EXC!TE SNARE DRUM — Making an Audio Plugin with Pure Data inside

This report describes how we made a VST3 plugin containing Pure Data and integrated libpd into VCV Rack, iPlug2 and the VST3SDK. The plugin is a real-time snare drum synthesizer using an exciter-resonator model. We discovered an undesirable effect in Pd where the computationally cheap 4-point interpolation on delread4~ creates audible artefacts, effecting our wave-guide. Our solution to this issue was to implement our own interpolation object based on advice from Cyrille Henry posted to the Pd mailing list in 2008. The implementation was taken from Julius O. Smith‘s Digital Audio Resampling reference book.

Transformations of drum rudiments in jazz performances

<p>A significant part of the training of many performers on the drum set during the last 100 years has involved mastery of drum rudiments and military-style cadences. Consequently, many jazz drummers have built upon such training to develop an individual style that makes use of some of the techniques and rhythms found in these rudiments and drum cadences but which have often been changed or modified in ways that made these rudimental military - style drumming excerpts suitable for their own stylized musical expression. Research Question: Is there evidence in the improvised drum solos of jazz drummers Philly Joe Jones and Steve Gadd to suggest that the rhythmic vocabulary, stickings and techniques they used had their origins in rudimental snare drum cadences, method books and published snare drum solos? If so, how has this content been adapted by each drummer in their musical context(s) to the purpose of communicating their individual approach on the drum set? Method: To propose answers to this question, I have examined representative solos by each of the drummers in my sample and examined those solos for evidence of rudimental content derived from renowned method books, etudes and published solos. Having identified these rudiments (or rudiment-derived ideas) I have sought to identify the possible origins of the rudiments and their transformation to each drummer’s soloing vocabulary. Representative Solos: To select representative solos, I auditioned many recordings by Jones and Gadd. I finally settled on Asiatic Raes, Jazz Me Blues and Joe’s Debut as performed by Philly Jo Jones; Crazy Army and The 11th Commandment as performed by Steve Gadd. These solos, (as I explain in my analysis), are usefully representative of the approaches adopted by the respective drummers and offer a useful window onto the issues this exegesis examines.</p>

Transformations of drum rudiments in jazz performances

<p>A significant part of the training of many performers on the drum set during the last 100 years has involved mastery of drum rudiments and military-style cadences. Consequently, many jazz drummers have built upon such training to develop an individual style that makes use of some of the techniques and rhythms found in these rudiments and drum cadences but which have often been changed or modified in ways that made these rudimental military - style drumming excerpts suitable for their own stylized musical expression. Research Question: Is there evidence in the improvised drum solos of jazz drummers Philly Joe Jones and Steve Gadd to suggest that the rhythmic vocabulary, stickings and techniques they used had their origins in rudimental snare drum cadences, method books and published snare drum solos? If so, how has this content been adapted by each drummer in their musical context(s) to the purpose of communicating their individual approach on the drum set? Method: To propose answers to this question, I have examined representative solos by each of the drummers in my sample and examined those solos for evidence of rudimental content derived from renowned method books, etudes and published solos. Having identified these rudiments (or rudiment-derived ideas) I have sought to identify the possible origins of the rudiments and their transformation to each drummer’s soloing vocabulary. Representative Solos: To select representative solos, I auditioned many recordings by Jones and Gadd. I finally settled on Asiatic Raes, Jazz Me Blues and Joe’s Debut as performed by Philly Jo Jones; Crazy Army and The 11th Commandment as performed by Steve Gadd. These solos, (as I explain in my analysis), are usefully representative of the approaches adopted by the respective drummers and offer a useful window onto the issues this exegesis examines.</p>

Is There a Need for a Fundamentally New Classification of Musical Instruments?

В статье предлагается новый принцип классификации музыкальных инструментов, основанный не на первичности источника звука при неизменной вторичности способа извлечения, а на полном равноправии этих компонентов. Для композитора и исполнителя всегда важнее способ извлечения звука, поскольку его источник - не более чем предпосылка тонообразования. Нелогичность общепринятой классификации становится очевидной уже при обращении к ударным инструментам: например, удар по мембране малого барабана делает его мембранофоном, а по обручу - идиофоном. Однако для музыкальной практики в первую очередь имеет значение способ извлечения звука на малом барабане и его принадлежность к ударным инструментам. В качестве примера также доказывается, что большое семейство гармоник надо определять не как «идиофоны с дутьем» и не как аэрофоны, согласно систематике выдающихся классиков инструментоведения Э. Хорнбостеля и К. Закса, а как пневматико-клапанные ламеллафоны. Автор статьи приходит к выводу, что музыкальные инструменты целесообразно классифицировать так, как это принято в академическом инструментарии: не на идиофоны, мембранофоны, хордофоны и аэрофоны, а, к примеру, на струнные смычковые, духовые и ударные - в симфоническом оркестре; целесообразно изменить принципы классификации и в других инструментальных составах. The article proposes a new principle of classification of musical instruments, based not on the primacy of the sound source with the constant secondary of the extraction method, but on the full equality of these components. For the composer and performer, the method of sound extraction is always more important, since its source is no more than a prerequisite for tone formation. The illogic of the generally accepted classification becomes obvious when referring to percussion instruments: for example, a blow on the membrane of a snare drum makes it a membranophone, and on a hoop-an idiophone. However, for musical practice, the method of extracting sound on a snare drum and its belonging to percussion instruments is primarily important. As an example, it is also proved that a large family of harmonics should be defined not as “idiophones with blowing” and not as aerophones, according to the systematics of the outstanding classics of instrumentation E. Hornbostel and C. Sachs, but as pneumatic-valve lamellaphones. The author of the article comes to the conclusion that it is advisable to classify musical instruments as it is customary in academic instruments: not into idiophones, membrano-phones, chordophones and aerophones, but, for example, into strings, brass and percussion-in a symphony orchestra; it is advisable to change the principles of classification in other instrumental sets also.

Drop that Beat! Digital Sampling with Ableton Live in Higher Education (Intermediate)

The aim of this chapter is to get students comfortable with the basics of Ableton live. The lessons described in this chapter were designed for a combined undergraduate and graduate Digital Music Production course. Students engage with Ableton Live and a MIDI keyboard to create original beats and sample audio using online databases. Students identify, sample, edit, and manipulate a kick drum, snare drum, hi-hat, and additional percussive sounds using waveform mediums. These lessons use a project-based and teacher-facilitated approach, which allows for scaffolding, modification, and adaptation as needed. Each sequential step outlined can be time-modified based on student needs. This also allows for flexibility of student progress, questions, or challenges that may arise, and individual adaptations for learning.

Historical Aspects of Rhythm Notation and Rhythm Sequences

For percussionists, rhythm notation represents more than a mere temporal sequence of music; it also assists the selection and execution of the appropriate technique. This musical execution is often dependent on the percussion instrument, although it is safe to argue that the movement sequence when sounding an instrument is independent of its size and proportions. Starting from the first beats, it is as crucial to learn and master movement routines as it is to understand and feel the time between notes, since these together enable one to play out rhythm notation precisely and internalise the correct motor processes. Applying the adequate movement sequences during the learning process consciously could result in substantial self-control abilities, which can also be utilised during practice. In the past centuries, the style of percussionists’ performance has transformed substantially due to the evolution of instruments and mallets, as well as performers’ efforts towards faster tempos. In this study, a brief overview on the history of percussion instruments is followed by the presentation of the technical evolution and milestones of how snare drums and other drums are played. When practicing percussion instruments, we must bear in mind the vast contribution of percussionists from bygone centuries, who laid the foundations of modern-day techniques either in wars or for others’ entertainment. Keywords: tabor, snare drum, traditional grip, rudimental

THE CORRELATION BETWEEN THE USE OF BATTERY PERCUSSION INSTRUMENTS WITH THE LOW BACK PAIN MYOGENIC COMPLAINT OF THE PERCUSSION DIVISION PLAYERS OF THE MARCHING BANDS IN DENPASAR AND BADUNG

Background: Low back pain (LBP) is a kind of complaint which is easily found in human’s daily life. An activity of carrying something can be one of factors causing the low back pain. Many people uphold some things more than the normal limit by using a wrong way and even doing it for a long duration. A battery percussion player is required to uphold and sustain a battery percussion instrument with an upright standing position and for quite a long time. It can cause the low back pain. Purpose: to find out the correlation between the use of battery percussion instruments with the low back pain myogenic complaint of the percussion division players. Method: This study used an observational analytic method with cross sectional approach which applied a saturation sampling technique. The number of the sample was 90 people divided into 3 groups: snare drum, quint tom/ multi toms and bass drum in which each group contained of 30 people. The data collection was conducted by filling out a questionnaire to diagnose and measure the pain scale with VAS. The hypothesis test was done using bivariate analysis with a chi-square test. Result: The result of the study shows that the bivariate analysis with the chi-square test finds out that the value is p < 0.05. Furthermore, the low back pain percentage of the snare drum is 63.4%; the quint tom/multi toms is 100%; and, the bass drum is 90.1%. Conclusion: Based on the result of the study, it can be concluded that there is a correlation between the use of battery percussion instruments and the low back pain myogenic complaint of the percussion division players of the marching bands in Denpasar and Badung. Key Words: Low Back Pain, Marching Band, Battery Percussion, VAS.

Instrumen Snare Drum Produksi Al Custom Drum Di Kediri Jawa Timur Dalam Tinjauan Organologi dan Menejerial Pemasaran

Al Custom Drum merupakan rumah produksi instrument alat musik yang terletak di Desa Minggiran Kabupaten Kediri Propinsi Jawa Timur. Dengan chiri khas yang dimiliki yaitu bahan kayu local mahogany dengan keutuhan kayu (true solid wood) bahan kayu local dengan jenis mahogani yang dipilih menciptakan karakter instrumen Snare Drumyang nyaring (renyah) dan tidak pecah (ulem), dan pemasaran produk Instrumen Snare Drum yang dilakukan oleh Alcustom Drum dengan manggunakan media social Instagram sebagai pemasran online yang efisien untuk digunakan karena memiliki jangkauan yang luas.Kata Kunci: Organologi Instrumen Alat musik Snare DrumProduksi Al Custom Drum dan Managerial