Learn & Master Guitar
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APPENDIX B Glossary
APPENDIX B Glossary 3-to-1 rule a recording strategy used to avoid phasing issues during stereo miking. The 3-to-1 rule states that the distance between the first and second microphones should be at least three times the distance between the first microphone and the sound source. 50/50 split a common type of contract agreement used in the music industry that equally divides royalties between the composer and publisher. 80:20 ratio a compositional guideline used in media scoring, assigning approximately 80% of the expression to the drama and emotional atmosphere of the scene, while the remaining 20% is used to define the region in which the scene takes place. A AAX shorthand for Avid Audio eXtension, this is a more recent plugin type used by Pro Tools software that is available in native and DSP formats. absorption a category of acoustic treatment that absorbs sound before it has the chance to reflect around the room, which can cause acoustic problems. accelerando a score marking that tells the performer(s) to gradually increase the speed of the music. accented passing tone an embellishment that is approached and left by step in the same direction and takes place in an accented metrical position. accent mark a notational symbol that tells the performer to emphasize a note with a sudden increase in volume. accidental a symbol used to alter the pitch of a note in a given direction without changing its letter, typically creating a chromatic alteration. 432 GLOSSARY accordatura a score marking indicating a cancellation of scordatura and return to standard tuning, usually in a score for stringed instruments. -
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PRESS RELEASE Contact: Mary Ladd Public Information Coordinator Ponca City Public Schools 580-352-4188 [email protected] #TeamPCPS #WildcatWay PCPS Big Blue Band Reports Great Results from Red Carpet Honor Band Auditions The Ponca City Senior High School Big Blue Band members participated in the Red Carpet Honor Band Auditions held on Saturday, November 16 in Chisholm, Oklahoma. The Senior High School Honor Band consists of students in grades 10th through 12th grade. The 9th grade students participated in the Junior High Honor Bands, which is made up of students in grades 7th through 9th. High schools that participated included: Alva, Blackwell, Cashion, Chisholm, Cimarron, Covington-Douglas, Drummond, Enid, Fairview, Fargo-Gage, Garber, Kingfisher, Kremlin-Hillsdale, Laverne, Medford, Mooreland, Newkirk, Okeene, Oklahoma Bible Academy, Perry, Pioneer-Pleasant Vale, Ponca City, Pond Creek-Hunter, Ringwood, Seiling, Texhoma, Timberlake, Tonkawa, Waukomis, Waynoka, and Woodward. There were two Junior High Honor Bands selected, an “A” Band and a “B” Band. This is made up of students in grades 7th through 9th grade. Ponca City 9th grade students competed in the junior high area. The 17- 9th graders who earned their positions is the largest number of freshmen Ponca City has ever had make one of the two bands. Schools represented in the junior high tryouts included: Alva, Blackwell, Cashion, Chisholm, Cimarron, Covington-Douglas, Emerson (Enid), Enid, Fairview, Garber, Hennessey, Kingfisher, Kremlin-Hillsdale, Laverne, Longfellow (Enid), Medford, Mooreland, Newkirk, Okarche, Okeene, Oklahoma Bible Academy, Perry Pioneer-Pleasant Vale, Ponca City, Ponca City East, Ponca City West, Pond Creek-Hunter, Ringwood, Seiling, Texhoma, Tonkawa, Waller (Enid), Waukomis, Waynoka, and Woodward. -
2013 Full Line Catalog 2013
Electric Guitars, Electric Basses, Acoustic Guitars, Amplifiers, Effects & Accessories 2013 Accessories Effects & Amplifiers, Guitars, Electric Acoustic Electric Basses, Guitars, www.ibanez.com 1726 Winchester Road, Bensalem, PA 19020 · U.S.A. · ©2012 Printed in Japan NOV12928 (U) For Authorized Dealers Only - All finishes shown are as close as four-color printing allows. CATALOG - All specifications and prices are subject to change without notice. 2013 FULL LINE Table of Contents Solid Body Electric Guitars Signature Models 6-10 Iron Label RG/S 11-13 RG/GRG/GRX/MIKRO 13-26 RGA 26 RGD 27 S 28-31 X 32-33 FR 33 ARZ 34 AR 34-35 ART 35-36 Jumpstart 37 Hollow Body Electric Guitars Signature Models 40-41 Artstar 41 Artcore Expressionist 42-44 Artcore 44-47 Electric Basses Signature Models 50-51 SR 51-61 Grooveline 62-63 BTB 64-65 ATK 66-67 Artcore 67-68 GSR/MIKRO 68-73 Jumpstart 73 Acoustic Guitars Signature Models 76 Artwood 77-81 PF 82-85 SAGE 85 AEG 86 AEL 87 AEF 88-89 EW 90-91 Talman 91-92 AEB 92 SAGE Bass 93 Classical 93-95 Ukulele 95-96 Banjo 96 Resonator 96 Mandolin 97 Jampack 98 Amplifiers/Effects/Accessories Tube Screamer Amplifier 100-101 Wholetone 101 Promethean 102-103 Sound Wave 103 Troubadour 104-105 IBZ 105 Tube Screamer 106 9 Series 107 Echo Shifter 108 Signature Effect Pedal 109 Wah Pedals 109 Tuners 110 Cables & Adapter 110 Stand 111 Tremolo Arm 111 Picks 111 Cases/Straps 112 Bags/Microphone Stand 113 02 for more information visit www.Ibanez.com for more information visit www.Ibanez.com 03 04 for more information visit www.Ibanez.com -
Breedlove Owner's Manual
1 BREEDLOVE Owner’s MANUAL Breedlove Owner’s Manual TABLE OF CONTENTS A Note From Kim Breedlove 4 How To Experience Breedlove 7 Humidity, Temperature and Solid Wood Instruments 8 Neck Truss Rod Adjustment 10 Breedlove Bridge Truss 12 Adjustment Bolt Sizes for Breedlove Instruments 14 Steel-String Acoustic Guitar Set Up Specifications 15 Changing Strings on your Breedlove Guitar 16 Breedlove Mandolins 17 Electronics Configurations for Acoustic Guitars 19 Cleaning Your Breedlove Instrument 19 Breedlove Factory String Specifications 22 Breedlove Warranty 22 Keep a record of your Breedlove Guitar 25 5 THANK YOU Thank you for purchasing your new Breedlove instrument. You are now the caretaker of a fine stringed instrument. Every instrument we produce is special to us and we hope it will bring you many years of enjoyment. To preserve the remarkable tone and playability of your Breedlove we have some simple suggestions to help ensure that your instrument will be making beautiful music for years to come. Should you ever have questions or concerns please send us an email at: [email protected] Sincerely, Kim Breedlove 5 DISTINCTIVELY CRafted SOUND. We love what we do. After all, it’s in our name. We are master luthiers who create instruments of true distinction. It’s in our DNA to push the boundaries of design and craftsmanship. Being different is never the easy path. But in our view, it has far greater rewards. And while we respect tradition, we simply choose not to make instruments of yesterday. Imagination compels us to make instruments of tomorrow. 7 Welcome to the Breedlove family where you are about to experience the highest quality craftsmanship, customer service and an unmatched passion for music and fine instruments. -
A. Types of Chords in Tonal Music
1 Kristen Masada and Razvan Bunescu: A Segmental CRF Model for Chord Recognition in Symbolic Music A. Types of Chords in Tonal Music minished triads most frequently contain a diminished A chord is a group of notes that form a cohesive har- seventh interval (9 half steps), producing a fully di- monic unit to the listener when sounding simulta- minished seventh chord, or a minor seventh interval, neously (Aldwell et al., 2011). We design our sys- creating a half-diminished seventh chord. tem to handle the following types of chords: triads, augmented 6th chords, suspended chords, and power A.2 Augmented 6th Chords chords. An augmented 6th chord is a type of chromatic chord defined by an augmented sixth interval between the A.1 Triads lowest and highest notes of the chord (Aldwell et al., A triad is the prototypical instance of a chord. It is 2011). The three most common types of augmented based on a root note, which forms the lowest note of a 6th chords are Italian, German, and French sixth chord in standard position. A third and a fifth are then chords, as shown in Figure 8 in the key of A minor. built on top of this root to create a three-note chord. In- In a minor scale, Italian sixth chords can be seen as verted triads also exist, where the third or fifth instead iv chords with a sharpened root, in the first inversion. appears as the lowest note. The chord labels used in Thus, they can be created by stacking the sixth, first, our system do not distinguish among inversions of the and sharpened fourth scale degrees. -
Ibanez Market Strategy
Ibanez Market Strategy Billy Heany, Jason Li, Hyun Park, Alena Noson Strategic Marketing Table of Contents Executive Summary ....................................................................................................................................... 3 Firm Analysis.................................................................................................................................................... 4 Key Information about the Firm ........................................................................................................... 4 Current Goals and Objectives ................................................................................................................ 5 Current Performance ................................................................................................................................. 6 SWOT ............................................................................................................................................................. 7 Current Life Cycle Stage for the Product .......................................................................................... 8 Current Branding Strategy ...................................................................................................................... 9 Industry Analysis .......................................................................................................................................... 10 Market Review ........................................................................................................................................ -
Jack Pearson
$6.00 Magazine Volume 16, Number 2 January/February 2012 Jack Pearson Al Smith Nick DiSebastian Schenk Guitars 1 Flatpicking Guitar Magazine January/February 2012 design by [email protected] by “I am very picky about the strings I use on my Kendrick Custom Guitar, and GHS gives me unbeatable tone in a very long lasting string.” GHS Corporation / 2813 Wilber Avenue / Battle Creek . Michigan 49015 / 800 388 4447 2 Flatpicking Guitar Magazine January/February 2012 Block off February 23 thru the 26th!! Get directions to the Hyatt Regency in Bellevue, WA. Make hotel & travel arrangements. Purchase tickets for shows and workshops! Practice Jamming!! Get new strings! Bookmark wintergrass.com for more information! Tell my friends about who’s performing: Ricky Skaggs & Kentucky Thunder Tim O’Brien, The Wilders, The Grascals, The Hillbenders, Anderson Family Bluegrass and more!!! Practice Jamming!!!!! wintergrass.com 3 Flatpicking Guitar Magazine January/February 2012 Feb 23-26th 4 Flatpicking Guitar Magazine January/February 2012 1 Flatpicking Guitar Magazine January/February 2012 CONTENTS Flatpicking FEATURES Jack Pearson & “Blackberry Pickin’” 6 Guitar Schenk Guitars 25 Flatpick Profile: Al Smith & “Take This Hammer” 30 Magazine CD Highlight: Nick DiSebastian: “Snowday” 58 The Nashville Number System: Part 2 63 Volume 16, Number 2 COLUMNS January/February 2012 Bluegrass Rhythm Guitar: Homer Haynes 15 Published bi-monthly by: Joe Carr High View Publications Beginner’s Page: “I Saw the Light” 18 P.O. Box 2160 Dan Huckabee Pulaski, VA 24301 -
Glossary of Musical Terms PDF - Ricmedia Guitar
Glossary of musical terms PDF - Ricmedia Guitar Glossary of musical terms PDF Compliments of Ricmedia Guitar guitar.ricmedia.com Copyright © Ricmedia A B C D E F G H I J K L M N O P Q R S T U V W X Y Z A Accent A beat or note that is significantly louder than the others Action The space or distance between the fretboard and strings usually of a guitar Acoustic An instrument that creates it’s own amplification by passive means, not electric Ad Lib (Ad Libitum) Musical directive that gives the musician the ability to improvise or omit a section of music Arpeggio A series of notes derived from a chord, aka: broken chord Augmented Any note that has been raised by a semitone from it’s normal position B Banjo A stringed instrument characterized by a round body and a unique twangy sound Bass Mosty referring to a bass guitar but can be referencing to any instrument in the bass tonal range Bass Clef A musical symbol that indicates the piece should be played in the bass tonal range, or F clef Bass Drum Generally the largest drum in a drummers kit that sits on it’s side and is played via a foot pedal Beat The main pulse of the music, the rhythm of the music Blue Note Generally referring the the sharp fourth/flat fifth in the blues scale, aka: tritone Blues file:///I|/guitar.ricmedia.com/Cat_Miscellaneous/Music-glossary/glossary-of-musical-terms.html[21/07/2013 4:48:07 PM] Glossary of musical terms PDF - Ricmedia Guitar A large genre of music characterized by strong rhythms, improvisation and guitar centric music Brass The name given to a large range -
Training Your Musical Muse with Richard Gilewitz... an Exclusive
Training Your Musical Muse with Richard Gilewitz... an exclusive guitar and ukulele 1 day workshop for beginner/intermediate instrumentalists (guitar or ukulele) and singer/songwriters No matter if you play a guitar or ukulele, sing or don’t sing, compose originals or play covers, it’s all the same when teaching your musical muse the solid basics of good technique. During this 1-day workshop, you’ll learn about fingerpicking patterns and strumming, rhythm, why some notes work while others are a train wreck, and how to develop good habits that will protect your inner muse from the dole drum of sameness and predictability. Join master teacher, Richard Gilewitz, for an experience for both ukulele and guitar. These workshops offer players and/or singers the techniques for developing and expanding a life-long craft in a most satisfying direction. It’s an opportunity to witness and join in on the fun and challenges presented by learning new techniques and how the Gilewitz method works for both guitar and ukulele. Class Sessions will be 50 minutes each with group exercises and special attention to every student in the class. Each class is $30 10:00am Guitar Class1: The Fingerpicking Engine, Effective Chord Transfers, & Food Rhythm Gather the ingredients for the picking fingers with very simple patterns that can be applied to literally any genre of music. The components of the Fingerpicking Engine are the foundation for fingerstyle guitar. Study and explore fingering techniques that power this playing style that include banjo- style inside and forward rolls, pairing, pinch-patterns, hammer-ons, and pull-offs, classical arpeggios, tapping and harmonics, as well as effective method of incorporating rhythmic/strumming techniques within your picking patterns. -
The Guitar, the Steamship and the Picnic: England on the Move Transcript
The Guitar, the Steamship and the Picnic: England on the Move Transcript Date: Thursday, 11 December 2014 - 1:00PM Location: St. Sepulchre Without Newgate 11 December 2014 The Guitar, the Steamship and the Picnic: England on the Move Professor Christopher Page I would like to begin with a poem by William Blake, first published in his collection Songs of Innocence in 1789. Many of you will know it; it is entitled The Chimney Sweeper, and you have it, in Blake’s illustrated copy, on the first page of your handout: When my mother died I was very young, And my father sold me while yet my tongue Could scarcely cry weep! weep! weep! weep! So your chimneys I sweep & in soot I sleep. There’s little Tom Dacre, who cried when his head That curled like a lamb’s back, was shaved, so I said, “Hush, Tom! never mind it, for when your head’s bare, You know that the soot cannot spoil your white hair.” And so he was quiet, and that very night, As Tom was a-sleeping he had such a sight! That thousands of sweepers, Dick, Joe, Ned, & Jack, Were all of them locked up in coffins of black; And by came an Angel who had a bright key, And he opened the coffins & set them all free; Then down a green plain, leaping, laughing they run, And wash in a river and shine in the Sun. Then naked and white, all their bags left behind, They rise upon clouds, and sport in the wind. And the Angel told Tom, if he’d be a good boy, He'd have God for his father & never want joy. -
Leo Carrillo California History & Art Program
LEO CARRILLO CALIFORNIA HISTORY & ART PROGRAM PROJECT TITLE: Fine-Tuning Guitar Art THEME: Spanish Guitar AGE: Fourth Grade PROJECT INTRODUCTION: Students will learn about the history of the classical Spanish guitar that was a part of the lifestyle at the Leo Carrillo Ranch. Students will be introduced to the famous Mexican folksong “La Golondrina”, a melody played on the guitar and cherished by Leo Carrillo. Students will create and design their own Spanish guitar inspired work of art through mixed media using collage and illustration, personalizing their artwork with intentional images and meaning. ART PROJECT INSPIRATION: SPANISH GUITAR The guitar is one of the most popular and widespread musical instruments played today. It is actually the second most played instrument, with the first being the piano. A person who makes guitars is called a “luthier”. A person who plays the guitar is called a “guitarist”. Guitarists play the guitar by plucking or strumming the strings with their fingers, fingernails, or a pick. There are several types of guitars: Classical, Electric, Steel, Flamenco, 12 String and many more. It was the classical guitar, also known as the Spanish guitar that had a special presence at the Leo Carrillo Ranch. Music played on the Spanish guitar reminded Leo Carrillo of his family history and was very much a part of the life he experienced as a child growing up. The word guitar was adopted into English from the Spanish word “guitarra” in the 1600’s. The country of Spain has had an extraordinary impact on the development of the classical guitar. Spaniards in Andalusia during the 1790’s took the guitar to new heights when they added a sixth string to it. -
New Grade 7 LB 2016-2017.Indd
COURSE 35 Theory Homework 289 C Label a four-note, C chord arpeggio stacked in 3rds and a 4th. t inan ant n Term: bdom u Write the secondary chords. Tonic S Domi C Dm Em F G Am B C Dm Em Am B Numeral: I ___ ___ IV V ___ ___o ___ ii iii vi viio Sol-fa: do ___ ___ fa sol ___ ___ ___ ___ ___ ___ ___o Write the scale triads over the given note. Write in the missing terms: supertonic, mediant, submediant, leading tone and tonic. Write the missing numerals: ii iii vi vii I. Write the missing sol-fa: re mi la ti do. Theory Homework 290 D Label a four-note, Dm chord arpeggio stacked in 3rds and a 4th. Term: Write the secondary chords. onic T Subdominant Dominant G Am Bm C D Em F# G Am Bm Em F# Numeral: I ___ ___ IV V ___ ___o ___ ii iii vi viio Sol-fa: do ___ ___ fa sol ___ ___ ___ ___ ___ ___ ___o Write the scale triads over the given note. Write in the missing terms: supertonic, mediant, submediant, leading tone and tonic. Write the missing numerals: ii iii vi vii I. Write the missing sol-fa: re mi la ti do. Theory Homework 291 E Label a four-note, Em chord arpeggio stacked in 3rds and a 4th. nt ina om Term: ic ubd Write the secondary chords. Ton S Dominant Em F m Bm C D Em F# m G A Bm C# D # # Numeral: I ___ ___ IV V ___ ___o ___ ii iii vi viio Sol-fa: do ___ ___ fa sol ___ ___ ___ ___ ___ ___ ___o Write the scale triads over the given note.