Christopher Smith wrote:
OK, I was kind of wondering what the answer was to Darcy's question
myself, but this makes it no clearer. I was thinking along the lines of
pitch changes with RotoToms, but like timpani, they are notated with
different pitches for changing notes, NOT one line per instru
At 8:48 AM -0500 2/28/07, Darcy James Argue wrote:
I used a custom two-line staff for the two congas -- twice the
distance between lines than a normal staff. This allowed me to have
five different pitch positions that still look like they belong to
the top conga line -- the (invisible) line abo
I used a custom two-line staff for the two congas -- twice the
distance between lines than a normal staff. This allowed me to have
five different pitch positions that still look like they belong to
the top conga line -- the (invisible) line above the the, the space
above the staff line, on
OK, I was kind of wondering what the answer was to Darcy's question
myself, but this makes it no clearer. I was thinking along the lines
of pitch changes with RotoToms, but like timpani, they are notated
with different pitches for changing notes, NOT one line per
instrument, as for conga wr
Hi Carl.I know the technique involved here, but I wasn't knowledgeable
enough to provide a clear answer.I submitted it to an associate of
mine,
Richard who is an ethno-musicologist and teacher of both western and
eastern
hand drums. Here are his recommendations. I hope it is of help.
I would suggest that you use the notation commonly used for the
water-gong effect: Keep all the notes on the same line or space as
usual, and but upward- and downward-angled arrows above the "staff."
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At 7:42 PM -0500 2/24/07, Darcy James Argue wrote:
I have a composer who wants me to notate a conga effect -- the
player plays five strokes on the conga head with his right hand
while putting pressure on it with his left elbow. (Or vice versa --
it doesn't matter.) He starts with a lot of elbow
What do you mean by "blank" -- you mean, like just a stem and no
notehead? Hmmm. I'll have to think on that.
yeah, totally clear, this is quite common and avoids clutter, and you
see the angle changing (again visual cue of the resulting sound as
well as the performance action), which isn't t
Hey Jeff,
What do you mean by "blank" -- you mean, like just a stem and no
notehead? Hmmm. I'll have to think on that.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 24 Feb 2007, at 7:54 PM, shirling & neueweise wrote:
What do you think the most concise way of notating and exp
The elbow effect only happens once.
ah yes then the best would be to stick as close to your normal
notation of the congas as possible.
do the same thing using a 5-line staff. i would however suggest in
general using the G/D lines (you could transpose your whole conga
part down a 2nd befor
Hey Jef,
The system you mentioned isn't practical because there are two
congas. I'm currently using a five-line staff with the top space
indicating the high conga and the second-from-bottom space indicating
the low conga -- I'd like to stick with that if possible. (I don't
generally like
What do you think the most concise way of notating and explaining
the desired effect would be? (The part is for a classical
percussionist.)
since it's classical and not latin percussionist, i would go for a
2-line staff (use treble staff lines G/D) with below the line open
and above the lin
I have a composer who wants me to notate a conga effect -- the player
plays five strokes on the conga head with his right hand while
putting pressure on it with his left elbow. (Or vice versa -- it
doesn't matter.) He starts with a lot of elbow pressure but gradually
applies less pressure,
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