TAKE YOUR STYLE

Google Earth Pro

2010-10-27T01:28:00.000-07:00

Real-time Satellites in Google Earth

2010-10-27T01:27:00.000-07:00

Google Earth 5 - New 3D Ocean

2010-10-27T01:25:00.000-07:00

duet piano...

2010-10-26T01:32:00.000-07:00

"Take Me Out" by Atomic Tom LIVE on NYC subway

2010-10-18T21:47:00.000-07:00

Fast Violin Solo - Samvel Yervinyan

2010-10-15T11:05:00.000-07:00

Armenian Duduk on Yanni Live! The Concert Event

2010-10-15T11:04:00.000-07:00

Yanni World Dance

2010-10-15T11:02:00.000-07:00

Korg PA800 Professional Arranger Keyboard

2010-10-15T10:55:00.000-07:00

Korg PA800 Professional Arranger Keyboard

2010-10-15T10:54:00.000-07:00

Arthur Abraham Knockouts - Boxing Highlights

2010-10-15T10:53:00.000-07:00

SHALAKHO

2010-10-15T10:47:00.000-07:00

Music Theory

2010-10-11T11:39:00.000-07:00

staff

The modern staff comprises five lines and four spaces.

Every line or space on the staff represents a white key on the keyboard.

Clefs assign individual notes to certain lines or spaces.

Two clefs are normally used: The Treble and Bass clefs.

First, we will discuss the Treble Clef (also called the G Clef).

The staff line which the clef wraps around (shown in red) is known as G. Any note placed on this line becomes G.

The note on the space above G is A. (Remember, there is not an “H” note).

The note on the line above A is B.

This process continues.

Uh-oh. We just ran out of room to place notes, what happens now?

Ledger Lines will solve our dilemma.

A ledger line is a small line that extends the staff when we run out of room.

With the ledger line drawn, we can place the A.

Next, let’s discuss the Bass Clef (also called the F Clef).

The staff line in between the two dots of the clef is F.

We can now fill the rest of the staff with notes.

Finally, we will discuss the Grand Staff, a theoretical staff consisting of eleven lines.

Watch what happens when we eliminate the middle line - we end up with two regular staffs.

By adding a Treble Clef to the top staff and a Bass Clef to the bottom staff, we can see the relationship between the two staffs.

Notice how the two clefs are “joined” by the C (shown in red).

This C is commonly called “middle C” since it corresponds to the middle staff line on the Grand Staff.
Note Duration
The length of time that a note is played is called its note duration, which is determined by the type of note.
The whole note has the longest note duration in modern music.
The half note has half the duration of a whole note.
Two half notes occupy the same amount of time as one whole note.
The quarter note is a fourth (or a quarter) of a whole note.
Four quarter notes occupy the same amount of time as one whole note. Two quarter notes equal the duration of a half note.
Notes smaller in duration than a quarter note have flags. Each flag halves the value of a note.
An eighth note has one flag.
Therefore, two eighth notes occupy the same amount of time as one quarter note.
A sixteenth note has two flags, halving the value again.
Two sixteenth notes equal the duration of an eighth note.
Four sixteenth notes occupy the same amount of time as one quarter note.
Although it is possible to have notes with three or more flags, they are seldomly used.
This chart displays the relationship of all five note types discussed in this lesson.
The length of time that a note is played is called its note duration, which is determined by the type of note.
The whole note has the longest note duration in modern music.
The half note has half the duration of a whole note.
Two half notes occupy the same amount of time as one whole note.
The quarter note is a fourth (or a quarter) of a whole note.
Four quarter notes occupy the same amount of time as one whole note. Two quarter notes equal the duration of a half note.
Notes smaller in duration than a quarter note have flags. Each flag halves the value of a note.
An eighth note has one flag.
Therefore, two eighth notes occupy the same amount of time as one quarter note.
A sixteenth note has two flags, halving the value again.
Two sixteenth notes equal the duration of an eighth note.
Four sixteenth notes occupy the same amount of time as one quarter note.
Although it is possible to have notes with three or more flags, they are seldomly used.
This chart displays the relationship of all five note types discussed in this lesson.

Measures and Time Signature
Vertical black bars called bar lines divide the staff into measures.

This staff has been split into two measures.

Time signatures define the amount and type of notes that each measure contains.

The first measure is in 4/4 time and the second measure is in 3/4 time.

The first measure (4/4) contains four quarter notes.

The second measure (3/4) contains three quarter notes.

Next, we will discuss non-quarter-note time signatures.

6/8 time contains six eighth notes.

3/2 time contains three half notes.

This chart displays all of the time signatures that we discussed.

Vertical black bars called bar lines divide the staff into measures.

This staff has been split into two measures.

Time signatures define the amount and type of notes that each measure contains.

The first measure is in 4/4 time and the second measure is in 3/4 time.

The first measure (4/4) contains four quarter notes.

The second measure (3/4) contains three quarter notes.

Next, we will discuss non-quarter-note time signatures.

6/8 time contains six eighth notes.

3/2 time contains three half notes.

This chart displays all of the time signatures that we discussed.
Rest Duration
Rests represent periods of silence in a measure.

Each type of rest shares a duration with a certain type of note.

For example, both a quarter rest and a quarter note occupy the same amount of time.

While the note would make a sound, the rest is silent.

To demonstrate this, let's fill a measure of 4/4 time with quarter notes.

Listen to this example.

Next, we will replace the second quarter note with a quarter rest.

The second beat is now silent.

Next, let's discuss the other types of rests.

A whole rest occupies the same amount of time as a whole note.

It is drawn as a box descending from the fourth staff line.

A half rest occupies the same amount of time as a half note.

It is drawn as a box ascending from the middle staff line.

Like notes, rests can have flags.

With one flag, an eighth rest has the same duration as an eighth note.

With two flags, a sixteenth rest has the same duration as a sixteenth note.

Although rarer, rests can have three or more flags.

Use this chart for reference to rest duration.

Rests represent periods of silence in a measure.

Each type of rest shares a duration with a certain type of note.

For example, both a quarter rest and a quarter note occupy the same amount of time.

While the note would make a sound, the rest is silent.

To demonstrate this, let's fill a measure of 4/4 time with quarter notes.

Next, we will replace the second quarter note with a quarter rest.

The second beat is now silent.

Next, let's discuss the other types of rests.

A whole rest occupies the same amount of time as a whole note.

It is drawn as a box descending from the fourth staff line.

A half rest occupies the same amount of time as a half note.

It is drawn as a box ascending from the middle staff line.

Like notes, rests can have flags.

With one flag, an eighth rest has the same duration as an eighth note.

With two flags, a sixteenth rest has the same duration as a sixteenth note.

Although rarer, rests can have three or more flags.

Dots and Ties

Augmentation dots and tenuto ties are two types of markings used to alter a note's duration.

A dot increases duration by one half.

Since an eighth note is half the duration of a quarter note, we will substitute it for the 1/2 symbol.

As you can see, a dotted quarter note is equal to a quarter note plus an eighth note.

A dotted quarter can also equal three eighth notes.

Ties merge multiple notes of the same pitch.

They are used to let the duration of a note travel across barriers (such as the measure line in this example).

The fourth and fifth notes are now combined.

If the measure line were not there, we could have written a half note instead.

Use this chart for reference to augmentation dots.

Each time signature can be classified into a certain meter.

The terms duple, triple, and quadruple refer to the number of beats in a measure.

The term simple means that each of these beats can be broken into two notes.

For example, 2/4 time is classified as simple duple.

“Duple” refers to the two beats per measure.

“Simple” states that each of these beats can be divided into two notes.

2/2 and 2/8 are also simple duple.

3/4 time is classified as simple triple.

“Triple” refers to the three beats per measure.

Again, “simple” states that each of these beats can be divided into two notes.

3/2 and 3/8 are also simple triple.

4/4 time is classified as simple quadruple due to its four beats which can be divided into two notes.

4/2 and 4/8 are also simple quadruple.

Notice that a time signature in simple meter will always have a 2, 3, or 4 for the top number.

While beats in simple meter are divided into two notes, beats in compound meter are divided into three.

To demonstrate this, we will examine 6/8 time.

Notice that the six eighth notes can either be divided into two beats (compound duple) or three beats (simple triple).

Since the simple triple pattern already belongs to 3/4 time, 6/8 is compound duple.

Notice that each beat in 6/8 is a dotted quarter note. In fact, all compound meters will have some dotted note as its beat.

Any time signature with a 6 on top is compound duple. 6/8 and 6/4 are the most commonly used.

9/8 time is classified as compound triple.

There are three beats (three dotted quarter notes), thus making the meter triple.

Since each beat is made up of three notes, the meter is compound.

Any time signature with a 9 on top is compound triple. Although 9/8 is the most common; 9/2, 9/4, and 9/16 can also be used.

Finally, 12/8 time is classified as compound quadruple.

There are four beats, thus making the meter quadruple.

Since each beat is made up of three notes, the meter is compound.

Any time signature with a 12 on top is compound quadruple. 12/8 and 12/16 are the most commonly used.

Odd Meter

An odd meter is a meter which contains both simple and compound beats.

The first odd meter that we will discuss is 5/8 time. It contains one simple beat and one compound.

The order of the beats does not matter. If the compound beat comes first, it is still 5/8 time.

Next, we will discuss odd meters with three total beats.

7/8 time contains two simple beats and one compound beat.

Again, the order of the beats does not matter.

The compound beat can even be positioned between two simple beats.

8/8 time contains two compound beats and one simple beat.

Sometimes, people confuse 8/8 with 4/4, since both meters have 8 eighth notes.

Notice that 4/4 divides the meter into four beats of two eight notes (simple quadruple), while 8/8 divides it into three odd beats.

Our last two odd meters have a total of four beats.

10/8 time has two compound beats and two simple beats.

11/8 time has three compound beats and one simple beat.

An odd meter is a meter which contains both simple and compound beats.

The first odd meter that we will discuss is 5/8 time. It contains one simple beat and one compound.

The order of the beats does not matter. If the compound beat comes first, it is still 5/8 time.

Next, we will discuss odd meters with three total beats.

7/8 time contains two simple beats and one compound beat.

Again, the order of the beats does not matter.

The compound beat can even be positioned between two simple beats.

8/8 time contains two compound beats and one simple beat.

Sometimes, people confuse 8/8 with 4/4, since both meters have 8 eighth notes.

Notice that 4/4 divides the meter into four beats of two eight notes (simple quadruple), while 8/8 divides it into three odd beats.

Our last two odd meters have a total of four beats.

10/8 time has two compound beats and two simple beats.

11/8 time has three compound beats and one simple beat.

Steps and Accidental

A half step is the distance from one key on the keyboard to the next adjacent key.

Key 1 to Key 2 is a half step since they are next to each other.

A half step is not always from a white key to a black key.

In this example, Key 1 and Key 2 are still next to each other.

A whole step is the same distance as two half steps.

Key 1 to Key 3 is a whole step.

Key 1 to Key 2 is the first half step. Key 2 to Key 3 is the second half step.

An accidental is a sign used to raise or lower the pitch of a note.

The first accidentals that we will discuss are the flat and the sharp.

The flat lowers a note by a half step while the sharp raises a note by a half step.

When typing, you can use a # to represent a sharp and a b to represent a flat.

Let's examine the black key in between C and D.

This key could be called C# since it is a half step above C.

It could also be called Db since it is a half step below D.

Another example would be E and F.

E could also be called Fb since it is half step below F.

Likewise, F could be called E#.

Whenever a certain pitch has multiple names, it is called an enharmonic spelling.

Next, let's discuss the double flat and the double sharp.

While flats and sharps alter a note by a half step, the double flat and double sharp alter a note by a whole step.

When typing, you can use a x to represent a double sharp and a bb to represent a double flat.

For example, both D and Ebb have the same pitch since you can reach D by going a whole step (or two half steps) down from E.

D also sounds the same as Cx since it is a whole step above C.

Finally, a natural cancels out any accidental and returns a note to its original white key.

The Major Scale

A scale is a selection of certain notes within an octave. The first scale that we will discuss is the major scale.

The major scale is constructed with this formula. W's represent whole steps and h's represent half steps.
Let's build a C Major Scale. Our starting note will be C.
From the C, we will take a whole step to D.
From the D, we will take another whole step to E.
Next, we will go up a half step to F.
From F, the whole step will take us to G.
Next is another whole step to A.
The last whole step takes us to B.
Finally, the half step returns us to C.
Next, we will build the Eb Major Scale. Our starting note will be Eb.
The first whole step takes us to F.
The second whole step takes us to G.
Notice that the half step from G takes us to Ab, not A.
The whole step from Ab takes us to Bb.
The next whole step takes us to C.
The next whole step takes us to D.
Finally, the half step from D returns us to Eb.
Notice that Eb Major has three flats (Both Eb's only count once).
For our final scale, we will build the D Major Scale.
The first whole step takes us to E.
From the E, the second whole step takes us to F#.
The half step takes us to G.
The whole step takes us to A.
From A, the whole step takes us to B.
From the B, the whole step takes us to C#.
Finally, the half step returns us to D.
Notice that D Major has two sharps.
It is possible to build any major scale - just start on the first note and follow the formula.
While there is only one major scale, three different variations of the minor scale exist.

The first minor scale that will we discuss is natural minor. It is constructed with this formula.

Let's build an A Natural Minor Scale. Our starting note will be A.

From A, we take a whole step to B.

Next, we take a half step to C.

From C, a whole step takes us to D.

Another whole step takes us to E.

From E, we go up a half step to F.

From F, a whole step takes us to G.

Finally, the last whole step returns us to A.

Notice that the A Natural Minor Scale has no notes with accidentals.

Let's build an G# Natural Minor Scale. Our starting note will be G#.

From G#, we take a whole step to A#.

Next, we take a half step to B.

From B, a whole step takes us to C#.

Another whole step takes us to D#.

From D#, we go up a half step to E.

From E, a whole step takes us to F#.

Finally, the last whole step returns us to G#.

Notice that the G# Natural Minor Scale has five sharps.

Next, we will construct the C Natural Minor Scale. Our starting note will be C.

The whole step takes us to D.

From D, a half step takes us to Eb.

The following whole step takes us to F.

From F, a whole step takes us to G.

The half step from G takes us to Ab.

From Ab, we take a whole step to Bb.

The final whole step returns us to C.

Notice that the C Natural Minor Scale has three flats.

Next, we will discuss harmonic minor.

To convert any natural minor scale into harmonic minor, raise the seventh note by a half step.

Let's convert C Natural Minor into C Harmonic Minor.

Simply raise the seventh note (Bb) by a half step, resulting in B.

Finally, we will discuss melodic minor.

To convert a natural minor scale into melodic minor, raise both the sixth and seventh notes by a half step.

For example, to convert C Natural Minor into C Melodic Minor, simply raise the Ab and Bb a half step to A and B.

Usually, melodic minor is used only when ascending. When descending, composers prefer to use the natural minor scale.

Each note of a scale has a special name, called a scale degree.

The first note is called the tonic.

The fifth note is called the dominant.

The fourth note is called the subdominant (meaning lower dominant).

Since it is in the middle of the tonic and dominant, the third note is called the mediant.

Likewise, the sixth note is called the submediant since it is in the middle of the upper tonic and subdominant.

The second note is called the supertonic. Super is Latin for “above”.

While the scale degrees for the first six notes are the same for both major and minor scales, the seventh one is special.

If the seventh note is a half step below the tonic, it is called a leading tone.

Play the C Major Scale, notice how the seventh note wants to lead into the tonic.

Leading tones also occur in harmonic minor and melodic minor.

In natural minor, the seventh note is a whole step below the tonic. In this case, the note is called a subtonic.

Play the C Natural Minor scale, notice how the seventh tone lacks the desire to lead into the tonic.

source: http://www.musictheory.net/

Roland D50

2010-10-11T11:21:00.000-07:00

The Roland D-50 was a polyphonic 61-key synthesizer produced by Roland. It was released in 1987 to compete with the Yamaha DX7. Its features include on-board effects, a joystick for data manipulation, and an intuitive layout design. The external Roland PG-1000 Programmer could also be attached to the D-50 for more complex manipulation of sounds.
The D-50 could be modified through the addition of a 3rd-party product (the Musitronics M-EX) to make it multitimbral (the D-50 was bi-timbral). It was also produced in a rack-mount variant design, the D-550, with almost 450 user-adjustable parameters.
The D-50 has become a user favorite[citation needed] over the years.

Roland • D-50 / D-550

The D-50 is an all-time favorite digital synth that's still just as popular today as when it first came out in '87. Once Roland's hottest digital synth, it competed against the Yamaha DX7, and was much easier to use. By joining 8-bit PCM samples with "LAS" synth-generated sounds, the D-50 is capable of unique and complex sounds. The PCM samples contained the attack transients, while the rest of the sound came from the Linear Arithmatic Synth (LAS) section which sounds very analog, with subtractive-style synthesis and low-pass-resonant filters. Built-in chorus and (for the first time) digital reverb are also included for giving your sounds space and life! It also has a joystick controller for real-time timbre manipulation. The D-50 was great for new and non-acoustic, percussive, ethereal and beautiful pads & sounds.
Roland D-550 Rack Version
Both the D-50 and D-550 benefit from the PG-1000 external controller which gives you very plain and simple slider/fader type control of all adjustable parameters of the synth. The D-50 includes MIDI on all 16 channels but because it is monotimbral you can only use one channel at a time. There is an upgrade which will give the D-50 and its rackmount version a full 16 channels of simultaneous MIDI multitimbral data communication. This popular synth has been widely used in all forms of music. Eric Clapton, Enya, 808 State, Jean Michel Jarre, Vince Clarke, Apollo 440, Eat Static, LTJ Bukem, Fluke, Information Society, Lab-4, Gary Numan, Rick Wakeman, Kitaro, Rush, Vangelis, Richard Barbieri, Boston and Nick Rhodes of Duran Duran are just a few of the many satisfied users.

Korg M3

2010-10-09T11:36:00.000-07:00

Korg M3

This Keyboard Workstation Will XPand Your Potential!The M3 XPanded offers a staggering 697 Mbytes of PCM, delivering a huge number of sound variations. Powerful enhancements to the sequencer and interface make the Korg M3 keyboard workstation the go-to instrument for your music making. Now at a lower price - see your dealer for more info on this MIDI keyboard.
The Next Coming Of M - A Third Generation Keyboard Workstation
The M3 heralds the third generation of Korg Workstations. The M1 is the keyboard workstation that started it all, first appearing in 1988 to bring the world a new concept called the "music workstation." It went on to become the best selling keyboard workstation in history, and was further expanded and enhanced through the T and O1/W series. Trinity defined a new level of innovations including touch screen technology and configurable effects, and was the forbearer of the successful TRITON range of products.
Korg Redefines the Keyboard Workstation Category Once Again.
The Korg M3 features a number of innovations distilled from the flagship OASYS including the EDS (Enhanced Definition Synthesis) sound generator derived from the HD-1 engine design, the advanced second-generation KARMA functionality, and the multi-purpose control surface. Adding innovations such as the new concept of "virtualized hardware" that allows an even closer integration with DAW systems, Drum Tracks which provide an instant groove to play along with, and the new "Korg Komponent System" concept that facilitates more flexible system construction, this keyboard workstation/sampler opens a new and exciting page in music making. Plain and simple, the Korg M3 is the keyboard workstation that rightfully deserves to wear the "M" that started it all.

Dhol and Duduk by female Armenian duduk player.

2010-10-09T10:14:00.000-07:00

Nagara, Dhol,Baraban...

2010-10-09T09:43:00.000-07:00

Nagara
Playing range

Other names	Naghara, Doli, Koltuk Davulu, Dhol, Baraban
Classification	Percussion instrument
Rope tensioned

The nagara is a folk drum performed in Azerbaijan, Armenia, Georgia, Turkey and other Caucasus region. It has different names, according to the territory in which it is played. This membranophone is different from the dhol and nagara of India

Nagara

The nağara (also called koltuk davulu) is a Turkish folk drum or percussion instrument. It is placed under the arm and beaten with the hands. It is longer compared to the regular drums and its diameter is smaller. This is the same as the Azerbaijani naghara. There is a proverb in the Azerbaijani language that says "toy-dan-sora-naghara!" This literally means after the wedding ceremonies naghara! This instrument helped the doctors to deal with bad mood, melancholy, intellectual and physical exhaustion, as well as low blood pressure. It was considered that the Naghara could substitute for some medicinal plants and tones like spicy cloves. The rhythmic beating of the naghara is believed to lead to the strengthening of the heart. The naghara is described in the Early Middle Age Azerbaijani literary epic, "Kitabi Dada Gorgud" (Book of Dede Korkut) (The Book of my Grandfather). Instruments resembling the Naghara were also well known in ancient Egypt.
Thus, according to the rich scientific and musical heritage of our ancestors, it seems that not only did they listen to music for enjoyment and entertainment, but they perceived music a potent force in the prevention and treatment of various diseases.

Doli

The doli is played across Georgia in the Caucasus. The body consists of a hollow wooden cylinder covered with leather tightly attached to it with iron rings. It is played by palms and fingers, under or over the arm, while sitting or dancing. It is struck in the center to get the effect of forte and at the edges to get a piano effect. The doli’s height and diameter of sound producing surface are about 3 to 1. Men mostly play the doli. In performance the doli creates the rhythm of the dance. The doli is often combined with other regional instruments including the chonguri, the chiboni, the salamuri, the buzika and the duduki.

Dhol

The dhol (Armenian: Դհոլ; pronounced "duh-hole") is an Armenian cylinder drum traditionally covered with goatskin on both sides, one high and one low in pitch. Seen here is a pre-fabricated head which is unaffected by changes in humidity, unlike natural skin. Played with the fingers and hands, the "dhol," rests in your lap and sets off to one side with one arm resting on top of the drum. The Dhol is the national percussion instrument of Armenia, used nowadays in almost every genre of traditional Armenian music. It is a versatile drum, very similar to the tom-tom of a standard drum set in shape. The shell is usually made of pear or apricot wood and is approximately 12 to 14 inches in diameter and 12 inches deep. Both ends of the cylinder are covered in sheep or goatskin and are adjustable for tension using rope lacing and small pulleys. A dhol is capable of producing a very wide range timbres and volume suitable for use in almost any setting.

Baraban

In Circassia and Dagestan, this type of folk cylindrical drum with two skin heads is called baraban, different from the baraban (drum) of mainland Russia, which is played with sticks. See also Circassian Music.

Jergh

In Chechenya there is a double-headed drum named jergh or watt.

Armenian duduk...

2010-10-09T09:03:00.000-07:00

The Duduk (pronounced doo-dook) is considered the most "Armenian" of all folk instruments because of its Armenian origins and its ability to honestly express the emotions of the Armenian people. It has a 1500 year history and is native to Armenia although there are variants played in Turkey, Georgia, and Azerbaijan. The duduk reflects the passion, celebration, and suffering of Armenia. Aram Khatchadourian once said that the duduk is the only instrument that made him cry.

The soulful sound of the duduk has recently been in the World Music spotlight thanks to musical artist Peter Gabriel. Gabriel has integrated duduk into his recordings including the soundtrack to The Last Temptation of Christ and Us. Armenian duduk master Djivan Gasparyan has also recently recorded with guitarist Michael Brooks.

The duduk is a cylindrical instrument made of apricot wood and in typically 28, 33, or 40 cm in length. It has 8 or 9 holes and 1 thumbhole which provide a range of one octave. The double reed, also known as ramish or yegheg in Armenian, is typically 9-14 cm. in length and is surrounded by a thin flexible wood binding that slides along the length of the reed. This binding is used for tuning the duduk as it controls the opening/closing of the reed. The reed itself grows plentifully along the Arax River in Armenia.

The sound of the duduk is warm, soft, and has a slightly nasal timbre. The dynamics of the sound are controlled by adjusting the pressure of the lips on the reed and by covering the finger holes. Although the duduk is tuned to be "untempered and diatonic" chromatic notes can be obtained by partially covering the finger holes.

The duduk is typically played in pairs with the lead duduk playing the melody and the second duduk playing a sustained pitched called the dam. The dam is a tonic drone that serves as a constant counterpoint to the melody. The player of the dam, called damkash, maintains this drone by using a circular breathing technique. This procedure involves inhaling through the nose and storing the air in puffed up cheeks while maintaining lip pressure on the reed.

The duduk is also typically accompanied with a dhol, the double-sided Armenian drum. The dhol is known for its upbeat Armenian dance rhythms. However, even when the duduk is playing songs of lament the gentle touch of the dhol provides a suitable background.

Korg pa800 Armenian and Persian styles (sample)

2010-10-07T09:21:00.001-07:00

Free styles and sounds for keyboards

2010-10-06T22:56:00.000-07:00

Hi everybody , how are you ? I want everyone who needs any style for keyboards be able to find it.

KORG,YAMAHA...