Mallets Schlägel

Architects and constructors of musical instruments Mallets Schlägel USA. Los Angeles. The J. Paul Getty Museum. 99 98 Mallets | Schlägel www.adams-music.com Model with synthetic core Die Modelnummer ändert sichvonM(Maple) nachR(Rattan) Alle VanSiceModelle sindlieferbarmitRattanorder MapleStiel The modelnumbers changesfromM(maple)toR(rattan) All VanSicemodels areavailableinrattanormaple handels Keyboard Mallets Multi-Tonal Mono-Tonal Mono-Tonal Marimba Very dark M21 Very dark M11 Dark bass M1 R21 R11 R1 | RobertVanSiceSignature Dark M22 Dark M12 Dark medium M2 R22 R12 R2 Model with Medium soft M23 Medium soft M13 Medium dark - Medium bright M3 synthetic R23 R13 R3 rubber core Medium bright M24 Medium bright M14 Medium - Bright M4 R24 R14 R4 Bright M25 Bright M15 Medium - Very bright M5 R25 R15 R5 Very bright M26 Medium bright - Very bright M6 Very bright M16 NEW R26 R6 R16 Bogdan Bacanu Marimba Die ModelnummerändertsichvonM(Maple)nachR(Rattan) Alle BacanuModellesindlieferbarmitRattanorderMapleStiel The modelnumberschangesfromM(maple)toR(rattan) All Bacanumodelsareavailableinrattanormaplehandels Bass soft M100 Marimba birch successfull playing MB1 Model with R100 natural rubber core Bright soft M110 | BogdanBacanu Marimba birch hard MB2 R110 Soft M120 Marimba birch medium-hard MB3 R120 Medium soft M130 Marimba bwirch medium MB4 R130 Medium M140 R140 Marimba birch medium-soft MB5 Medium hard M150 R150 Marimba birch soft MB6 Hard M160 R160 Marimba birch successfull playing MB7 Extra hard M170 R170 Die ModelnummerändertsichvonM(Maple)nachR(Rattan) Alle BacanuModellesindlieferbarmitRattanorderMapleStiel The modelnumberschangesfromM(maple)toR(rattan) All Bacanumodelsareavailableinrattanormaplehandels Glockenspiel Xylophone Glockenspiel hard GB1 Xylophone birch extra-hard XB1 Glockenspiel brass-small GB2 Xylophone birch-hard XB2 Glockenspiel brass-large GB3 Xylophone birch hard-wood XB3 Xylophone birch medium XB4 Xylophone birch soft XB5 Xylophone birch successfull playing XB6 Malletbag ‘BogdanBacanu’ Tasche fürSchlägel‘BodganBacanu’ Vibraphone Vibraphone mallet hard VR1 Vibraphone mallet medium-hard VR2 Vibraphone mallet medium VR3 see page104 Vibraphone mallet medium-soft VR4 Accessories More Vibraphone mallet soft VR5 101 100 Mallets | Schlägel www.adams-music.com Percussion Mallets Timpani Timpani Bamboo cartwheel CD1 Timpani Birch hard TR1 | ClassicSignature Very bright and brilliant | Birch Timpani Birch medium TR2 Hickory cartwheel CD2 Bright Timpani Birch soft TR3 Bamboo cartwheel CD3 Warm, Sonorous Hickory cartwheel CD4 Legato Bamboo ballstick CD5 Dark, Mellow Hickory cartwheel CD6 Soft, rich Bamboo ballstick CD7 Darn, Sonorous, Rich Timpani Hickory wood stick CD8 Extremely hard, Bright Timpani maple staccato TM0 | Maple Timpani maple hard TM1 Hickory Flip stick CD9 Extremely bright to general Timpani maple medium TM2 Hickory Chamois stick CD10 Very brilliant to articulate Timpani maple soft TM3 Concert Bassdrum Timpani Bass drum Symphonic small BD0 Timpani tonkin staccato TT0 | Tonkin Timpani tonkin hard TT1 Bass drum Symphonic large BD1 Timpani tonkin medium TT2 Bass drum Symphonic roller BD2 (pair of 2) Timpani tonkin soft TT3 Bass drum flipstick BD3 Gong |Tamtam Bell Plate|TamtamChimes Bell Plate small BP0 Bell Plate large BP1 Gong Symphonic small GS0 Gong Symphonic large GS1 Chimes BK0 103 102 Mallets | Schlägel www.adams-music.com.

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C:\Documents and Settings\Matt\My Documents\Scores\Maslanka\Hohner\Hohner.Sib
HOHNER David Maslanka Instrumentation 3 Vibraphones. 3 Marimbas 4⅓ Oct. (Mba. 1). All Vibraphone and Marimba players 2 Marimbas 4½ Oct. (Mba. 2). have rattles or shakers of various sizes. 2 Marimbas 4½ Oct. (Mba. 3). 2 Marimbas 5 Oct. (Mba. 4). Piano, Maraca. Double Bass. Percussion 1: Timpani, Tam Tam. Percussion 2: Small Gong, Rain Stick, Orchestra Bells, Bell Plate (or Large Bell). Percussion 3: Medium Gong, Tam Tam, Chimes, Large Suspended Cymbal, Anvil. Percussion 4: Tam Tam, Small Snare Drum, Snare Drum. Percussion 5: SmallSmall andand LargeLarge SuspendedSuspended Cymbals,Cymbals, BassBass Drum,Drum, HandHand BellsBells , CrashCrash Cymbals.Cymbals. Percussion 6: SnareSnare DDrum,rum, LargeLarge SuspendedSuspended Cymbal,Cymbal, 2 Toms,Toms, TenorTenor Drum,Drum, BassBass Drum,Drum, Crotales.Crotales. Percussion 7: Timpani, Tam Tam. Duration: ca. 10” Program Note Bob Hohner was one of my closest friends and musical companions. He was one of the very few people I know who didn’t want a recording of music that he was to per- form. It was his joy to discover musical sound. It was his insistent and persistent eﬀ ort with “Arcadia II: Concerto for Marimba and Percussion Ensemble” that rescued this “failed” piece from oblivion, and started a long collaboration between us. I wrote “Montana Music: Th ree Dances for Percussion” for him, and then “In Lonely Fields” for Percussion and Orchestra. He recorded “Arcadia II,” “Montana Music,” and “Crown of Th orns,” and we were started on yet another composing project when he died. Th at project was to have been a “Symphony for Percussion.” I had a ﬂ ash vision of a stage full of percussion, a large percussion orchestra—sections of marimbas and vibraphones—and lots of players, and I heard them playing a full-scale symphony.
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An Examination of David Maslanka's Marimba Concerti: Arcadia II For
AN EXAMINATION OF DAVID MASLANKA’S MARIMBA CONCERTI: ARCADIA II FOR MARIMBA AND PERCUSSION ENSEMBLE AND CONCERTO FOR MARIMBA AND BAND, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF K. ABE, M. BURRITT, J. SERRY, AND OTHERS Michael L. Varner, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 1999 APPROVED: Thomas Clark, Major Professor Ron Fink, Major Professor John Michael Cooper, Minor Professor William V. May, Interim Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Varner, Michael L., An Examination of David Maslanka’s Marimba Concerti: Arcadia II for Marimba and Percussion Ensemble and Concerto for Marimba and Band, A Lecture Recital, Together with Three Recitals of Selected Works of K. Abe, M. Burritt, J. Serry, and Others. Doctor of Musical Arts (Performance), December 1999, 134 pp., 62 illustrations, bibliography, 40 titles. Although David Maslanka is not a percussionist, his writing for marimba shows a solid appreciation of the idiomatic possibilities developed by recent innovations for the instrument. The marimba is included in at least eighteen of his major compositions, and in most of those it is featured prominently. Both Arcadia II: Concerto for Marimba and Percussion Ensemble and Concerto for Marimba and Band display the techniques and influences that have become characteristic of his compositional style. However, they express radically different approaches to composition due primarily to Maslanka’s growth as a composer. Maslanka’s traditional musical training, the clear influence of diverse composers, and his sensitivity to extra-musical influences such as geographic location have resulted in a very distinct musical style.
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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 .............................................
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BRO Plate Bells 2020-08.Indd
PLATE BELLS Oh, from out the sounding cells, What a gush of euphony voluminously wells! How it swells! How it dwells On the Future! how it tells Of the rapture that impels To the swinging and the ringing Of the bells, bells, bells. Edgar Allen Poe, from The Bells At the ringing of bells To wonder at beauty, stand guard over truth Look up to the noble, resolve in the good This leadeth us truly, to purpose in living To might in our doing, to peace in our feeling To light in our thinking, and teaches us trust in the working of God, in all that there is in the width of the world, in the depth of the soul. Rudolph Steiner HISTORIC AND resonators were also tried out. Many of these experi- ments took place in Bayreuth (for Richard Wagner’s SOUND DESCRIPTION Parsifal) and the Royal Opera House, Covent Garden. OF PLATE BELLS These efforts had as their aim the combination of two aspects: on the one hand the most accurate imitation Asian Beginnings possible of the bell sound with its high proportion of Musical plates made of metal originated in Asia, overtones and, on the other, a sound with a definite mainly in China, around 3500 years ago, where they pitch. have been used from time immemorial and are still hugely important today. In India the ancient temple bell plates are used till this day in preparing for ceremonies, dispersing unwanted elements and in- voking the helping forces and godheads addressed. A popular variation of the bell plate is the Burma bell, a distinctively shaped bell plate that is often mounted using a single hole, allowing it to spin when struck, producing doppler effects.
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Soloist Part
Soloist what clarity? Concerto for Percussion Dave Hollinden Instrumentation for Soloist: Snare Drum . 6 Tom Toms (see below for tuning) 2 Wood Blocks (medium and high) High-hat 3 Bell Plates (approx. 10", 8", 4") Tambourine with head 2 Brake Drums (large and small) Almglocken Metal Pipe 2 Cowbells (large and medium) Tibetan Prayer Bowl 2 Temple Blocks (low and high) Tibetan Prayer Cymbal (antique cymbal) Tuning: Tom Toms Almglocken 1 2 3 4 5 6 Snare Drum: Care should be taken with the snare drum so that it does not overpower the orchestra, particularly the string section at letters D and E. For the premiere, the snare was tuned to an A, and calf- skin heads and cable snares were used for a darker sound. Bell Plates: The bell plates that I used in sounding out the piece were 10, 8 and 4 inches square. Your instruments should be close to these sizes so that the pitches are in the correct range. The smallest plate should be pitched significantly higher than the other two, more in the range of the metal pipe (a larger metal pipe may be substituted for the smallest bell plate). While sounding out the piece, I laid the bell plates flat on bubble wrap. This resulted in a good tone with a slight amount of sustain. In addition, I found that the pitch dropped a minor third when the plate was struck near the edge as opposed to the center. This is taken advantage of at letter H, where gradual movements from center to edge of the largest bell plate are notated and a change in pitch is expected.
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Kontakt Player Gold Percussion Map
Kontakt Player Gold percussion map MIDI Key No. Name of sound Value for ‘Use MIDI Pitch’ Sound Designer in Edit Staff Type (This is an extension of the General MIDI percussion set.) 4 Slap High Conga E-1 Sonic Implants 5 Slap Low Conga F-1 Sonic Implants 6 Mute Low Conga F#-1 Sonic Implants 7 Highest Marching Tom Section G-1 Tapspace 8 High Marching Tom Section G#-1 Tapspace 9 Medium High Marching Tom Section A-1 Tapspace 10 Medium Low Marching Tom Section A#-1 Tapspace 11 Low Marching Tom Section B-1 Tapspace 12 Mute Surdo C0 Sonic Implants 13 Open Surdo C#0 Sonic Implants 14 Ratchet D0 Sonic Implants 15 Slapstick D#0 Tapspace 16 High Bass Drum Section E0 Tapspace 17 Medium High Bass Drum Section F0 Tapspace 18 Medium Low Bass Drum Section F#0 Tapspace 19 Low Bass Drum Section G0 Tapspace 20 Lowest Bass Drum Section G#0 Tapspace 21 Mute High Bongo A0 Sonic Implants 22 Mute Low Bongo A#0 Sonic Implants 23 Tenor Drum B0 Sonic Implants 24 Tenor Drum Roll C1 NI 25 Snare Drum with Snare Off C#1 Sonic Implants 26 Snare Drum Roll with Snare Off D1 NI 27 Brush Slap D#1 Sonic Implants 28 Brush Swirl E1 Sonic Implants 29 Snare Drum Roll F1 Sonic Implants 30 Castanet F#1 Sonic Implants 31 Cowbell (Closed End) G1 Sonic Implants 32 Orchestral Bass Drum G#1 Sonic Implants 33 Orchestral Bass Drum Roll A1 Sonic Implants 34 Open Rim Shot A#1 Sonic Implants GM starts Acoustic Bass Drum B1 Sonic Implants here MIDI Key No.
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Daniel Levitan: an Examination of Select Unpitched Percussion Chamber Works
Daniel Levitan: An Examination of Select Unpitched Percussion Chamber Works D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Juan Mendoza III, B.M., M.M. Graduate Program in Music The Ohio State University 2015 Document Committee: Dr. Susan Powell, Advisor Prof. Katherine Borst Jones Dr. Thomas Wells Copyright by Juan Mendoza III 2015 Abstract Daniel Levitan’s percussion works are performed by collegiate and professional percussion ensembles and soloists around the world. Several of his works have become standards of the repertoire for percussion chamber music, such as Conservatory Garden, Septet, and Marimba Quartet. Although Levitan’s percussion music is performed frequently, there is a lack of reference materials and information about his unpitched percussion chamber compositions. This document provides a brief discussion on six of Levitan’s most performed unpitched percussion chamber works: Trio, Variations on a Ghanaian Theme, Septet, Conservatory Garden, Canon at the Bar, and Eight Two-Part Inventions. General background information, a brief analysis of points of interest, and performance suggestions are provided for each of the composition. The purpose of this document is to serve as a reference for performers, educators, and composers seeking more information about Daniel Levitan and his unpitched percussion chamber works. ii Dedication To my nephews, D.J. and Damien iii Acknowledgments Sincere gratitude to Daniel Levitan for his time and patience as I completed this document. Your humility and love for music truly is inspiring. I wish to thank the members of my document committee, Dr.
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2015 Price List
2015 COMBO MARCHING CONCERT PRICE LIST EFFECTIVE JANUARY 1, 2015 THE BEST WARRANTY IN THE INDUSTRY! COMMITTED TO THE HIGHEST LEVEL OF CUSTOMER SATISFACTION. The Pearl Lifetime Warranty is a statement of confidence to our customers to the reliability of Pearl products. Pearl drums, stands and hardware are designed and manufactured to the highest standards in quality, style, appearance and playing performance. This lifetime warranty reflects a tradition of excellence and a commitment to superior engineering and craftsmanship dedicated to you, the drummer. The Pearl lifetime warranty is our pledge to you that we will proudly stand behind our product for as long as you own it. Buy it once, play it for life. ▪ Drum Set/Concert wood and metal shells for the Lifetime of the Original Owner. ▪ Foot pedals, hi-hat stands, cymbals stands, boom cymbal stands, snare drum stands, throne bases, floor-standing tom stands, floor-standing cymbal/tom stands, concert stands, racks and rack accessories, cymbal holders and multi-clamps for the Lifetime of the Original Owner. Some exceptions apply. ▪ Drum Set claws, tension rods, swivel nuts, spurs, tom brackets, tom holders, strainers, and nuts and bolts for the Lifetime of the Original Owner. LIFETIME ▪ Rotationally molded cases for the Lifetime of the Original Owner. ▪ The LIFETIME WARRANTY applies to the aforementioned Pearl products purchased from June 15, 2009. ▪ Marching Wood Shells. 3 YEARS ▪ All Pearl Percussion products (except rims, lugs, tuning plates and Taiko heads which have a 1 year warranty). ▪ All Roadshow drums, stands, pedals, hardware and parts. 2 YEARS ▪ Crystal Beat drums, acrylic shells, lugs, hoops and parts (except OptiMounts which have a LIFETIME WARRANTY) ▪ SoundCheck drums, stands, pedals, hardware, and parts.
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FMEA 2013 Clinic Handout
A Band Director's Guide to the Percussion Section: Performance Techniques in Standard and Contemporary Wind Band Literature Jeffrey Moore, Chair and Professor of Music (Percussion) [email protected] The UCF Wind Ensemble Percussion Section Dr. Scott Tobias, Director of Bands January 12, 2013-Tampa Convention Center, TCC 18, 19 8:45 am Sam Hazo, Alleluia • Percussion Intro. Melodic line in Chimes (no recording) o M. 1-8 • Double timpani note for more sound and lining up big impacts (no recording) o M. 121 – end Ryan George, Fire Fly § Syncopated metal sounds that blend together for effect. (No Recording) o Vibes, 2 Glocks, § M. 8 – 13 o Layer of Parts into syncopated rhythms. (With Recording) § M. 155-164 Frank Ticheli, Symphony No. 2 Mvt. 3 Apollo Unleashed • Melodic Timpani and Tom line (with recording) o M. 250 – 256 • “White Note” Chime Gliss (with recording) o M. 221-221 Donald Grantham, Baron Cimetiere’s Mambo • Pod Set up for contemporary music • Showing how to approach multiple players per instrument (With Recording) o Double up xylophone melodic line with brass § M. 78-81 o Tripled Marimba melodic line with WW and bass line that leads into dead strokes § M. 111- 128 • Drum Set with Low Brass syncopated line (With Recording) o M. 102-111 • Flexatone Technique (With Recording) o M. 65-66 • Cabasa Trio/quartet (With Recording) o M. 135-143 • Latin Instrument Section / Timpani Gliss (With Recording) o Maracas, Hand Drums, Cowbell, Claves, Guiro § M. 187-198 Arthur Frackenpohl, Divertimento Mvt. 3, Galop. Trombone/Euph. concerto with band § Xylophone double with WW on melodic line (with recording) o M.
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Percussion Ensem Hie GEORGE GABER, Director Seventh in a Special Series Presenting the Works of Indiana University Composers and Arrangers
INDIANA UNIVERSITY SCHOOL OF MUSIC Four Hundred Eighty-Seventh Program of the 1976-77 Season Percussion Ensem hIe GEORGE GABER, Director Seventh in a special series presenting the works of Indiana University composers and arrangers G.H.S. Special (1961) . Carole James (born 1938) Patrick Fiore, Snare Drum Mark Pulice, Cymbals Bernard Delisle, Snare Drum Eri Chomski, Bass Drum *Infervesco (1972) Glenn Smith (born 1946) David Balazs, Triangles, Gong, Daniel Getman, Cymbal, Snare Drum, Hand Cymbals Tenor Drum, Gong Tom Toyama, Timpano, Bass Drum, Gong Rondo Capriccioso (1962) Robert Russell Bennett (arranged by George Gaber) (born 1894) Fred Opie, Xylophone, Donna Hilton, Marimba, Triangle Vibraphone Judy Moonert, Xylophone, Bill Hill, Marimba, Chimes Bells Pykna (1969) . Edward Long (born 1947) Mathew Furfine, Wood Blocks, Mark Pulice, Field Drum, Snare Drum, Ratchet, Tom-tom, Castanets, Vibraslap, Tambourin Maracas, Tambourine Tom Toyama, Bongos, Gong, Rick Blackwell, Bass Drum, Sizzle Cymbal, Tam-tam, Thunder Drum, Castanets Cymbal Bravour Polka (1909) . Fritz Kruger (arranged by George Roach) Judy Moonert, Solo Xylophone Daniel Getman, Snare Drum Marina Roseman, Xylophone II Bernard Delisle, Cymbals Donna Hilton, Marimba I Patrick Fiore, Bass Drum Greg Priddy, Marimba II Bill Hill, Timpani David Balazs, Chimes *Prpm ier performances in this series. Recital Hall Monday Evening February Twenty-Eighth Eight-Thirty O'Clock *Changes (1969) - Gary Smart (born 1943) Bill Hill, Thunder Drum, Chimes, Judy Moonert, Gong, Triangle, Xylophone, Bell
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Kellerre.Pdf
NORTHWESTERN UNIVERSITY Compositional and Orchestrational Trends in the Orchestral Percussion Section Between the Years of 1960-2009 SUBMITTED TO THE MUSIC SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSIC Field of Percussion By Renee E. Keller EVANSTON, ILLINOIS June 2013 © Copyright by Renee Keller 2013 All Rights Reserved 4 ABSTRACT Compositional and Orchestrational Trends in the Orchestral Percussion Section Between the Years of 1960-2009 Renee E. Keller The purpose of this study was to identify new trends and innovations as regards the orchestral percussion section between the years of 1960-2009. In order identify possible trends this study examined 87 compositions written for orchestra between 1960 and 2009. The necessary historical background identified a number of trends already in use by 1960. Among those were increasing calls for special effects, the introduction and inclusion of the marimba and vibraphone in orchestral music, an increased demand for difficult and important mallet parts, general increases in the size and force of the percussion section, and an increased demand for expanded timpani range and tuning. Scores were examined for those trends as well for new or unusual playing techniques, the prevalence of multi-percussion setups in the orchestra, detail of composer instruction and percussion ensemble in the orchestra. Changing opinions and attitudes regarding percussion which occurred during the 19th century and the first half of the 20th century were also documented. The results indicate that a number of changes took place in orchestral percussion writing from 1960-2009. General findings show increased demands on the percussion sections of today compared to the percussion sections of the past in both number of instruments and players.
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VDL 2.5 User Guide
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