DOCSLIB.ORG

Early Spring Rose Care Hello Spring Bulbs! Charming Wind Chimes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Early Spring Rose Care Hello Spring Bulbs! Charming Wind Chimes walterandersen.com facebook.com/walterandersens twitter.com/walterandersens online store videos San Diego’s Independent Nursery Since 1928 TM MARCH 2018 Early Spring Rose Care By Walter Andersen, Jr. IN THIS ISSUE Early Spring Rose Care 1 Charming Wind Chimes 1 Overlooked Bromeliad 3 To Do List: March 3 We Love This Story! 3 History Of WAN 4 A Bonide Guarantee 5 Old Ben: Wild Bird Basics 7 Old Ben’s Specials 7 By now, your roses should have been and larger blooms. Our customers March Garden Classes 8 pruned back. Even if you forgot, there rave about this product. March Anniversary Specials 8 is still time to prune them. They should You should be fertilizing monthly now have been sprayed with Liqui Cop as with our favorite fertilizer, Gro-Power. a dormant spray, at least two times. If Apply monthly for optimum growth and they have new shoots, don’t spray now. bloom. We recommend using Gro- Ada Perry’s Magic Formula should be Power once a month until the last in the ground, and there’s still time to feeding in October. If you cut roses for do that. Adding this wonderful product indoor enjoyment, here’s an old trick will encourage more vigorous growth I learned from my aunt who was a continued p2 Charming Wind Chimes By Whimsical Winds & Melanie Potter Have you ever noticed our selection of wind chimes? You’ll find some whimsical and decorative ones as well as large sizes and small, delicate chimes. You may even find some commemorative Hello Spring Bulbs! ones (weddings, anniversaries, etc.) and those that chime a familiar tune. If you ever shied away from planting There are also chimes for a cause like bulbs, here is a good reason to give the one with the symbol for Autism. them a go. On cold days (these were The number of tubes that a wind spotted in San Francisco near Pier chime has determines the number of 39) what else could look so cheery? notes that it can play. Wind chimes Planted in a half wine barrel or raised with many tubes have the ability to bed, these tulips and daffodils are continued p2 eye catching and the daffodils will bloom next year. • 03.18 2 Wind Chimes continued from p1 Rose Care continued from p1 florist. Put an aspirin tablet in the vase when you fill it with water. The blooms will stay fresher longer. As the blooms run their course and start to fade, cut them off with long stems; don’t just cut off the top with the bloom. By cutting them longer, you get into heavier branches that will support stronger new growth. If you don’t cut them back like this, you will get a bunch of spindly growth that will droop with the weight of the new buds. Don’t be combine more sounds and create dif- and tuning of all Woodstock chimes. afraid to cut them back, as you will ferent harmonies. Wind chimes with We thank him for chimes tuned to play be rewarded in the next month or fewer tubes ensure a smaller range of well recognized parts of ‘Take Me Out two with more blooms. Watch for well-tuned sound. to the Ballgame’, ‘Clair de Lune’, ‘Conci- aphids, which are small, pin head erto de Aronjez, and ‘Pachebel’s Canon’. The tube finish on wind chimes primar- sized insects that suck the juices out The Woodstock ‘Chime for Autism’ ily affects overall visual appeal. Since of the plant. They are mostly found was inspired by several uplifting stories wind chimes are usually on display for on the newest growth and buds that shared by loyal Woodstock Chimes all to see, this can be just as important are forming. You can try to wash customers. One hundred percent of as getting the right wind chime sound. them off with a strong stream of the after tax profit from the sales of water, or you can also spray them Overall wind chime length determines these chimes is donated to autism with a good insecticide. There are the tone and depth of the sound. Longer programs and research. many to choose from including wind chimes produce lower, fuller tones, Tubular wind chimes are the most pop- Bayer, which has a systemic that is while shorter wind chimes produce ular wind chime design. These wind absorbed into the plant and lasts higher pitched tones. The clapper is the chimes are available in a vast array of maybe three or four weeks. There piece that comes into contact with the styles and sizes to suit any location. are also organic controls that you tubes. The point of contact is carefully Tubular wind chimes are made of need to apply more often, such as calculated to provide the best pos- several vertically hanging tubes, with Neem Oil spray. sible sound. • each tube lending its own tone. The size of the wind chime sail deter- A tubular wind chime with tubes of mines how much wind is needed to varying length sounds great and offers cause the wind chime to sound. Many exceptional visual appeal. Tubular Hang the chime where the wind can wind chimes are designed to begin wind chimes are typically aluminum reach it from as many directions as chiming in eight to 10 mph breezes. or pewter. possible. An open corner is ideal when This is a desirable size because a less hanging the chime from a structure. substantial sail would compromise Bell wind chimes are made out of Experiment with hanging your chime at durability, while a larger, heavier sail one or more bells. These wind chimes different heights. Wind velocity tends would result in less sound. are available in traditional styles or in to increase with higher elevation. contemporary styles with modern, geo- Metal wind chimes are the most pop- metrically designed bells. More often, Avoid hanging a chime within two feet ular because of their durability and these are crafted from brass. of a wall or too close to plants, furniture high tuning accuracy. Only metal wind or anything that might obstruct or chimes can be tuned to specific For the best sound, hang your chime divert the breeze. Try hanging chimes in tones and notes. Did you know that directly from the O ring or loop at the different locations throughout the year Woodstock chimes are hand tuned top of the chime. Don’t extend the top as prevailing winds change seasonally. by musician and instrument designer string of the chime by adding chain or • Garry Kvistad? He’s a Grammy winning string. This may cause the entire chime artist who founded Woodstock in 1979 to swing, when in fact only the center and is behind the design, development string and clapper should move. 03.18 3 Overlooked Bromeliad Deserves Another Look TO DO LIST: March By Melanie Potter This is a vigorous bromeliad that is easy to grow and will readily form clumps of PRUNING narrow upright bronzy-green rosettes. Prune Camellias and Azaleas after The nearly tubular two feet tall rosettes hold one foot long slender leaves that blooming to shape. have small teeth along the margins. In Cut back frost damaged plants and spring, the arching flower stalks carry feed with Gro-Power to encourage pink bracts and pendant flowers that new growth and regeneration. have chartreuse green petals edged with royal-blue. FERTILIZE Plant in shade in a well-drained organic rich soil and water occasionally. For an Roses and Shrubs with Gro-Power or epiphytic bromeliad, this plant is sur- Gro-Power for Roses. prisingly drought-tolerant and can often Feed Citrus, Avocado, and Fruits with ‘Queen’s Tears’ or ‘Friendship Plant’ be found surviving in shaded coastal California gardens that have received Gro-Power or Gro-Power Citrus & The photo of this bromeliad really little or no irrigation. However, the Avocado Food. does it justice because it captures the plants look better with a bit more water. unusual color combination realistically. It is reliably hardy to 30-32 degrees PLANT The photo was taken by Santa Barbara F but able to tolerate short duration landscape architect Billy Goodnick and temperatures much lower. This plant is Citrus, Avocados, and tropical and showcases why the plant received its native to Brazil, Uruguay, and Argentina sub-tropical fruit. common names, Queen’s Tears or where it grows both as an epiphyte in Start to replace cool season bedding ‘Friendship Plant’. Billbergia nutans is low trees and as a terrestrial on the plants with warm season plants. commonly called ‘Queen’s Tears’ for forest floor from 2,300 to 3,000 feet the ornate hanging flowers with royal elevation. The name of the genus honors Plant warm season vegetables like blue highlighting that often exude Gustaf Johan Billberg, a Swede, who tomatoes, peppers, and squash. tear-like droplets of nectar, while the was a lawyer by profession and a Be sure to amend the soil with good name ‘Friendship Plant’ is attributed self-trained botanist, zoologist, and to this plant multiplying readily and anatomist who authored the ‘Flora of organic compost. Big Harvest Bale is propagating so easily that it is often Sweden’. • great for edibles and ornamentals. passed between friends. LOOK FOR Poway Store Hours Date To Remember! Azaleas, Spirea, Tuberous Begonias, Poway store hours Both stores will be closed Caladiums, Calla Lilies and Roses. • change effective April 1 for Easter. March 12. Mon-Fri 9-6, Sat/Sun 9-5. We Love This Story! Did You Have A Happy Valentine’s Day? We think Phil and his wife of 34 years did.
Load more

Recommended publications
  • What Do Your Dreams Sound Like?
    Volume 6 › 2017 Orchestral, Concert & Marching Edition What do your Dreams sound like? PROBLEM SOLVED WHY DREAM? D R E A M 2 0 1 7 1 D R E A M 2 0 1 7 Attention Band Directors, Music Teachers, “The Cory Band have been the World's No.1 brass band for the past decade. We feel privileged Orchestra Conductors! to have been associated with We understand how frustrating it can be to try to find the professional Dream Cymbals since 2014. quality, exceptionally musical sounds that you need at a price that fits into From the recording studio to your budget. Everyone at Dream is a working musician so we understand the challenges from our personal experiences. You should not have to Rick Kvistad of the concert halls across the UK and sacrifice your sound quality because of a limited budget. San Francisco Opera says: abroad, we have come to rely From trading in your old broken cymbals through our recycling program, on the Dream sound week in putting together custom tuned gong sets, or creating a specific cymbal set “I love my Dream Cymbals up that we know will work with your ensemble, we love the challenge of week out.” creating custom solutions. for both the orchestra and Visit dreamcymbals.com/problemsolved and get your personal cymbal assistant. By bringing together our network of exceptional dealers and our my drum set. Dr. Brian Grasier, Adjunct Instructor, Percussion, in-house customer service team, we can provide a custom solution tailored They have a unique Sam Houston State University says: to your needs, for free.
    [Show full text]
  • History, Development and Tuning of the Hang
    ISMA 2007 Hang HISTORY, DEVELOPMENT AND TUNING OF THE HANG Felix Rohner and Sabina Schärer PANArt Hangbau AG, Engehaldenstr.131, 3012 Bern, Switzerland Abstract The HANG is a new musical instrument, suitable for playing with the hands, consisting of two hemispherical shells of nitrided steel. It is the product of a collaboration among scientists, engineers and hangmakers, thanks to which we have been able to better understand the tuning process in all its complexity. Seven notes are harmonically tuned around a central deep tone (ding), which excites the Helmholtz (cavity) resonance of the body of the instrument. There are many ways to play the HANG. We show the different stages of its development over the seven years since its birth in 2000. We describe the tuning process and the musical conception of the HANG. INTRODUCTION The HANG was created in January 2000 by the tuners of PANArt Hangbau AG, formerly Steelpan Manufacture AG, Bern, Switzerland. It came out of twenty-five years of manufacturing the steelpan and research on its technology and acoustics. The youngest member of the family of acoustic musical instruments, the HANG is the result of a marriage between art and science. Five thousand HANG players worldwide and an ever-increasing demand show the deep resonance this instrument has with individuals. As we are only two hangmakers, our interest here is to invite scientists to continue working together to better understand this phenomenon. FROM STEELPAN TO HANG PANArt Hangbau AG was founded in 1993 to give cultural and commercial support to the growing steelband movement in Switzerland.
    [Show full text]
  • Core Instrumentation of the “Typical” American Community Concert Band: an Approach to Scoring Guidelines for Composers and Arrangers
    Core Instrumentation of the “Typical” American Community Concert Band: An Approach to Scoring Guidelines for Composers and Arrangers Findings based on a 2012 Online survey by Composer/Conductor David Avshalomov, D.M.A 1 Approach In early 2012, after extensive observation of online email threads around the practical challenges of presenting concerts with community bands, the author decided to create and run an open online survey with the goal of gathering a sampling of reasonably reliable statistical information about the “typical” core instrumentation of a community concert band in the US. The definition of community concert band used here begins by distinguishing it from a full- instrumentation concert band or symphonic wind ensemble having all the “outlier/outsize” instruments and generally carrying only one (or perhaps at most two) players per part except for Bb clarinets. In the US these full bands are almost exclusively conservatory, university, college, community college, or advanced/large high school ensembles. Few professional concert bands exist in the US. The definition of community concert band here also excludes marching bands—school, municipal, or private—as these too have a separate and distinct instrumentation profile. Although there are some community concert bands that have fairly full instrumentation, initial observations from the survey results confirm that most, if not all, have what could be characterized as significant gaps by comparison with the “full” symphonic wind ensemble. They also often have much heavier doublings in certain common sections such as flutes and clarinets. GOAL: The intention of the survey was to draw a rough line around a “safe” core scoring, and additionally to define tentative guidelines for the inclusion of instruments outside that line, for composers and arrangers who wish to serve the community concert band population with music targeted to such groups’ strengths, not their weaknesses.
    [Show full text]
  • An African-American Contribution to the Percussion Literature in the Western Art Music Tradition
    Illuminating Silent Voices: An African-American Contribution to the Percussion Literature in the Western Art Music Tradition by Darrell Irwin Thompson A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2012 by the Graduate Supervisory Committee: Mark Sunkett, Chair Bliss Little Kay Norton James DeMars Jeffrey Bush ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Illuminating Silent Voices: An African-American Contribution to the Percussion Literature in the Western Art Music Tradition will discuss how Raymond Ridley's original composition, FyrStar (2009), is comparable to other pre-existing percussion works in the literature. Selected compositions for comparison included Darius Milhaud's Concerto for Marimba, Vibraphone and Orchestra, Op. 278 (1949); David Friedman's and Dave Samuels's Carousel (1985); Raymond Helble's Duo Concertante for Vibraphone and Marimba, Op. 54 (2009); Tera de Marez Oyens's Octopus: for Bass Clarinet and one Percussionist (marimba/vibraphone) (1982). In the course of this document, the author will discuss the uniqueness of FyrStar's instrumentation of nine single reed instruments--E-flat clarinet, B-flat clarinet, alto clarinet, bass clarinet, B-flat contrabass clarinet, B-flat soprano saxophone, alto saxophone, tenor saxophone, and B-flat baritone saxophone, juxtaposing this unique instrumentation to the symbolic relationship between the ensemble, marimba, and vibraphone. i ACKNOWLEDGMENTS I first want to thank God, for guiding my thoughts, hands, and feet. I am grateful, for the support, understanding, and guidance I have received from my parents. I also want to thank my grandmother, sister, brother, and to the rest of my family for being one of the best support groups anyone could have.
    [Show full text]
  • Elton John and Billy Joel
    TECHNICAL REQUIREMENTS: Back To Back - Elton John and Billy Joel GENERAL: In our experience we have for the most part found the house techs/sound companies as provided by host orchestras to be highly competent professionals who know and understand the needs of their orchestra and their performance venue. As such we are comfortable in trusting their recommendation and expertise. Conceptually all Jeans ‘n Classics productions are designed to feature the sound of the orchestra and as such the band and the orchestra should be equally sharing the musical picture as opposed to the orchestra being mixed into the back ground. The following are simply guidelines. MICS - BAND & SINGERS: Lead Vocalist (s) - 1 lead vocal mic required (cordless) - 1 lead vocal mic required (cordless)- Back Up Vocalist (s) - 2 backup vocal mics required (cordless) Band - 1 vocal mic required at piano MICS - ORCHESTRA: Strings - Contact mics on all strings is ideal - If impossible separate mics per player or minimally 1 mic per desk Winds - 1 mic per wind Brass - 1 mic per brass instrument Percussion - Individual mics on the congas/bongos area - Ambient mics on the "toys" for wind chime, tambourine etc, where the player can approach the mic - Individual mics on the vibes/marimbas area - Timpani and bass drums may or may not need ambient mics depending on the venue Special - up front solo violin on "Piano Man" BAND INSTRUMENTS: Electric Bass - Bass player will need DI line, or in some cases may bring his own ears / (Mitch Tyler) mixer and therefore will need a line to the mixer - Bass guitar to be provided: - 4- String Fender Precision (American made preferred) with strap Guitars - 1 DI lines will be required for an acoustic guitar played by lead vocalist from time to time - 2 guitar stands to be provided Piano - Grand piano will be required please.
    [Show full text]
  • MOXF6/MOXF8 Data List 2 Voice List
    Data List Table of Contents Voice List..................................................2 Drum Voice List ......................................12 Drum Voice Name List............................. 12 Drum Kit Assign List ................................ 13 Waveform List ........................................32 Performance List ....................................45 Master Assign List ..................................47 Arpeggio Type List .................................48 Effect Type List.......................................97 Effect Parameter List..............................98 Effect Preset List ..................................106 Effect Data Assign Table......................108 Mixing Template List ............................116 Remote Control Assignments...............117 Control List ...........................................118 MIDI Data Format.................................119 MIDI Data Table ...................................123 MIDI Implementation Chart...................146 EN Voice List PRE1 (MSB=63, LSB=0) Category Category Number Voice Name Element Number Voice Name Element Main Sub Main Sub 1 A01 Full Concert Grand Piano APno 2 65 E01 Dyno Wurli Keys EP 2 2 A02 Rock Grand Piano Piano Modrn 2 66 E02 Analog Piano Keys Synth 2 3 A03 Mellow Grand Piano Piano APno 2 67 E03 AhrAmI Keys Synth 2 4 A04 Glasgow Piano APno 4 68 E04 Electro Piano Keys EP 2 5 A05 Romantic Piano Piano APno 2 69 E05 Transistor Piano Keys Synth 2 6 A06 Aggressive Grand Piano Modrn 3 70 E06 EP Pad Keys EP 3 7 A07 Tacky Piano Modrn 2 71 E07
    [Show full text]
  • Drum Kit List
    DRUM KIT LIST LISTE DES KITS DE BATTERIE LISTA DE CONJUNTOS DE BATERÍA DRUM KIT-LISTE Drum Kit List / Liste des kits de batterie/ Lista de conjuntos de batería / Drum Kit-Liste • Same as Standard Kit 1 • Comme pour Standard Kit 1 • No Sound • Absence de son • Each percussion voice uses one note. • Chaque sonorité de percussion utilise une note unique. Voice No. 117 118 119 120 121 122 Keyboard Standard Kit 1 Standard Kit 1 Indian Kit Arabic Kit SE Kit 1 SE Kit 2 Note# Note + Chinese Percussion C1 36 C 1 Seq Click H Baya ge Khaligi Clap 1 Cutting Noise 1 Phone Call C#1 37 C# 1Brush Tap Baya ke Arabic Zalgouta Open Cutting Noise 2 Door Squeak D1 38 D 1 Brush Swirl Baya ghe Khaligi Clap 2 Door Slam D#1 39 D# 1Brush Slap Baya ka Arabic Zalgouta Close String Slap Scratch Cut E1 40 E 1 Brush Tap Swirl Tabla na Arabic Hand Clap Scratch F1 41 F 1 Snare Roll Tabla tin Tabel Tak 1 Wind Chime F#1 42 F# 1Castanet Tablabaya dha Sagat 1 Telephone Ring G1 43 G 1 Snare Soft Dhol 1 Open Tabel Dom G#1 44 G# 1Sticks Dhol 1 Slap Sagat 2 A1 45 A 1 Bass Drum Soft Dhol 1 Mute Tabel Tak 2 A#1 46 A# 1 Open Rim Shot Dhol 1 Open Slap Sagat 3 B1 47 B 1 Bass Drum Hard Dhol 1 Roll Riq Tik 3 C2 48 C 2 Bass Drum Dandia Short Riq Tik 2 C#2 49 C# 2 Side Stick Dandia Long Riq Tik Hard 1 D2 50 D 2 Snare Chutki Riq Tik 1 D#2 51 D# 2 Hand Clap Chipri Riq Tik Hard 2 E2 52 E 2 Snare Tight Khanjira Open Riq Tik Hard 3 Flute Key Click Car Engine Ignition F2 53 F 2 Floor Tom L Khanjira Slap Riq Tish Car Tires Squeal F#2 54 F# 2 Hi-Hat Closed Khanjira Mute Riq Snouj 2 Car Passing
    [Show full text]
  • FA-06 and FA-08 Sound List
    Contents Studio Sets . 3 Preset/User Tones . 4 SuperNATURAL Acoustic Tone . 4 SuperNATURAL Synth Tone . 5 SuperNATURAL Drum Kit . .15 PCM Synth Tone . .15 PCM Drum Kit . .23 GM2 Tone (PCM Synth Tone) . .24 GM2 Drum Kit (PCM Drum Kit) . .26 Drum Kit Key Assign List . .27 Waveforms . .40 Super NATURAL Synth PCM Waveform . .40 PCM Synth Waveform . .42 Copyright © 2014 ROLAND CORPORATION All rights reserved . No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION . © 2014 ローランド株式会社 本書の一部、もしくは全部を無断で複写・転載することを禁じます。 2 Studio Sets (Preset) No Studio Set Name MSB LSB PC 56 Dear My Friends 85 64 56 No Studio Set Name MSB LSB PC 57 Nice Brass Sect 85 64 57 1 FA Preview 85 64 1 58 SynStr /SoloLead 85 64 58 2 Jazz Duo 85 64 2 59 DistBs /TranceChd 85 64 59 3 C .Bass/73Tine 85 64 3 60 SN FingBs/Ac .Gtr 85 64 60 4 F .Bass/P .Reed 85 64 4 61 The Begin of A 85 64 61 5 Piano + Strings 85 64 5 62 Emotionally Pad 85 64 62 6 Dynamic Str 85 64 6 63 Seq:Templete 85 64 63 7 Phase Time 85 64 7 64 GM2 Templete 85 64 64 8 Slow Spinner 85 64 8 9 Golden Layer+Pno 85 64 9 10 Try Oct Piano 85 64 10 (User) 11 BIG Stack Lead 85 64 11 12 In Trance 85 64 12 No Studio Set Name MSB LSB PC 13 TB Clone 85 64 13 1–128 INIT STUDIO 85 0 1–128 129– 14 Club Stack 85 64 14 INIT STUDIO 85 1 1–128 256 15 Master Control 85 64 15 257– INIT STUDIO 85 2 1–128 16 XYZ Files 85 64 16 384 17 Fairies 85 64 17 385– INIT STUDIO 85 3 1–128 18 Pacer 85 64 18 512 19 Voyager 85 64 19 * When shipped from the factory, all USER locations were set to INIT STUDIO .
    [Show full text]
  • Ludwig-Musser 2012 Concert Percussion Catalog AV8084 2012
    T IMPANI AND C ON C ER T D RUMS P.O. Box 310 Elkhart, Indiana 46515-0310 U.S.A. www.ludwig-drums.com Ludwig products are available for sale through authorized Ludwig dealers. This catalog is intended as a source of general information only. Possession of this catalog does not constitute a contract, agreement or an offer to sell our products. Ludwig reserves the right to change prices or product specifications without prior notice. ©2005 Conn-Selmer, Inc. A division of Steinway Musical Instruments, Inc. P.O. Box 310, Elkhart, IN 46515 www.conn-selmer.com AV8084-1 As timpanist of the Pittsburgh Symphony, William F. Ludwig, Sr. shared a love for the classical works that was Not surprisingly, Ludwig’s earliest designs and models failed. Hydraulically operated hoses leaked. Cables stretched. But only equaled by his passion to perform them on-stage. Whether playing before a sold out symphony hall – or one he was determined and never lost heart – perfecting the music was far too important to him. Then, in 1921, after years nearly empty – Ludwig performed every note as if it were his final heartbeat. of disappointments, he struck perfection. The Balanced Action™ model he developed back then remains to this day the standard in timpani design and sound quality held around the world. You need only to hear the difference in a Ludwig In 1909, Ludwig, being the purist he was, grew rather frustrated when the hand-tuned timpani of the day made it Timpani to judge for yourself. Ludwig’s Timpani embody the heart and soul of everyone who plays or dedicates their lives difficult to play Wagnerian parts to his liking.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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 .............................................
    [Show full text]