligned opening. The neck was fretless, sometimes little “bodhrán on a stick” is now one of the most more than a stick thrust through the gourd body. popular “traditional” instruments in Irish music. Strings might be made from braided horse hair, Banjo virtuoso Mick Moloney says Irish banjo thread, gut, hemp or any other tough fiber. maker Tom Cussen’s list of Irish tenor players Unlike African lutes, on which the strings are now includes some 7,000 names! There are now attached to sliding tuning rings set around the more people playing Irish dance music on the neck, American banjos were, from an early point tenor banjo than are using the instrument for in their evolution, tuned with violin-style pegs. anything else. Before going into details of Irish banjo style, a bit of a history lesson is required The banjo in its classic form has a short, high- to explain this development. pitched string (“chanterelle”) that terminates at a peg on the side of the neck, as well as several African Roots full-length strings. -
CORDAS Inter & PT.Xlsm
INSTRUMENTS TUNING AND SCALE LENGHT 20/07/2017 Instrument Scale Type END Notes Classical 4/4 High Tension 650 mm Nylon E B G D A E Classical 3/4 High tension 577 mm Nylon E B G D A E Acoustic Guitar Bronze 0,011 650 mm Steel Ball E B G D A E Acoustic Guitar 3/4 Bronze 580 mm Steel Ball E B G D A E Baritone Guitar 766 mm Nylon B F# D A E B Tenor Guitar 577 mm Nylon A D G C Acoustic bass - 32 inch 812 mm Taped Ball G D A E Algerian Mondol 10C 650 mm Steel Loop B B G G D D A A E E Algerian Mondol 8C 650 mm Steel Loop B B G G D D A A Balalaika Alto 520 mm mix Ball A E E Balalaika Prima 445 mm Nylon A E E Banjo Guitar 650 mm Steel Ball E B G D A E Banjo Mandola 468 mm Steel Loop E E A A D D G G Banjo Portuguese 364 mm Steel Loop E E A A D D G G Banjo Trompete 300 mm Steel Loop E E A A D D G G Caipira 564 mmSteelBall E E B B G G E E B B Cap-verde 364 mm Steel Ball D B G D Cav Brasilian & Original 342 mm Steel Ball D B G D Cuatro Puerto Rico 515 mm Nylon G G D D A A E E B B Cuatro Venuzuelano 484 mm Nylon B F# D A Domra Alto 490 mm Nylon D A E Domra Prima 395 mm Nylon D A E Irish Bouzouki 650 mm Steel Loop D D A A D D G G Mandocello 610 mm Steel Loop E E A A D D G G Mandocello EU 650 mm Steel Loop A A D D G G C C Mandola 468 mm Steel Loop E E A A D D G G Mandola Octave 563 mm Steel Loop E E A A D D G G Mandolin 364 mm Steel Loop E E A A D D G G Portuguese Amarantina 505 mm Steel Loop A A E E B B A A D D Portuguese Beiroa 520 mm SteelLoop D D B B G G D D A A D D Portuguese Braguesa 505 mm Steel Loop A A E E B B A A D D Portuguese Braguinha 342 -
BUILD ANY CHORD, ANYWHERE! by Frank Geiger
BUILD ANY CHORD, ANYWHERE! by Frank Geiger A “NEW” Color Graphics Method to Build (Form) Chords Anywhere On the Fingerboard DOESN!T REQUIRE READING MUSIC, KNOWLEDGE OF KEY SIGNATURES OR CHORD SPELLINGS For Instruments “Tuned in Fifths”: Tenor Banjos, Tenor Guitars, Irish-tuned Banjos/Bouzoukis, Mandolins & Similar © 2007, Frank Geiger, Atlanta, GA, USA - Page 1 - Free downloads courtesy of Geiger Acoustic De- vices, LLC. This book may be copied and distributed freely if for non-profit, educational purposes. Contents Introduction .............................................. 3 " 1. Concept ................................................. 5 " " Explanation of the color pattern of chord degrees ......... 5 Overview of how the pattern is used to build chords .......... 6 ! 2. Why the Pattern Works ....................... 7! Review of the chromatic scale and moveable degrees ...... 7 Example: Building an Ab major chord ................................ 8 ! Meaning of the spaces between the colored dots .............. 9 " 3. A Closer Look at the Pattern .............. 10 Copy Rule (4x4) ............................................................... 10 Copy Rule (3x3) ............................................................... 11 ! 4. Building Common Chords ................ 12 Major Chords ................................................................... 12 Mandolin 6-fret Chords ......................................... 14 Chords Near the Nut ............................................. 15 Seventh Chords .............................................................. -
Billy Joel's Turn and Return to Classical Music Jie Fang Goh, MM
ABSTRACT Fantasies and Delusions: Billy Joel’s Turn and Return to Classical Music Jie Fang Goh, M.M. Mentor: Jean A. Boyd, Ph.D. In 2001, the release of Fantasies and Delusions officially announced Billy Joel’s remarkable career transition from popular songwriting to classical instrumental music composition. Representing Joel’s eclectic aesthetic that transcends genre, this album features a series of ten solo piano pieces that evoke a variety of musical styles, especially those coming from the Romantic tradition. A collaborative effort with classical pianist Hyung-ki Joo, Joel has mentioned that Fantasies and Delusions is the album closest to his heart and spirit. However, compared to Joel’s popular works, it has barely received any scholarly attention. Given this gap in musicological work on the album, this thesis focuses on the album’s content, creative process, and connection with Billy Joel’s life, career, and artistic identity. Through this thesis, I argue that Fantasies and Delusions is reflective of Joel’s artistic identity as an eclectic composer, a melodist, a Romantic, and a Piano Man. Fantasies and Delusions: Billy Joel's Turn and Return to Classical Music by Jie Fang Goh, B.M. A Thesis Approved by the School of Music Gary C. Mortenson, D.M.A., Dean Laurel E. Zeiss, Ph.D., Graduate Program Director Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved by the Thesis Committee Jean A. Boyd, Ph.D., Chairperson Alfredo Colman, Ph.D. Horace J. Maxile, Jr., Ph.D. -
Pitchfork Mental Health
“NAME ONE GENIUS THAT AIN’T CRAZY”- MISCONCEPTIONS OF MUSICIANS AND MENTAL HEALTH IN THE ONLINE STORIES OF PITCHFORK MAGAZINE _____________________________________________________________________________ A Thesis Presented to The Faculty of the Graduate School At the University of Missouri-Columbia ____________________________________ In Partial Fulfillment Of the Requirements for the Degree Master of Arts _____________________________________ By Jared McNett Dr Berkley Hudson, Thesis Supervisor December 2016 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled “NAME ONE GENIUS THAT AIN’T CRAZY”- MISCONCEPTIONS OF MUSICIANS AND MENTAL HEALTH IN THE ONLINE STORIES OF PITCHFORK MAGAZINE presented by Jared McNett, A candidate for the degree of masters of art and hereby certify that, in their opinion, it is worthy of acceptance. Professor Berkley Hudson Professor Cristina Mislan Professor Jamie Arndt Professor Andrea Heiss Acknowledgments It wouldn’t be possible to say thank enough to each and every person that has helped me with this along my way. I’m thankful for my parents, Donald and Jane McNett, who consistently pestered me by asking “How’s it coming with your thesis? Are you done yet?” I’m thankful for friends, such as: Adam Suarez, Phillip Sitter, Brandon Roney, Robert Gayden and Zach Folken, who would periodically ask me “What’s your thesis about again?” That was a question that would unintentionally put me back on track. In terms of staying on task my thesis committee (mentioned elsewhere) was nothing short of a godsend. It hasn’t been an easy two-and-a-half years going from basic ideas to a proposal to a thesis, but Drs. -
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.. .. . -
GUITARS at AUCTION FEBRUARY 27 Dear Guitar Collector
GUITARS AT AUCTION FEBRUARY 27 Dear Guitar Collector: On this disc are images of the 284 guitars currently in this Auction plus an GUITARS additional 82 lots of collectible amps, music awards and other related items all being sold on Saturday, February 27. The Auction is being divided into two sessions AT AUCTION FEBRUARY 27 starting at 2pm and 6pm (all East Coast time.) Session I, contains an extraordinary array of fine and exciting instruments starting with Lot 200 on this disc. The majority of lots in this Auction are being sold without minimum reserve. AUCTION Saturday, February 27 The event is being held “live” at New York City’s Bohemian National Hall, a great Session I – 2pm: Commencing with Lot #200 setting at 321 East 73rd Street in Manhattan. For those unable to attend in person, Session II – 6pm: Commencing with Lot #400 the event is being conducted on two “bidding platforms”… liveauctioneers. com and invaluable.com. For those who so wish, telephone bidding can easily PUBLIC PREVIEW February 25 & 26 be arranged by contacting us. All the auction items will be on preview display Noon to 8pm (each day) Thursday and Friday, February 25 and 26, from 12 noon to 8 pm each day. LOCATION Bohemian National Hall 321 East 73rd Street Please note that this disc only contains photographic images of the items along New York, NY with their lot headings. For example, the heading for Lot 422 is 1936 D’Angelico ONLINE BIDDING Liveauctioneers.com Style A. Descriptions, condition reports and estimates do not appear on this disc. -
06/18 Vol. 5 Freestyle
06/18 Vol. 5 Freestyle memoirmixtapes.com Memoir Mixtapes Vol. 5: Freestyle June 15, 2018 Created by Samantha Lamph/Len Curated and edited by Samantha Lamph/Len and Kevin D. Woodall Visual identity design by J. S. Robson Cover stock photography courtesy of Vanessa Ives, publically available on Unsplash.com Special thanks to our reader, Benjamin Selesnick Letters from the Editors Welcome to Memoir Mixtapes Vol. 5: Freestyle. Hello again, everyone. (And “hey” to new readers!) Whether you’ve been reading MM since Vol.1, or this is your first time visiting our site, we’re so happy you’re This Volume is a little different from our usual here. publications. As Sam already mentioned, we hear “I have something I want to write for Memoir Mixtapes, Since we started Memoir Mixtapes, one of the most but it doesn’t fit the prompt!” pretty regularly. common questions we’ve been asked—volume after volume—came from readers who were eager to be a Like, a lot. part of the project. These potential contributors had a musically-inspired story to share, but it didn’t quite fit And so, after hearing those words enough we decided the current theme. We didn’t want to miss out on that we’d OPEN THE FUCKING PIT UP lol. those pieces, so this time around, we decided to put our themed issues on hold to give those writers their Our contributors, free of a prompt, were able to spread chance to bring those stories to the world. their wings wider this time, and the result is some truly unique work that, once again, I’m incredibly While it was quite a bit more challenging here on our proud to publish. -
Guide to Ideal Cities by Erika Meitner
Guide to idEAL CiTiES by erika meitner Author Asks: 1) I took my title for this book—Ideal Cities—from visual artist Kim Beck’s project of the same name (which can be seen here). Can you find any connections between the poems in the book, and Beck’s project? 2) There are two epigraphs that open the book—one from Robert Smithson and one from The Song of Songs. Are these merely ornamental, or do they speak to issues addresses in the book? If so, how? 3) This book is broken into two sections: “Rental Towns” and “Ideal Cities.” How do the sections differ from one another, if at all? 4) Poems are often identified as belonging to either the “narrative” or “lyric” poetry traditions. A narrative poem is loosely defined as a poem that tells a story, whereas a lyric poem generally relies more on descriptions of feelings and a musical quality of language. In which category would you be most inclined to place the poems in Ideal Cities? Why? 5) The poems in Ideal Cities contain pop culture references (song titles, cartoon characters, celebrity names, TV show titles) and product names (Peeps, Cadillac, Miracle Blanket, Pyrex), as well as specific retail chain store names (7-Eleven, Food Lion, Waffle House, Burger King, etc.). In a 1999 interview in the Literary Review, poet David Trinidad says the following about the use of pop culture in poems: “I suppose there's still, in some quarters, this attitude that poetry has to be above all that, that it has to be this serious, highbrow thing, that the rest is passing garbage and won't last. -
An Interview with Beau Hannam Thanks for Speaking to Us, Beau
An Interview with Beau Hannam Thanks for speaking to us, Beau. Maybe we through to setting up the guitar, including can just ask how you got into building ukes? spraying their own nitro. It was an all encompassing master class for every student I had been playing guitar since 1984 so I so I feel very privileged to have been a part of loved the instrument. Around 2001 I found that. Cumpiano’s guitar-making book at a second hand book sale and read it cover to cover. I And now you’re building ukes; how was the didn’t really understanding any of it but I knew switch from guitars to ukes? I was soaking in some luthiery terminology and woodworking tips. After graduating Easy- just halve the top thicknesses! But university I started making my first guitars in seriously, it took about 5 ukes to hone in 2003 under the gaze of Gerard Gilet in Sydney, on the top thicknesses to get a sound that I Australia. At the Gilet Guitars school, I made thought worthy of selling. Now, I find it easy 3 guitars, after which I volunteered weekends to switch thinking in terms of both guitars helping out where I could. and ukes re difference thickness, stiffness and tolerance of the wood. I started teaching students in exchange for wood sets or workshop time (it was $110 a day at the time) then Gerard asked me to join full time which was a dream come true. The amazing thing about the Gilet School is that students started with rough milled pieces of raw wood and took those bits all the way GUITARBENCH MAGAZINE ISSUE 13 PAGE 61 www.guitarbench.com Aren’t the rules for guitars not really Uke builders are the MacGyver’s of sound applicable to ukes? generation. -
The 2012 Taylor Line
INSIDE THE WORLD OF TAYLOR GUITARS / VOLUME 70 winter 2012 The 2012 Taylor Line Koa’s Fresh Island Vibe Vintage 700s New-Look Nylons Mahogany Mini & Specialty Models Builder’s Reserve Tenor Ukuleles ES Acoustic Amp 2 www.taylorguitars.com 3 Letters Volume 70 Winter 2012 Find us on Facebook. Subscribe on YouTube. Follow us on Twitter: twitter.com/taylorguitars Recently, I was slated to play a country me rediscover something that I never over several frets. After a severe case did. Your guy sat with my son and went song in an upcoming concert (on an should have put aside. Thank you. of tendonitis on the ulnar (pinky) side, through your range, explaining and East-West Music Series). I was able to Frank Pinto a cast for two months, and physical demonstrating the differences. Now [my acquire a Big Baby in order to prepare Columbus, NJ therapy, the Mini was the answer! son] is completely sold on the Taylor Cover Feature for the concert. That was four weeks Scott Swerdlin 614 and is looking for an evening job to On the Cover ago, and now I almost can’t imagine Oceanside, NY get the money for it. Your guy made him Bob Taylor (K24ce) and playing anything else. I thought it would feel like a star, and I wanted to thank A Fitting Experience 10 The 2012 Guitar Guide Andy Powers (714ce) be an OK knock-around guitar, some- I’d like to thank you for your Find you and him. Here’s looking forward to Inspired new designs infuse this year’s Taylor lineup with fresh looks and sounds.