For 40 years, the Yamaha BB series have been the instruments of choice for some of the biggest names in bass. Through the decades, we’ve incorporated what we’ve learned from these artists into every aspect of the BB’s design, construction and legendary tone.
The latest in the storied line of BB bass guitars deliver the superb sound and build quality that the instrument has long been known for, but in a smaller body with even better playability. They feature Alder/Maple/Alder construction for faster transmission of sound from the strings to the body and neck, a firmer 6-bolt miter neck joint for improved stability, and custom-wound pickups that achieve higher output gain while retaining the classic BB voicing.
Artist Videos
Here’s a video showing Abraham Laboriel, Sr. going through some of the new Yamaha BB models to demonstrate how his distinct style merges with our latest designs:
Not long ago, John Fogerty bassist James LoMenzo met with us at S.I.R. Hollywood to play a new BB for the very first time. Check out the video:
And here’s Corey McCormick (Neil Young, Promise of the Real), who brought his looping pedal along to Village Recorders so he could jam with a new BB and capture the interaction that happens within his own band:
Click here for more information about the latest Yamaha BB series bass guitars.
I’ve always been enthusiastic about new technologies in musical instruments and their applications for students.
When videos for the new Yamaha Venova™ began appearing on YouTube™ in Japan, the first thing I thought was, “Can I take this instrument and teach little kids to play?”
I am a clarinet and saxophone teacher/performer, youth orchestra director and long-time K-12 ensemble music educator, and one of the greatest challenges that I face is that I often get students in the K-3 grade range who are interested in playing clarinet or saxophone but are far too small to hold and play the standard-sized instruments. I experimented with some of the different scaled-down plastic children’s instruments available on the market but was always disappointed with the complexity and tone quality.
The Venova has finally reached general availability in the United States, and I was delighted to recently see it in my local music store. The Venova is billed as a “casual wind instrument” and its role in the music marketplace as being akin to the ukulele, which lots of folks find more accessible and portable than the guitar. I think this is a spot-on characterization.
I now own two Venovas and spent some time learning to play them and experimenting with clarinet and saxophone techniques. While I found the included soprano saxophone mouthpiece — essentially the stock Yamaha 4C model — effective to use, I wasn’t quite as happy with the response of the synthetic reed provided with it. Since then I have used a Legere Signature Soprano Saxophone reed in strength 3.0 and believe that this is the exact “sweet spot” for a player with an established embouchure. With a beginner, I would try the 2.0 and 2.5 strength versions.
Game Changer for Young Students
The size, weight, and general simplicity make the Venova much easier to work with for a K-3 student. My 5-year-old son tried it out and was able to achieve a characteristic sound on the very first try. The low cost of the instrument — around $100 — also makes it much more accessible. Anyone who has tried a $100 clarinet or a $200 saxophone knows that those barely qualify as real instruments, yet the Venova is a fully chromatic instrument with a very impressive, complex tone quality that belies its size and appearance.
Most importantly, compared to a recorder, the Venova’s soprano saxophone mouthpiece, reed and ligature allow a young child to develop the appropriate musculature for a future clarinet or saxophone embouchure. The setup lends control to the tone and voicing on the instrument that a recorder simply does not have, and the smaller size of the mouthpiece is more appropriate for younger children with smaller mouths for which a standard clarinet or alto saxophone mouthpiece are far too large to deal with.
As music director of a youth orchestra, I have the privilege of working with 150+ talented young musicians every season. More recently, through the efforts of my wife, Chika, and our friend and colleague, Jenny Visick, we have launched a string program that offers instrumental instruction to violin and viola players as young as 3 and 4 years old. We are now looking at introductory woodwind classes using the Venova, and plan to launch a K-3 beginning woodwinds course shortly. I will soon be writing/arranging custom arrangements for Venova solo and ensembles in preparation for our class launch.
The Venova NAMM Experience
I attended the 2018 NAMM Show in February as a guest artist and spent time at the Yamaha Venova exhibit, where I had the pleasure of playing a variety of repertoire from Bach, Gershwin and John Williams for attendees. The most significant thing about my experience during my three days there was the genuine shock and smiles that came from people once they heard the Venova’s true potential. My overall impression was that the expressive qualities of the Venova went far beyond their expectations, at a cost that makes a fully chromatic woodwind instrument extremely accessible.
Click herefor more information about the Yamaha Venova.
We created the Yamaha Mallet Resource guide to help students learn more about mallet percussion and help them develop their knowledge and musicality, thus establishing a solid foundation on which to build technical and musical skills. It is designed to act as an effective supplement to any classroom method book and includes exercises, scales and études.
This document is split into the following five sections:
1. Music Fundamentals
An introduction to music fundamentals, including the treble clef, major scale, note values, dynamics, the circle of fifths and a glossary.
2. Hand Warm-Ups
Basic exercises to get the student’s hands moving.
3. Major Scales
All of the major scales are notated for easy reference.
4. Scale Patterns
These exercises can be used to strengthen the student’s knowledge of the major scales.
5. Études
These short études will help the student develop their musicality.
I recently came across a video on YouTube that made me laugh.
Nothing unusual there, I know, but this one also did something else: It made me think.
The imagery was the famous high school gymnasium promo video that was made back in the early 1990s for Nirvana’s classic hit “Smells Like Teen Spirit,” but the accompanying audio was a very cleverly redone version of the music played in a major key.
What you hear is a well-crafted pop song (Kurt Cobain was nothing if not a skilled songwriter) in the vein of a Weezer or a Goldfinger … but, despite the familiar visuals, it has absolutely none of the emotional impact of the original.
I quickly discovered that both YouTube and Vimeo offer dozens of such videos — familiar songs like “House of the Rising Sun,” “Losing My Religion,” “Sweet Dreams,” even the theme from The Godfather, transformed (in some cases by humans, in other cases by computer algorithm) from a minor to a major key.
What an eye-opener! In every instance, the original intent of the song — to make the listener feel a certain way — had been rendered impotent. Not that you necessarily get a wash of good vibes when you hear these reworked versions … but you certainly don’t experience the same sense of connection, either.
Something even more striking occurs when you take a familiar song written in a major key and convert it to minor: The “sadness” of the minor scale manifests itself with an overly heavy hand. John Lennon’s normally inspirational “Imagine” becomes a dreary exercise in doom and gloom; Bobby McFarrin’s endlessly cheerful “Don’t Worry, Be Happy” turns into a dirge; “Wonderful World” will have you in tears … for all the wrong reasons. And once you hear “Happy Birthday” in a minor key, well, let’s just you may never want to celebrate another one.
Switching between major and minor keys within a song can be used to tremendous effect. The Beatles were masters of that trick, even in their early days. In their song “We Can Work It Out,” the verses (written by Paul, with optimistic lyrics) are in a major key, while the bridge (written by John, with a distinctly pessimistic slant) is in a minor key. Another great example is Paul’s “And I Love Her,” which moves between major and minor throughout its duration, creating tension and ambiguity … until it ends on a triumphant major chord that leaves the listener with a distinct sense that there is hope after all.
Clearly the decision to compose a song in a major or minor key has a big impact on how it is perceived by the listener, but the specific choice of key in which it is played (i.e., C versus B♭, etc.) can play a large role too. Over the centuries, certain keys have become to be associated with subjective terminology. For example, C major is described as “open and noble”; E♭ major “solemn and imperial,” etc. Whether or not this is objectively true, there is little doubt that the choice of key has an impact on the listener’s response to the music being performed.
There are several reasons why. For one thing, certain keys will naturally sound better on particular acoustic instruments due to their physical construction. As an example, the keys of E, A, D, and G work especially well for pop songs since they conform to the open strings of guitar and electric bass, which tend to “ring” and therefore cut through better than fretted notes. Similarly, violinists usually prefer playing in the key of C, which has maximum open strings. Playing in other keys — even in D♭, just a half-step away, not only makes it harder to play in tune, but the most important notes do not resonate as well. The same is the case for other instruments — even, surprisingly, digital keyboards, where you can easily change keys at any time simply by pressing the transposition button.
In addition, most musicians have better improvisational chops in some keys than they do in others — only the most advanced players have equal facility in all keys. Irving Berlin, who wrote standards like “White Christmas” and “Alexander’s Ragtime Band” back at the turn of the 20th century, composed on piano despite the fact that he could only play in the key of F♯, where the black notes predominate. (He got around this limitation by using a transposing piano that employed a mechanism to physically move the hammers over the strings. This allowed him to hear his music in a variety of different keys while continuing to play solely in F♯.)
Perhaps the people most affected by the choice of key are vocalists, who may not even be able to reach the highest or lowest note of a song (think about some of the horrendous renditions of “Star Spangled Banner” you’ve heard) if it is not played in the optimum key.
Arif Mardin.
This was brought home to me by none other than iconic producer Arif Mardin (Aretha Franklin, Chaka Khan, Bee Gees), whom I interviewed a few years before his untimely passing in 2006. During our conversation I asked him what advice he would give an artist making their first commercial recording in a professional studio. I thought he might respond by talking about the importance of choosing the right songs, or avoiding common mixing pitfalls. But his answer — especially the second part of it — surprised me.
“First, read the lyrics of the song you’re recording,” he said. “Ask yourself, what is the song about? What kind of musical setting is required by the melody? Secondly, the producer must get together with the singer and find out how he or she sounds when performing that song. The selection of the key is very important. A song may sound fantastic in a key that forces the singer to strain, but it may sound terribly unimportant when the singer is very comfortable in a lower register — or vice versa. Barry White songs, for example, may sound awful in a high key. For me, a record is almost like a mini-film: you have to invoke imagery.”
Imagery. That’s really what it all boils down to when making music, or even when just listening to it. And there, more than anything, the key really is key.
For acoustic guitar enthusiasts, playing a TransAcoustic guitar is quite an experience. Imagine hearing a lush chorus or ambient reverb coming from the guitar’s sound hole, without the use of an external effect box or amplifier.
When TransAcoustic technology was first introduced two years ago in our handcrafted L Series instruments, it caused a major stir in the guitar world. And now it’s available in the legendary line of Yamaha FG and FS acoustic guitars too!
Where Does the Magic Come From?
There is one commonly asked question when it comes to TransAcoustic guitars: “How does it do it?”
The answer lies in a small metal device called an actuator, installed on the inside surface of the back of every TA guitar. This reacts in response to the vibrations of the strings when the guitar is being played. The actuator then transfers those vibrations to the rest of the guitar and to the air in and around the body, generating authentic reverb and chorus effects that project acoustically through the sound hole.
TransAcoustic guitar actuator.
All this is controlled by three simple knobs that let you adjust the amount of chorus and reverb, as well as a line out volume level for the built-in piezo pickup — which, again, is not needed to create the TransAcoustic effects, although the effected sound can indeed be sent to an external amplifier if you like.
Click here for more information about Yamaha TransAcoustic guitars.
The MONTAGE OS v2.0 firmware update adds new sound, control and workflow enhancements, including:
Voice and Performance compatibility with MOTIF XS, MOTIF XS and MOXF so you can easily move sound content from your older MOTIF to MONTAGE and experience new DSP, the Pure Analog Circuit output and Motion Control Synthesis with classic content
99 New Performances that use fewer Parts, making them perfect for customizing with your own sounds or use with a DAW
A new Overview function for controller source and destination visualization
Improved Control Assign simplifies Super Knob, Motion Sequencer and Envelope Follower assignment
Performance on boot — perfect if you have a favorite sound or are doing extended work on a particular song
User and Library Audition phrases that allow you to add custom demo phrases to your Performances
New Global override settings that allow you to maintain tempo and A/D set ups between different Performances
… and much, much more!
Check out the video below:
Click here for information about (and links to download) MONTAGE OS v3.5 and MODX OS 2.5.
For more information about Yamaha synthesizers, visit yamahasynth.com
In last month’s blog posting, I discussed how the Smart Pianist app, in conjunction with CSP Series Clavinovas, allows you to learn to play your favorite songs by creating a piano accompaniment score, a chord chart and StreamLights above the keys … and all this just from the audio file!
Typically, you don’t need to “load” songs into Smart Pianist, because content is normally derived from your iTunes® library. In other words, when you buy new songs from iTunes for your computer, tablet or smartphone, you are actually also buying new songs for your CSP. (I didn’t realize this the first time I opened a prototype of Smart Pianist during development and looked at the Music Library. I remember being amazed that the engineers had included content that exactly matched my musical tastes, until it dawned on me that I was just looking at my iTunes library! Duh….)
You may be wondering if you can load additional songs into Smart Pianist without buying new songs in iTunes. You sure can! In fact, there is memory inside the app for just that purpose. It’s in an area called User Songs, located directly beneath the Music Library, as shown in the illustration below:
There are several ways in which you can load audio songs — or even special MIDI files like Kooky Karaoke, CueTIME and Follow Lights — into the User Songs area without using the iTunes gateway. In this posting, we’ll describe how it’s done.
Here’s What Won’t Work
While you may be tempted to copy audio or MIDI songs onto a flash memory device and use one of the USB “To Device” ports on the CSP to load songs, that’s not a procedure that will work. That’s because these USB ports are not for loading data, but for connecting to the iOS device running Smart Pianist as well as accessories like the Wireless Lan Adapter (UD-WL01) that come with the instrument. The only way to load songs into the CSP is through Smart Pianist. In other words, you don’t load new songs into the Clavinova; you load songs into the app, and the app does the loading of the songs directly to and from the CSP.
Here’s What Will Work
Fortunately, there are several ways to get additional songs into the CSP User Songs area, all made possible by existing Apple® iOS file exchange protocols. Here’s a list:
1. Dropbox (access is built-in to the app)
2. Airdrop from one Apple device to another
3. Emailing attachments
4. Texting attachments
5. Syncing using iTunes File Transfer
6. Downloading directly from websites into Smart Pianist
Let’s talk briefly about each:
1. DROPBOX – This was the main portal that engineers had originally intended for loading additional songs into Smart Pianist. The process is simple: From within Smart Pianist, go to System > Utility > Dropbox and sign into your Dropbox account. (If you don’t have an account, get one! It’s free and the Dropbox “basic” account includes 2 GB of storage space.)
You only need to do this once, by the way. Signing into Dropbox from within the app will automatically create a folder and subfolder in your Dropbox account called “Apps” and “SmartPianist,” respectively.
If you then put .mid, .wav or .m4a files (i.e., MIDI, WAV audio, or MPEG4 audio) into your “Smart Pianist” Dropbox folder, they can be accessed directly by Smart Pianist and, from there, downloaded to your CSP. (Note that the CSP will not display songs that are not compatible). Here’s how it works:
To retrieve a song from Dropbox, go to the User Songs folder in Smart Pianist, then download from Dropbox by touching your iOS device’s IMPORT symbol, shown on the right:
You will then see the following dialog:
Touch OK and you’re done.
You can also send files from Smart Pianist to Dropbox by using EXPORT: the files will automatically go into the designated folders when you select “EDIT.” (Note that the EXPORT symbol is not active until you select a song.) In short, think of Dropbox as your “cloud storage” for CSP. This EXPORT to Dropbox procedure is actually the only way to get songs out of the app for sharing. No more saving to a thumb drive!
2. AIRDROP – This is actually the option that I prefer. Using this Apple-exclusive technology, you don’t need to use any external service like Dropbox to get songs into your CSP. However, this can only be done between two Apple devices, like a laptop to an iPhone®, or iPad® to iPad. First, you must make your receiving iOS device available to “Everyone,” which means that all nearby iOS devices using AirDrop can see your device. To do this, go to Settings > General > AirDrop and make the selection “Everyone”:
Also, you must make sure that Bluetooth® and WiFi are set to “ON” in both the sending and receiving devices. Note that you do not need to pair with any other Bluetooth devices, and you don’t need to join any wireless networks, either — both Bluetooth and WiFi simply need to be “ON.” This allows both devices to “see” each other in the same room (at a distance of up to 30 feet). Then, when you “Accept” the file from the other device, Apple temporarily creates an Ad-Hoc WiFi connection between the two devices — no pairing or passwords required.
Once that’s done, simply find a file you want to send, then select the symbol for Download or Import. The other device will then appear above the other sharing options. When you select that device, a notification will appear on the receiving iOS device asking you to “Accept” or Decline”:
When you “Accept” the file transfer on the receiving device, the receiving device will give you several choices to “Open with” and list all the programs that can use the file format you have selected. As long as you are sending a .mid, .wav or .m4a file, Smart Pianist will be listed as one of the choices. (If it isn’t listed, you’ve sent a different file type.)
Once completed, go to the Smart Pianist User Song area and you will see your file listed.
3. EMAIL – Sending a song as an attachment in an email is an easy way to use a technology we all use every day. To do so, either “add attachments” from your iCloud drive, or highlight a file in the new FILES folder of iOS 11 (or any other database of songs), then select the EXPORT or UPLOAD icon and select MAIL as the option. When your recipient receives the email, they will see the attachment. After downloading the attachment by tapping on it, they then press and hold the attachment in the email to see a dialogue that lists several apps to use. As long as you have emailed a .mid, .wav or .m4a file,“Import with Smart Pianist” will be one of the options.
4. iMessage – You can even send a file as an attachment in a text iMessage. Similarly to receiving an email, all the recipient has to do is tap once to download the file and it will open. Again, all they have to do is select the EXPORT or UPLOAD option. As long as you have sent a .mid, .wav or .m4a file,“Import with Smart Pianist” will be one of the options:
5. iTunes File Sharing – This is my least favorite option, because there are so many steps, but I’ll tell you about it anyway. If you connect your iOS device to iTunes via a laptop or desktop, you can use the iTunes File Transfer function selectively to send files to the File Sharing area in apps like Smart Pianist. (In fact, if you use any of the methods listed above to get your files into Smart Pianist, the files are placed in the File Sharing folder.) This technique allows you to send multiple files all at once, but requires a little more sophistication with Apple iTunes, which can be a little kludgy at times. (If you have a Mac laptop or desktop, consider buying an app called iMazing to make file sharing a lot easier.)
6. Downloading directly from websites/servers – If a website provides the ability to directly download .mid, .wav or .m4a files (even if they are zipped), Smart Pianist is able to accept these files — it can even do the unzipping automatically. When you click on the dialogue to “Start Download,” you’ll see Smart Pianist listed as an option, as long as the files being sent are compatible .mid, .wav or .m4a format.
Enjoy your new songs!
Smart Pianist works with the Clavinova CSP-150 and CSP-170.
As its name implies, a noise gate (often just called a “gate” for short) reduces or mutes low volume signals that can contain a significant amount of noise. In live sound, gates are typically used to turn down inputs that aren’t being used, so they can improve the performance of your PA system. By lowering (or turning off) microphones that aren’t needed in the mix, the system is better able to amplify without feedback. The rule “less open microphones equals more volume before feedback” is one to live by!
Gates were originally outboard gear that had to be physically inserted into the channel you needed to turn down (this was done by literally plugging in a patch cord). These devices had to be racked up near your console so you had easy access to all the controls, and they were fairly costly too.
Today, most digital consoles (including all models made by Yamaha) provide a gate on every input, so getting good results is way faster and easier than it used to be. In addition, you can save your gate settings (as well as all other settings) on the console, allowing them to be instantly recalled.
Here’s the basic gate page provided by Yamaha TF Series consoles:
Let’s take a closer look at each of these controls:
Threshold. Once the input signal falls below the threshold level you set, processing starts and the gate begins to close. Generally, the threshold should be set fairly low so that the gate is open whenever signal is passing through it.
Attack time. This is the time it takes for the gate to fully open once the signal exceeds the threshold level. You’ll want to experiment with attack time so as not to cause the gate to open too quickly. Setting the attack time correctly requires some practice. A fast setting might cause a click as the gate opens, but too slow and the audio might not be attenuated quickly enough. Practice makes perfect here!
Hold time. This is the time that the gate remains open after the signal level has fallen below the threshold; this is also the minimum time that the gate will remain open. It can usually be adjusted between zero and several seconds. On Yamaha digital consoles, an indicator is provided that lights up during the hold phase.
Decay time, sometimes referred to as Release time, is the opposite of attack time. This is how long a gate takes to go from its open, unprocessed state (i.e., no attenuation) to the processed state where the signal is attenuated or muted. Decay times are typically considerably longer than those available for attack, since longer times allow a more natural trail-off.
Range. This sets the amount of attenuation you want applied to the signal. Instead of either being completely on or off with no in-between, setting the range control somewhere in the middle can help if you have instruments or vocals with long decay times. This helps avoid the disruption of having sounds cut off mid-performance.
There’s also both input and output metering. The meter under the GR (for “Gain Reduction”) output shows the amount of attenuation the gate has applied to the signal.
Since gates use VCA (voltage-controlled amplifiers) or, in the case of digital consoles, DCA (digitally controlled amplifiers), they add no color at all to the sound, which allows them to adjust level only. Very stealthy…
Gating Applications
Here’s an example of how to use gating on drums. A floor tom commonly resonates in the lower midrange EQ region and when it is not being played, those resonances can rumble throughout the entire performance, thus causing unwanted “decrease in gain before feedback.” Since damping the floor tom might color the sound, using a gate here will protect the integrity of the desired tone. Other toms can benefit from gating as well, since you can decrease the bleed or leakage of nearby drums into that input. Drums have a fairly fast attack, so you should set that accordingly on your gate. In practice, lower frequency drums require a longer release time than, say, a high rack tom.
Another place where gates are very helpful is background vocals, where the backing singers often sing just parts of the chorus and not the rest of the song. Applying a gate here will help keep the main vocal more prominent in the overall mix. Gates applied to vocals should have a slower attack setting than those used with drums, and rather than a sharp attenuation, sometimes just 10-15 dB can be very helpful.
When Not to Use Gates
There are also times not to use gates. Don’t use them on:
Vocalists with very wide dynamic range.
Keyboards and other direct instruments. These inputs are already nice and quiet, so there is no need for gating.
Electric guitars. They have such long sustain and decay that a gate is of little help. If there is a noise issue with the pickups on an electric guitar, moving the instrument will often relieve (or at least reduce) the problem, and you’ll still get the full decay of a long, sustained note.
Remember also that gates are level-dependent, so if the ones used on drums are set for a hard playing rock style song, and for the next tune the drummer uses brushes on a ballad, you’ll need to adjust accordingly. This is a lesson I learned the hard way!
When audio enthusiasts praise a set of speakers, they often say that they were “blown away.” The classic mental image this conjures up is of someone standing between two giant speaker columns cranked to the max and being hurled across the room by high-impact sound waves, hair flying in the gale. Of course, no one literally gets blown away by speakers, and most people wouldn’t want to experience such a thing — though there are always exceptions. But the fact that this image comes to mind so automatically suggests that many of us have three built-in assumptions when it comes to speakers:
1) Bigger means louder
2) Louder means better
and therefore 3) Bigger is better
The weakest link in this chain of argument is the second one. If you really believe that louder is always better, well, there are more than a few audiologists who’d be ready to argue otherwise. Assumption number one, however, is impossible to refute. It’s basic physics, after all: The bigger a speaker cone is, the more surface area is available to vibrate, and the more surface area you have, the stronger those vibrations can become.
On the face of it, this means that if you’re in search of higher highs, lower lows, and the capacity to handle top volume with ease, you should buy the biggest speakers you can. So even if you get rid of assumption number two, assumption number three still stands, right?
Not quite. The reason is that real-life situations tend to be complicated, not simple. There are plenty of extra variables to consider: how much space you’ve got, for instance, and what you’re planning to do with the speakers. And thanks to technological advances, today’s speakers can do a lot with a little.
Home Truths
That last point is worth noting even if you’re putting together a good old-fashioned stereo system for home listening — the type of use that traditionally would call for larger speakers. At first glance, the Yamaha NS-F901 Soavo floor-standing speaker clearly fits the bill, measuring 10-5/8″ wide and an imposing 41-3/4″ high. But take a closer look and you’ll notice that its biggest speaker cones are only 6-1/2″ in diameter. What makes the difference here isn’t the size of the cones but the fact that there are four of them — one tweeter, one midrange driver, and two woofers — working together to deliver an impressively detailed response to the highest-resolution audio signals.
Yamaha NS-F901 floor standing Soavo line speaker.
You can also find dual woofers in much smaller, bookshelf-size speakers. The Yamaha NS-B310, for example, fits two 3-1/8″ aluminum cones into a 7-7/8″ package, perfect for people who want premium-quality sound but don’t have a lot of room to spare.
Yamaha NS-B310 bookshelf speaker.
Compact Bliss
So much of today’s speaker use revolves around laptops and mobile devices. If this applies to you, then it follows that you probably prefer a system that’s compact and portable. There once was a time when you’d have to sacrifice some fidelity to make this possible, but speakers like the Yamaha NX-50 prove that’s no longer the case. Although it only weighs in at about two pounds and is just over seven inches high, its range of frequency response is more than respectable (55 Hz to 20 kHz), and its slanted design, coupled with an automatic loudness control, helps push bass signals out into the room.
Yamaha NX-50 premium computer speakers.
Blending In
The current vogue for wireless speakers puts a further premium on units that are small and visually unobtrusive but sonically superior. The Yamaha WX-010 MusicCast speaker has that equation covered with its compact size (it’s just 6-1/4″ tall) and its ability to handle a variety of high-resolution audio formats, including WAV, FLAC, and AIFF, up to 192 kHz. With support for WiFi, AirPlay®, and Bluetooth®, the WX-010 can be placed more than 30 feet away from its controlling device.
Yamaha WX-010.
Pro Needs
If you’re a musician and are planning to record and mix your own music, you’ll want to use speakers that offer a flat frequency response — meaning that neither the highs nor the lows are unduly emphasized. The operating principle is that if your tracks sound good through this type of speaker, they’ll sound good on just about any system. It’s largely for this reason that Yamaha’s NS-10 studio monitors, manufactured between 1978 and 2001, were a recording-industry standard reference for decades. And at 15 inches high (or wide, depending on how you placed them), NS-10s weren’t very big, either.
Following in the path of the NS-10 are modern Yamaha HS Series powered nearfield reference monitors. The HS7, for example, stands just over 13 inches high (even smaller than the NS10), yet delivers a big sound with a nearly flat frequency response from 43 Hz – 30 kHz. It also offers a number of bells and whistles important to recordists, including onboard high-performance 95 watt power biamplification, Room Control and High Trim response controls, and XLR and TRS input jacks that can accept balanced or unbalanced signals.
Yamaha HS7 powered studio monitor.
Big Boom, Small Speakers
Home theater enthusiasts who want to feel the rumble of movie sound effects at their deepest will probably want to add a subwoofer to their system. (See our “How to Shop for A Subwoofer” blog posting for some tips on how to choose the best one.) That, in turn, makes it less necessary for the main speakers to be large. In the Yamaha NS-P20 5.1 surround sound speaker system, for instance, a 6-1/2″ sub takes care of the aural basement while the drivers in the other speakers are all less than three inches in diameter, making them small and light enough to be hung easily on a wall.
Yamaha NS-P20 5.1-channel speaker system.
Yes, it’s great to be blown away by a pair of speakers, if only figuratively. But it’s even better when that reaction comes not simply from how big they are but from the quality of sound they produce.
Click here for more information about Yamaha AV speakers.
Click here for more information about Yamaha HS Series speakers.
Here’s the first of a four-part series of cool videos that demonstrate the versatility of Genos — our newest and most powerful Digital Workstation keyboard ever. Whether you use it for songwriting, live performance or recording, Genos will help inspire your musical creations.
Ever wonder what Styles are all about? Here’s a video that answers the question:
And here’s one that shows how Genos MultiPad presets can be used to add extra flavor to your live performance:
Jazz trombonist Wycliffe Gordon is dedicated to teaching young musicians. He works to continually evolve his techniques but relies on a few tried-and-true philosophies:
1. Don’t define yourself by one teaching style: Remain open to new ways of teaching a concept, which to Gordon means “learning while you teach.”
2. If you can sing it, you can play it: Utilize singing and dancing to help students grasp difficult rhythms, melodies and harmonies. “Have the students sing together before playing,” Wycliffe suggests. “This way, they’re on the same level of comfort.”
3. Get the administration involved: Teach the administration — along with other teachers — the importance of supporting a program. One surefire way to improve your relationship with administrators is to invite them to performances, Gordon says.
4. Accept that you can only do so much as a music educator: Some children will inevitably fail to grasp the importance of working together. “If I can’t get a student to cooperate, then [he or she] is out of the ensemble,” Wycliffe says, “regardless of his or her musical ability.” When this happens, don’t beat yourself up about it. At a certain point, you must accept that you’ve done all you can do.
Photo Courtesy of Wycliffe Gordon
This article originally appeared in the Summer 2016 issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.
A school’s music program can be a catalyst for uniting the community with ensembles serving as ambassadors not only around campus but also around town. To achieve this kind of success, support is required on all fronts.
At Fishers High School in Indiana, ensembles perform at events such as African American History Dinners, Race for the Cure and other galas presented within the school and surrounding community in addition to the regular concerts, contests and sporting events. As associate director of bands, I must constantly collaborate with our principal, parents, the athletics director and other performing arts teachers to ensure proper planning and communication to allow our vision to be cast, implemented and achieved.
Administration
The relationship between the music directors and principal is key. At Fishers, we have more than 900 students in our music program with six band classes, five orchestras and six choirs during the day as well as many extracurricular ensembles. So it is absolutely vital to share the progress and happenings of our program with the principal. A regular stop by the office builds trust and rapport and opens the door for clear communication with administration.
As music teachers, we reach students academically and emotionally. We have the opportunity to travel to competitions and take additional trips, therefore creating more than just a classroom environment. As a result, we have more influence on the students as well as the parents and community. Because of this impact, it is important to let the principal and other administrators know about the music program’s activities, both in and out of the classroom.
For example, last year our school hosted a cancer awareness event that provided a cross-disciplinary opportunity for the students. In addition to a musical performance, students were able to share their writings, drawings and research. When we have a chance to go above and beyond our normal day-to-day activities to help the community, it shines a good light on our program and school. As a result, our administration has been extremely supportive with our needs for new uniforms or instruments.
Many schools have a booster organization for the entire performing arts program; others have separate parent groups for band, orchestra and choir. Whatever the case, make sure your program establishes an organization that is student-focused and holds monthly meetings to keep parents connected regarding ensemble happenings.
Booster organizations play an important role in building a strong relationship with the administration. Booster members should attend board of education meetings to understand the school district’s vision and maintain a presence for the band. Sometimes our students perform at meetings, so the board members can see and hear firsthand the talent and accomplishments of our ensembles. Additionally, the booster organization can send thank you cards to the school board and administration for supporting the music program. With these efforts, the administration will see the unity among the music program’s students, parents and director.
Athletics
Let’s face it: The marching band today wouldn’t exist without our athletic program. It is absolutely vital for the band director and athletic director to form a strong partnership. Schedule quarterly meetings with the athletic director to discuss how the music and athletic programs can support each other.
At the games, it’s apparent how the band, cheerleaders and sports teams are connected. The band’s role is to use music to engage the crowd to rally around our student musicians and athletes.
Because more people will see the marching band in one week than the concert band in an entire year, the marching band’s visibility and positive impression help the music program. Administrators see the cooperation between the band and athletic teams, and they are proud that we have created a united front in educating our students in music, athletics, academics, community and life.
Other Performing Arts Teachers
Teachers in the music department should look for ways to connect on a regular basis. Having a common lunch hour or monthly meeting promotes sharing of information about concert plans, budget concerns, extra accommodations and room requests for upcoming activities.
The performing arts program enriches the lives of students, teachers, parents and the community. When the program is in step with the administration and other school personnel, it will flourish and grow for all those participating in and benefiting from it.
This article originally appeared in the Summer 2016 issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.
“Tonight, we are young. So let’s set the world on fire …” There’s a minor sixth in Fun.‘s hit song “We Are Young.”
The guitar riff in the “South Park” theme song? That’s a tritone. And when YouTube’s viral teen Rebecca Black says, “Friday,” it’s a major second.
Music educators are always looking for new ways to connect with students, and with an increased focus on theory and intonation, ear training can be a surprising engagement tool to help ensembles improve their sound.
“It’s all about the ears,” says Rob Myers, coordinator of fine arts for theArlington Independent School District and a former high school band director at Flower Mound High School, both in Texas. “Anything that you can do in an ensemble to sensitize the student’s awareness of what they’re doing or their responsibility in that ensemble comes back to the ears.”
Better listening skills can also create a more relaxed performance. Students won’t be as stressed once fitting into the ensemble sound starts to become subconscious.
“When you are focused on listening so intensely every day, the sound of the ensemble and your own individual sound relaxes because you can’t overblow or play with tension and still hear the pitch that you’re supposed to match,” says Michael Martin, trumpet player in the Boston Symphony Orchestra and a clinician who works with some of the nation’s top high school music programs such as Kennesaw Mountain (Georgia) and Avon(Indiana). “Ear training forces you to hear other things around you.”
Tip 1: Try Drones
Music educators have many ways to teach ear training. Some bands use keyboard drones to emit a concert F for the students to match. A drone can keep playing as long as necessary and isn’t subject to human inconsistencies, like tuning to a tuba or low reed player.
“The directors who … are the most consistently successful … work daily with drones,” says Martin, who is also the brass caption head and arranger for the Cavaliers Drum and Bugle Corps in Rosemont, Illinois. “They have big speaker systems set up in their band rooms and classrooms.”
Tip 2: Sing or Hum It
The first step in teaching pitch is getting students to internalize it. “Kids are constantly reinforced to match what they hear through singing, and for brass players through buzzing, and everyone through playing their instruments,” says Martin.
Singing is a helpful method, but sometimes students are hesitant or embarrassed to sing in front of their peers. “If they’re uncomfortable with singing … start by humming,” Myers says. “Have them place a hand over their chest, which will create a vibration when they hum. Get them to vibrate more by adding air to the vocal cords and opening their mouths. They’ll be singing and making a beautiful sound at that point.”
Tip 3: Connect Using Popular Music
When teaching about intervals, Martin suggests connecting with students’ current musical interests. “I’ve had a lot of success relating popular music to whatever interval or melodic material that I’m [teaching],” Martin says. “Pop music, rap music, movie scores, anything that I know 100 percent of the students are going to know and remember and be able to sing back to me because of how many times they’ve heard it.” For example, Martin uses the iconic first notes of the “Star Wars” theme to illustrate an open fifth or “Somewhere Over the Rainbow” for an octave leap. Challenge students to find more intervals in their favorite songs and bring them in for extra credit or another small incentive. Not only can educators share these with the class, but their library of examples to use will steadily grow.
Tip 4: Isolate Sections
With chords, Myers stresses the importance of isolating the sections in a wind ensemble setting.
“If the group is really struggling, then … isolate the woodwind choir and the brass choir,” he says. “You can have the brass hum or sing and have the woodwinds play, and then vice versa. It’s important for each of those choirs to get an opportunity to hear themselves in the ensemble setting to establish that choir sound.”
Tip 5: Mix it Up
Teachers may have a hard time shifting a school’s culture to incorporate more ear training. How do you keep students focused on these techniques if they’re uninterested or laser-focused on competitions? It takes patience and imaginative variety.
“Students are smart; they want to be good, and they’re going to recognize that they play better as an ensemble now because they’re better in tune,” Myers says. “I think the challenge is to bury the daily drill enough, or have new varieties to the daily drill that will pique the curiosity of an intelligent student.”
Myers recommends keeping ear training to about one-third of the rehearsal time (example, 15 minutes out of 45 minutes).
Tip 6: Focus for a Short Time
If at first you don’t succeed, Martin suggests trying to work on ear training for an even shorter amount of time.
“For students who are really not into it, I just barter with them … and say, ‘Give me five minutes of dedicated work on this concept of ear training, and then we’ll move onto something more exciting and can apply it in a more practical way,'” he says. “If the students are able to really focus for five to 10 minutes every day on something like this and see its importance, it won’t take long for them to see the results. They’ll start to play better and notice it, and they’ll be more enthusiastic about that engagement in the future.”
Use the Yamaha Harmony Director
A great tool to help students with ear training is the Yamaha Harmony Director (HD-200). This user-friendly instructional keyboard allows teachers to demonstrate beginning and advanced ear training techniques in an ensemble setting.
“The Harmony Director is the one-stop shop for everything,” says Martin. “You can use just intonation or perfect intonation based on exactly what you’re teaching. It’s like the coolest, nerdiest tool — and to me, cool and nerdy are the same.”
Develop a Lifelong Skill
Ear training is a lifelong skill, and every student’s learning curve is different.
“Don’t be afraid of it,” Martin says. “The pace of any classroom setting or rehearsal is the most important thing you need to focus on. Don’t worry about making it perfect every single day. Just do enough that you can continue to work on it the following day.”
As a program’s focus shifts to incorporate ear training, there will be some trial and error for the students and director alike.
“Directors [need] to recognize that they’re going to make mistakes, and it’s OK to acknowledge those mistakes to the students,” Myers says. “Just have the courage to try something.”
In the end, ear training, music theory and aural skills taught in high school provide an extreme advantage for students planning to study music in college and beyond. For Martin, learning ear training during his junior and senior years gave him an edge over others that helped propel him forward in his collegiate studies.
“Being proficient at ear training and being able to sing back something that you hear … I would say the higher your proficiency at that, the more enjoyable your musical career will be,” he says.
This article originally appeared in the Summer 2016 issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.
1. Create interest in students of all ages: The McQueen High School Orchestra’s yearly Zone Concert brings together more than 500 student musicians from elementary to high school levels, inspiring younger students to stay in the program. “They think it’s the coolest thing ever to work with the high school director [and] my high school kids,” says Baker. “They get to see where it’s going to lead.”
2. Network with other instructors: As a Yamaha Certified String Educator, Baker attends and presents at national conferences, where he exchanges advice with other string teachers. He also invites other Yamaha educators to conduct clinics with his students. Baker says he believes in using his connections to “get good music educators in front of kids.”
3. Collaborate with colleagues: Baker’s collaborative mindset has helped him build rapport with administrators, sports coaches and other teachers. Musicians can participate in sports and honors classes. Guidance counselors and administrators help students fit all of these activities into their schedules.
4. Gain parent support: Baker works directly with the orchestra booster organization to raise the funds needed to perform around the country and abroad. “It’s a very cohesive, symbiotic relationship between the board and Mr. Baker as the director,” says booster president Caryn Tijsseling.
5. Have a vision: Baker’s inspiration came from his hometown of Rapid City, South Dakota. After performing in its school orchestras and citywide concerts, Baker knew he wanted to make Reno “a place where kids could have that kind of experience,” he says. “The [Rapid City] string program is absolutely top-notch. As a music educator, I look to their pursuit of excellence as an inspiration.”
This article originally appeared in the Summer 2016 issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.
The halls of Robert McQueen High School in Reno, Nevada, are buzzing with excitement and anticipation for the summer. It’s not the typical end-of-the-school-year eagerness that has these teenagers bouncing in their seats.
It’s a 16-day tour of Europe, featuring the McQueen High School Orchestra. In July 2018, orchestra students will embark on their second European tour, where they will perform in London, Paris, Switzerland, Austria and Germany. This tour comes on the heels of their performance last year at the American String Teachers Association (ASTA) National Orchestra Festival in Salt Lake City, in addition to their regular concerts in Reno. Under the leadership of director Kenny Baker, the McQueen High School Orchestra has become a major cultural component in Reno.
When Baker arrived at McQueen right after receiving his bachelor’s degree in music education from the University of Nebraska-Lincoln in 2004, the orchestra consisted of 57 students who performed a few concerts in the school gymnasium each year. Since then, Baker has transformed the group into a 136-member orchestra that he is proud to take around the city, country and world.
In the Zone
Upon his arrival at McQueen, Baker instantly realized that there was room for growth. “The orchestra was a third of the size of the band and choir,” he explains. “The band was going to the Fiesta Bowl. The choir was traveling all over. I had this vision that that’s what the orchestra needed to be.”
Baker expanded the orchestra by effectively recruiting and retaining members. Every year, Baker hosts a Zone Concert, where McQueen orchestra members collaborate with students from their feeder elementary and middle schools to put on a giant concert featuring more than 500 participants. This concert introduces elementary and middle school students to the orchestral opportunities available to them at the high school level. In addition to its concert orchestra, McQueen has specialty groups such as the sinfonia, chamber, festival and honor orchestras as well as an electric strings ensemble and a guitar ensemble.
Booster club president Caryn Tijsseling recognizes the Zone Concert’s impact. “Our program gets bigger every year,” she says. “A lot of kids who started at middle school stay in orchestra through their senior year.”
Rehearsal Strategies
McQueen teacher and orchestra parent Christopher Case cites Baker’s efficiency as a reason he is able to maintain so many members. “The kids aren’t inundated with endless rehearsals and time spent doing something again and again,” he says. “Kenny’s done something that’s difficult in education: increase size but increase quality and commitment at the same time.”
Baker’s rehearsals are devoted to making sure students develop the necessary skills to meet their musical goals. “A typical rehearsal focuses on the process of learning music and improving technique, not the product,” he says. “If a student has skills, the music will take care of itself.” His approach includes breaking down musical components so that students understand them before applying them to music. “I teach students how to dissect a rhythm, so they know how [it] works. I don’t just tell them how it sounds or play it for them.”
Once his students understand the components of rhythm, they are able to figure out the rhythms in their music much more quickly, reports Baker. The same holds true for intonation, shifting and dynamics.
Baker and his students also work well together because of their mutual respect for each other’s time. “They could be anywhere else — with their friends, playing video games … but they choose to be at rehearsal,” he says. “Therefore, I respect their time by moving as quickly as possible.”
In turn, the students give Baker their complete focus and attention. “They want to work; they want to learn,” he says.
Collaborative Effort
Despite Baker’s obvious impact on the success of the orchestra, he is humble in his approach. “It’s not just me,” he says. “It’s the [other] teachers, parents and the administration at our school.”
School administrators and guidance counselors support the orchestra program as well, giving all interested students the means to participate. “Counselors make sure that kids who need to be in orchestra are there,” explains Baker. “Our assistant principal tries to get as many kids into orchestra as she can with her master schedule. She sees the importance of music.”
Even athletic coaches have helped Baker maintain the size of the orchestra by working with students to balance music and sports. “A lot of kids had the misunderstanding that they couldn’t be in music and a sport at the same time,” he says. “It took a lot of working with coaches, so the kids know they can do both. Most of my kids are in at least one sport.”
Baker also works closely with the parent booster club, which plans events, performances and fundraising initiatives. “We have fantastic parent support,” he reports.
Community Influence
Over the course of Baker’s tenure at McQueen, one of his major goals has been to get the orchestra more community recognition. “People understand marching band,” he explains. “They go to parades, to football games. They understand what a jazz band is. People don’t understand orchestra. That’s a huge hurdle I’ve had to face.”
Due to Baker’s collaborative efforts with music parents, the McQueen orchestra has been able to gain prominence. “The boosters get them into places where they can sound their best and let the community see,” Tijsseling says.
For example, the community can experience the orchestra at its yearly Fall Fusion Concert at the Pioneer Center for the Performing Arts, home to the Reno Philharmonic. This concert showcases a variety of genres, from traditional concert literature, like Vivaldi, to more eclectic styles of music, like fiddle tunes and string renditions of pop songs.
These performances at the Pioneer Center started three years ago when the orchestra needed a new stage to accommodate its growing size. The school gymnasium, while large enough to host the much more laid-back Zone Concert, doesn’t have the proper acoustics for a formal concert like Fall Fusion. “The kids can’t do any nuances in the music,” Baker says. “The dynamics, the expressiveness … you lose that in the gym.”
For Fall Fusion, Baker wanted a space where his students could put on a more professional performance, which the Pioneer Center offered, with its large stage and in-house sound and lighting technicians.
Securing the Pioneer Center as a performance venue was not difficult. “We were welcomed with open arms by their executive director, Willis Allen, and his entire staff,” Baker reports. “They are absolutely wonderful to work with.”
Reflecting on the positive impact the McQueen orchestra has had on the community, Case says, “Reno has found a way to hold onto orchestra programs in the toughest economic times. We are very blessed to live in a community that has a large music program.”
Lasting Impact
Though teachers, administrators, parents and the community at large have all worked together to ensure a successful orchestra, the program could never succeed without its dedicated student musicians.
“We do a lot because the kids can do it!” Baker says. The McQueen orchestra now performs about once a month, totaling around nine performances a year. Many students continue to perform beyond high school. “I have students who go on to be performance majors, education majors,” he reports.
Students from McQueen have also played for the Reno Philharmonic and the Reno Pops. But even for students who don’t pursue music professionally, the orchestra still leaves a lasting impact. “[The kids] have an appreciation of music and art and what they can contribute to the culture of our city,” says Tijsseling.
Case knows that this program helps students develop a strong work ethic. “My daughter practices all summer, all Christmas break, and it’s not because we told her to,” he says. “To see the product of all that work on stage warms my heart.”
Tijsseling has seen the orchestra encourage teamwork and camaraderie. “They’re like a family, really,” she says. “They pull together to make amazing things happen.”
Pulling together is a common theme for all involved in the McQueen High School Orchestra. Due to the initiative of Kenny Baker and the hard work of the students, parents, teachers and administration as well as the support of the community, the McQueen orchestra accomplishes a major goal of all music ensembles — to bring different types of people together and create something truly beautiful.
This article originally appeared in the Summer 2016 issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.
On a seemingly normal mid-April day, a group of jazz students at Columbia College Chicago are fixated on the man who’s talking, world-class jazz trombonist Wycliffe Gordon.
Their excitement is palpable. The lights shine down from above while the Artist-in-Residence’s master class takes place. Gordon is so close that the students can see their reflection in his trombone.
Following the weeklong residency, Gordon performs with the Good Times Brass Band at Gospel Nation Christian Fellowship in Powder Springs, Georgia, in a setting much like that of his youth. Even though the details are different, the nostalgia is overwhelming. While his father played piano in church, the son is now on stage with his instrument of choice — the trombone — performing in support of a local charity, Calvary Children’s Home.
Fast forward one week to April 30 and May 1. Gordon is halfway around the world, a featured soloist with the Tuxedo Big Band and Grimethorpe Colliery Band in two separate concerts at the Limoux Brass Festival in France. It’s a busy life, but to Gordon, it’s the norm.
Early Influences
Gordon’s initial exposure to music came from his father, Lucius Gordon. The elder Gordon was a classical pianist who regularly performed with the local church, so Wycliffe found himself surrounded by church members who found solace in the music, which he, too, experienced.
Later, he followed in the footsteps of his older brother — Lucius Gordon Jr. — in choosing the trombone as a primary instrument. It was a classic case of the younger sibling trying to emulate his big brother. “Whatever he did, I wanted to do,” recalls Gordon. “He played trombone, so I just wanted the trombone because he had one.”
Critical Acclaim
“It’s a horn that was made specifically for the way I like to play,” Gordon says about his most oft-used instrument, the YSL-891Z.
Today, Wycliffe Gordon is recognized as one of the most skilled jazz trombonists in the world. He has received the Jazz Journalists Association Jazz Award for “Trombonist of the Year” eight times and was named “Best Trombone” in DownBeat Magazine‘s Critics Poll from 2012 through 2014.
Gordon’s musical experiences span the professional gamut. As a former long-time member of the Wynton Marsalis Septet, he was a globetrotter surrounded by some of the world’s top musicians. He credits that time in his career as “one of my greatest musical experiences to date.”
Gordon is also a former member of the Jazz at Lincoln Center Orchestra and has performed with many other jazz musicians including Dizzy Gillespie, Lionel Hampton and Branford Marsalis. While trombone may be Gordon’s main instrument, he actually plays 23 instruments, including the trumpet, euphonium, flugelhorn, tuba and even the didgeridoo. In fact, DownBeat Magazine’s Critics Poll honored Gordon with the “Rising Star” award in 2014 for his mastery of the tuba.
In addition to performing, Gordon is a composer and arranger for many accomplished groups and organizations worldwide. In 2011, Gordon was commissioned by New York’s famous Apollo Theater to write a piece that commemorated its 75th anniversary. And among his most popular compositions is a Muhammad Ali tribute, titled “I Saw the Light.”
From the Stage to the Classroom
In addition to his time in the spotlight, Gordon has devoted a substantial portion of his career to educating the next generation of musicians. He has taught at the Manhattan School of Music in New York and currently serves as an Artist in Residence for Augusta University in Georgia.
Along the way, he has learned a lot about what makes an educator successful and effective at teaching young musicians. Gordon believes that education does not end upon receiving a degree.
Instead, music educators must evolve as teachers even while they are on the front lines of the classroom. Successful educators, says Gordon, strive to constantly improve themselves. “Don’t get caught in the rut of just having one technique for teaching,” he says.
Gordon regularly uses the “sing-it-first” technique, emphasizing that instruments are merely an extension of the voice. The ability to sing the rhythms, melodies and harmonies of a song helps students internalize the music. “If you can sing something, you can play it,” he says.
Gordon also incorporates dance into his music classes as a way to get his students engaged. Imagine a band room full of self-conscious students swaying with abandon to jazz music. One student may automatically get into the music while another takes a bit more coaxing, but eventually, all the students begin to feel the rhythm.
To Gordon, “any type of music has movement,” and jazz is no exception. Sub-genres of jazz such as the waltz, foxtrot and swing are all dances as well. So in everything Gordon discusses, he tries to implement some type of movement.
The environment in which students learn is also important, so Gordon works hard to ensure his programs are properly supported. A proven method to increase administrative support is to invite key personnel to performances. If administrators experience firsthand the transformative effects of music, they are much more likely to support the music program. “Have them take the temperature with the public and their perception of the band program,” Gordon says.
Cooperation is Key
As a child, Gordon found music’s community focus to be among its most appealing aspects. “Being in band meant you were working with a bunch of other students every day, and you had the chance to make music with lots of people.”
Today, he attempts to instill in young musicians the importance of working together. “The band only works when everybody does their part,” Gordon tells his students.
But teaching young musicians this lesson is not easy—and sometimes impossible. When Gordon encounters students who are unable or unwilling to cooperate with the ensemble, he works to draw them out, but at a certain point, he sometimes has to accept that he’s done all he can.
“Accepting that there are some students who you’re not going to be able to teach” has been among the biggest lessons of his educational career, Gordon says.
Although Gordon has learned a lot in his time as a music teacher, his biggest takeaway is much more fundamental. Music is the “great equalizer,” he says. “Music is the one language that connects all people. It helps us celebrate our likenesses and be more accepting of our differences.”
Photos Courtesy of Wycliffe Gordon
This article originally appeared in the Summer 2016 issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.
Perhaps you are a violinist, violist, cellist or bassist considering the world of electric strings. After deciding to “plug in,” your next question is probably: “Plug in to what?”
If you’re a traditionally trained acoustically-grounded musician, the world of amplification can conjure up a healthy dose of technophobia. It may seem like it will take you years to understand all the knobs, lights, switches and foreign terminology involved in the process.
In reality, it isn’t as complicated as it seems. All you have to do is ask yourself a few questions. The answers you come up with will lead you in the right direction.
1. What do I want my instrument to sound like?
Tube or solid state?
Amplifier circuitry originally included vacuum tubes. Despite the fact that tubes got very hot (which caused them to eventually burn out), they imparted a warm sound that was appealing. Later, when transistors were developed, circuitry moved to solid state, which was more reliable and yielded a cleaner sound.
– If you’re looking for a classic, powerful rock sound, you might want to invest in a tube amplifier.
– If you favor a clean sound that shows off the acoustic properties of your instrument, solid state circuitry will better suit your needs.
Acoustic or electric?
Guitar amplifier designs have traditionally developed down two main pathways: those meant to amplify acoustic guitars, and those meant to amplify electric guitars. Acoustic amps produce a richer tone that allows a greater range of harmonics to be heard. Electric guitar amps are often more cutting and favor the harsher frequencies that come from effects such as overdrive and distortion. Which one you go with depends on your own personal preference.
– If you expect to be playing edgy rock sounds with a lot of effects, consider electric guitar amps; they’ll deliver the punch you need.
– If you’re looking for something less gritty and more pure jazz, fiddle or classical- sounding, go for an acoustic guitar amp, which can reproduce a wide range of harmonics with just basic tone adjustments.
Modeling or analog?
With the advance of technology, modeling amplifiers have become more affordable. These are able to digitally emulate the sound of almost any vintage analog amplifier. For instance, the Spider 5 MkII by Line 6 offers an array of over 200 different built-in amplifier models, giving you the option to select both traditional tube amplifiers and modern-day solid-state amps.
– If you think you’ll need to access a wide variety of different tones, definitely check out modeling amps, which offer a tremendous amount of versatility.
– If you expect to only be playing in one particular genre, an analog amplifier that delivers the sound you want will probably be the way to go.
2. How big should I go?
When it comes to picking the right amp for your electric string instrument (as in other aspects of life!) there’s always the question of not enough versus too much. When it comes to amplifier size, a lot depends on where you’ll be playing. If you’re only expecting be performing in small to medium-sized venues such as clubs, a travel-friendly model such as the lightweight Yamaha THR-II desktop amp (which comes with built-in speakers and can be battery powered) may be all you require. But if you’re going to be playing in a rock band – with the need to keep up with the guitars and drums – you might want to instead explore larger amplifiers, which, when paired with large speaker cabinets, can wake the neighbors for blocks around!
3. What about watts?
Guitarists have long debated the question of how much power an amp has to provide in order to meet a player’s needs. The simple answer is that power and design go hand in hand. For instance, a 100 watt amp with 2 x 12 speakers (in other words, two 12-inch speakers in one cabinet) will have a much louder sound than a 120 watt amp that has a single 10-inch speaker, simply because the two 12-inch speakers move a much greater volume of air. If all you are looking for is an amp to practice with and perform in small settings, power may not be as important as it is for the violinist who plays in a rock band and needs to keep pace with guitars and drum kits.
Once you have a handle on what kind of amp to look for, you may also find that you have a better idea of the style of player you are – or wish to be. Whether you need an amplifier for a practice space or for an arena, you’ll be able to make an informed selection in choosing the perfect partner to go along with your electric string instrument.
For more details, resources and product specifications, check out some of these great Yamaha and Line 6 amplifier products:
Twenty-five years ago you bought your dream home audio system, complete with all the bells and whistles that were available back in the day. Today, you’re still using that same system — and why not? It still sounds great!
But let’s face it, times have changed. Your old cathode ray tube television has probably morphed into a flat-screen HDTV, and you’re almost certainly listening to music on your computer, smartphone and/or tablet.
If you’re ready to take that next leap forward into the 21st century, but don’t want to abandon your gorgeous-sounding legacy audio system altogether, there’s a solution. Instead of replacing it, update it with a Yamaha WXC-50 MusicCast wireless streaming preamplifier.
Yamaha WXC-50 streaming preamplifier.
Why Go Wireless?
The WXC-50 is specifically designed to allow systems with older amplifiers to play back music from streaming services like Spotify, Pandora, and Napster — even high-res ones like Deezer and TIDAL. It also provides you with access to the audio files stored on your home computer, USB flash drives with preloaded music, or any devices connected via Wi-Fi™, AirPlay®, Bluetooth®or Spotify Connect. All are controlled from our free MusicCast app, which even gives you the ability to create playlists and save your favorites as you go.
How to Connect
The compact WXC-50 has a straightforward design and offers a wide range of input and output jacks that makes interconnection quick and easy.
The WXC-50 gives you a number of different ways to connect it to any standard audio setup (such as one containing a legacy 2-channel amplifier or stereo receiver). Its various rear-panel jacks allow you to use your choice of analog, digital or optical cables, depending on what your amp requires. (Remember, it’s good practice to always connect all audio cables prior to plugging in the main power cable.)
If you’re using a Yamaha integrated amplifier, make sure to connect its “Trigger In” to the corresponding “Trigger Out” on the WXC-50. This will allow you to control both units with a single remote.
Setting up MusicCast
Even if you’ve never used the MusicCast Controller app before, the process is fast and user-friendly. First, download it from the Apple® App Store or Google Play™ and install it on your iOS or Android™ device. Then open the app, tap “Setup” and follow the remaining instructions to establish your network connection.
That’s it! Now you’re ready to begin playing music throughout your entire house via other MusicCast products.
For more information about Yamaha MusicCast wireless multi-room audio products click here.
You can tell from their playing whether a student is progressing, but can you really get a read on whether or not what we have been teaching is really sinking in?
Playing tests are fine — they can be quick and easy to assess — but you can have students demonstrate how much they have learned about the bigger picture of studying music via more comprehensive types of projects that have the added benefit of stimulating their creativity in new ways.
When you consider that music makers are some of the most creative members of the school’s student body, it doesn’t take long to realize that project-based learning will provide appropriate inspiration and open up a whole new world of assessment options. It’s also just plain fun for both teachers and students alike.
Adding project-based learning to your program doesn’t have to be cumbersome or intimidating. Students could start with something as simple as arranging 8-bar “cheer” songs for their marching band section to play at football games.
With an infinite number of possibilities, there will be an endless stream of innovative projects that students will certainly enjoy creating — all that has to be done is to provide the opportunity.
Prime the Pump and Help Inspire the Process
Try it: Ask students to create their own instrument and perform an original piece or arrangement of a song of their choice. (This also makes a great group project.) The key is for students to demonstrate their understanding of how sound — and ergo, music — works. For example, Blue Man Group has motivated many high school percussionists to come up with their own PVC instruments.
Watch it: Get your students motivated with any one (or all) of these videos, showcasing eight incredible created instruments.
Try it: Ask students to use unconventional materials to make a new version of their own instrument. Students from Cateura, Paraguay, found a way to craft their own instruments using recycled trash.
Watch it: The Recycled Orchestra of Cateura gained national attention after being featured on “60 Minutes” and inspired a documentary film, “Landfill Harmonic.”
Try it: Encourage the use of technology in the classroom by asking students to choose a partner or group to form a duet, trio or ensemble and to either compose or arrange a song to be performed in the manner of their choosing. Inspire them to incorporate technology in any creative manner that showcases their performance. Students could also provide live performances if time permits.
Once project-based learning becomes part of the established procedure for assessment, students will come up with all sorts of ideas on their own. This could even be a project idea unto itself: ask students to come up with their own projects to demonstrate their understanding of music-making. This more creative type of high-level, free-form type of learning might be specifically reserved for seniors, with the final project eventually posted on the music department’s website or YouTube page.
This article originally appeared in the 2017 V1 issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.
Meet Alexa, Amazon’s cloud-based voice service that can be used to control all kinds of devices — even MusicCast products!
MusicCast is a wireless multi-room audio system built into many Yamaha AV receivers, sound bars and wireless speakers. It allows the devices to be connected through your home Wi-Fi® network and controlled by an app on your smartphone or tablet. Now, with Alexa, you can kick back on your couch and ask to play music on your MusicCast AV receiver without lifting a finger.
Alexa lives in the cloud, so it’s always getting smarter, adding new capabilities that are delivered to your device automatically. Using Alexa on your MusicCast product is simple and hands-free — just ask, and Alexa will respond instantly. For example, crank up the music in your kitchen by asking, “Alexa, turn up the volume in the Kitchen.” (Or “Living room,” etc.)
Skills
Alexa provides capabilities (called “skills”) that enable customers to create a more personalized experience. You can download skills from the Alexa Skills store, or simply by saying “Alexa, enable [skill name].” Since they are cloud-based and don’t take up space on your device, there’s no limit to the number of skills you can enable. There are two Alexa skills that work with MusicCast: the MusicCast Smart Home skill and the MusicCast skill.
The MusicCast Smart Home skill lets you use standardized Alexa commands for the most commonly-used control functions such as power on/off, volume control and play/pause/skip. For example, to turn on the AV receiver in your living room, you just say, “Alexa, turn on the Living Room.”
The MusicCast skill goes beyond the basics, giving you control of unique MusicCast functions, like linking/unlinking rooms and direct access to playlists and favorites. In order to access the MusicCast skills, you need to add “ask MusicCast to” after “Alexa”: for example, “Alexa, ask MusicCast to link the Living Room to the Kitchen.”
Commonly used MusicCast Smart Home skill commands and MusicCast skill commands.
Setup
To use Alexa with your MusicCast products, here’s what you’ll need:
Any MusicCast product
Any Amazon Echo product
The Yamaha MusicCast app (Go to the app store on your mobile device and search for “MusicCast app”)
The Amazon Alexa app (Go to the app store on your mobile device and search for “Alexa app”)
Next, download the Setup Manual and learn how to set up your apps and skills for MusicCast and Alexa.
Helpful Tips
Once you have your apps and skills set up, you’re ready to voice control your MusicCast products. Here are some tips for success:
Keep some space between your Echo and your MusicCast speaker or sound bar so Alexa can hear you.
Familiarize yourself with the complete list of MusicCast Alexa commands. (Click here, then scroll down to the “Alexa Commands” section.) You’ll be surprised at what Alexa can do!
Use the default room names that come with the MusicCast app. You may have to rename some rooms to make sure that none of your MusicCast devices have the same name.
Set up MusicCast favorites and playlists so Alexa can play them easily.
Alexa, let’s get started!
Check out these links for more information about Alexa and MusicCast:
Trying to land a new job is a daunting task, much like learning about audio — but it doesn’t have to be. (OK, maybe landing the job is, but you know what I mean).
Starting the Process
I applied for my current position on the Yamaha Careers website, had a first phone interview, and then I was asked to put together an outline of a marketing campaign with a high-level distribution strategy for a consumer promotion — specifically for one of our digital mixers. As you could imagine, I got a little stressed, but I wanted to think it through so I could keep it cool.
Digital mixers — how complex could they be? Turns out they’re pretty complicated! Not as in rocket science complex, but it was still a little intimidating for an audio newbie like me.
Anyway, I immediately started doing my research, and I quickly came across some things that I hadn’t heard of before, like this thing called a “stage box.”
Hmmm…
The Domino Effect
Do you know what a stage box is? I sure didn’t. But I figured it would be important for me to know, so I learned about it.
Turns out that, typically, all the audio cables (from microphones, instruments, etc.) on stage are connected to a single device — the stage box. The box then sends the sounds from those cables out through a “snake” (which is just slang for a bunch of individual cables grouped together inside one thick, bulky cable) to the mixing console. This allows for the console to be positioned far from the stage, without the hassle of having to run each individual cable out to it.
Looking into stage boxes brought up something called Dante, and things started snowballing. The assignment created a kind of “domino effect” where one thing led me down a rabbit hole of various topics that I didn’t know about before.
Lesson Learned
Here I am learning how to do a video product demo.
After turning in the finished assignment — followed by three more interviews, landing the job, and now three months into working at Yamaha — I can report that the domino effect of learning has grown exponentially and continues to evolve. Sound like a pain in the you-know-what? It isn’t. In fact, it’s awesome! I really love the fact that I’m just getting my feet wet in a whole new side of the music industry.
So the moral of the story is that it’s important to keep learning — no matter where you are in your life … and it’s equally important to be open-minded in any situation because you may be able to grow from it in some way.
In much the same way that a sports team needs skill players to perform specific tasks, quality school bands and orchestras need a given ratio of instrumentalists to carry out their defined functions in the ensemble. In both cases, the excellent condition of the component parts is key to putting together a winning team.
Unfortunately, creating balanced instrumentation is a concept that is unfamiliar to many principals, superintendents and school boards. As a leader in your instrumental music program, it is up to you to craft a clear, easy-to-understand “play book” that will guide the program — and the stakeholders who will fund, approve and administrate it — to success. A critical factor is developing a multi-year replacement plan to manage your inventory of instruments. Teachers who fail to plan for regular, structured cycling of inventory can find their programs held hostage to changing politics, budget and personalities.
In future blog postings, we will cover many of the steps required to creating the actual plan. But to set yourself up for success, take some time now to gather the tools you need to create a compelling plan. And even before you start writing, get organized.
Here are three steps that will prepare you to write a comprehensive proposal that helps your supervisors understand your request — and hopefully leads them to appropriate the needed resources:
1. Research the scope of your needs. Start by capturing the projected growth in your program. Factor in population changes in your district, as well as the efficacy of feeder programs.
2. Get a baseline for your current inventory. Your needs are driven not only by the future needs of your program, but also by the current state of your inventory. Accurate and comprehensive inventories are key to accurately doing so. Now is the time to get your instruments collected and organized, so the assessment process will go smoothly.
3. Think about the needs of your plan’s audience. School boards are comprised of community members who want programs built and organized on a sound foundation. Unless the decision-maker was also a music-maker at some point, it is likely that this information is new to them. Planning must go beyond summarizing needed items to explain the rationale for the purchases.
Abraham Lincoln is credited with saying, “Give me six hours to chop down a tree, and I will spend the first four sharpening the axe.” Now is a great time to sharpen your planning process!
This article originally appeared in the 2017 V3 issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.
Say the words “music technology,” and you’ll most likely think first of laptops, mobile apps, and the internet. But technology played a major role in music-making long before computers. For example, the guitar became the most popular instrument of the 20th century largely because of technology — the invention of the amplifier, the loudspeaker, and the small but essential device we’ll be discussing here: the pickup.
Before Pickups
By the time scientists learned how to harness electricity, guitars had already been popular for hundreds of years, and not just with wandering troubadours. A major composer of the 19th century, the French Romantic Hector Berlioz, wrote all his best-known works on guitar. (He never learned to play piano.) But listen to his Requiem or Symphonie Fantastique and you won’t hear a note from his favored instrument. Why? The guitar had a problem. It was only loud enough to be heard in a relatively small, intimate performance setting. Adding it to the huge symphony orchestras that Berlioz liked to write for would have been pointless; the other instruments would drown it out.
The dawn of the Jazz Age in the early 20th century shone an even brighter spotlight on the guitar’s weaknesses. It was simply no match for the volume of a jazz brass section or drum kit, and its place as a rhythm instrument was soon usurped by the banjo. For guitarists, and the companies that manufactured guitars, to be shut out of a rapidly growing new style of music was a bleak prospect indeed. What could be done?
Musical Magnetism
Two answers to this question were forthcoming. First, in the 1920s, was the debut of the archtop guitar — a fascinating subject in itself, but one for another article. Second, in the 1930s, came the first magnetic pickup, so called because it both “picked up” the vibrations of guitar strings and raised (that is, “picked up”) the instrument’s volume.
Essentially, a magnetic pickup is a set of magnets arranged in a straight line, with a coil of fine copper wire wrapped around it. (The coil is formed by turning the wire around the magnets several thousand times.) When a metal string vibrates near the pickup, that vibration changes the magnetic field, which then induces a voltage in the wire coil, creating an electrical signal. Sending that signal through a cable, amplifier, and speaker (all of which were fairly commonplace items at the time thanks to the rise of radio technology) produces a sound that is much louder than the one originally made by the string’s vibration.
With jazz great Charlie Christian leading the way, guitarists in all genres of music quickly went electric, either adding magnetic pickups to their existing acoustic instruments or buying new guitars with pickups pre-installed. By the early 1940s, the sound of acoustic guitars began to seem old-fashioned. Clearly, when it came to guitars, electricity was the future.
Yamaha PACS+12 Pacifica Standard Plus.
Bucking the Hum
Nonetheless, early magnetic pickups didn’t provide a perfect solution. Amplifying a guitar could gave rise to undesirable sonic byproducts: the howl of feedback and the hum and buzz of static and signal interference. The invention of the solid-body electric guitar in the early 1950s took care of the feedback issue, but as for hum, that came down to the pickups themselves — specifically, to the single coils of wire that they contained and the orientation of the magnets inside them. It turned out that when you connect two single-coil pickups to each other and change the polarity of the magnets in the second one (by pointing their north pole away from, rather than toward the strings), you dramatically reduce electrical hum. And that’s why double-coil pickups are better known to the world as humbuckers.
Since they’re essentially two pickups in one, humbuckers tend to be louder and have a warmer, fatter tone than their single-coil counterparts. However, many guitarists still prefer the brighter, more shimmery sound of single coils, especially when playing country and alternative rock. Most Yamaha electric guitars — such as those in the REVSTAR and Hollow series — feature humbuckers, but the new Pacifica Professional and Pacifica Standard Plus models offer the best of both worlds, with single-coils in the neck and middle positions and a humbucker near the bridge.
Acoustic Options
Magnetic pickups, in both single-coil and humbucking varieties, work great with archtop or solid-body guitars. But if you stick one on a regular flat-top hollow-body acoustic guitar and plug into an amp, you basically get the sound of an electric guitar. For players who want to be amplified but love the distinctive sound of acoustic instruments, that’s a problem. Of course, you could always mic up your guitar, but that limits your movement while playing and adds the possibility of unwanted feedback.
Luckily, over the past several decades, huge advances have been made in pickup design, and several options are now available for guitarists in need of an amplified acoustic sound that’s true to the instrument’s original tone. Two of the most common are piezoelectric pickups and transducer pickups.
Piezoelectric pickups — piezos (pee-YAY-zohs) for short — are thin crystal strips that are typically placed under the saddle of a guitar where the strings cross the bridge. The vibration of the strings compresses the crystals, which creates an electrical signal that can be converted into audio. (The name for this process comes from the Greek word piezein, which means “to press.”) Largely because of their placement by the bridge — a guitar’s brightest-sounding point — piezos do a good job of capturing an acoustic’s brilliant high end. But on their own, they can sound trebly and harsh. That’s why they’re generally used in combination with a transducer pickup, a kind of mini-microphone placed inside the guitar, either directly against its top or back.
Some players use multiple transducers in their guitars, while others throw a good old-fashioned magnetic pickup into the mix too. Then there’s the intriguing new wrinkle introduced by the Yamaha TransAcoustic line of acoustic guitars, which pairs a piezo system with a metal actuator built into the instruments that not only amplifies their sound, but also creates realistic reverb and chorus effects, whether or not you’re plugged into an amp.
Turn It Up
The electric guitar was indisputably one of the most important music technology achievements in the first half of the 20th century. The creation of pickups that could actually do justice to the tone of an acoustic guitar was a crowning glory of its second half. What it all means to us here in the 21st century is that no matter what kind of guitar we play, we can always feel free to get loud.
Click here for more information about Yamaha electric guitars.
United Sound is a school-based instrumental music club for students with intellectual or developmental disabilities and their peers.
Dedicated to promoting social involvement through shared ensemble performance experience, the organization enables music students with and without disabilities to learn and perform in band or orchestra together.
The program is run primarily by a school’s band or orchestra director and a special education teacher, with support from United Sound in the form of specialized training, financial support and organizational resources. Students who participate in United Sound programs are called “New Musicians.” With assistance from student volunteers known as “Peer Mentors,” they learn to play the instrument of their choice at a personally modified level. Working first in lesson format and ultimately transitioning to rehearsals with recorded music, the New Musicians learn a piece of music that they then perform live in concert, once per semester, along with their Peer Mentors and a full instrumental support ensemble.
Making music together is a powerful force for learning, growth, friendship and understanding. Music is a language that transcends disability and the relationships formed through this unique program truly resonate with all children involved.
See how the United Sound programs benefit teachers, students and parents:
Please join Yamaha in supporting United Sound to bring music education to all students!
Lately I’ve been reflecting on just how important timing is.
Rhythm is, in fact, one of the cornerstones of music. Look up the Merriam-Webster dictionary definition of “music” and here’s what you’ll find:
“the science or art of ordering tones or sounds in succession, in combination, and in temporal relationships to produce a composition having unity and continuity”
This is just a fancy way of saying that music consists of a specific series of tonalities (timbre) and pitches (melody), combined together in a certain way (harmony) and played in a certain fixed order (rhythm). In future postings, I’ll be talking more about timbre, melody and harmony, but let’s take a closer look here at rhythm.
First of all, with some exceptions, the tempo of most music — both classical and popular — falls into the 60 – 168 bpm (beats per minute) range, which roughly corresponds to the rate of our heartbeats. A typical normal resting heartbeat for most individuals is 60 to 70 beats per minute, while some moderate activity like a brisk walk can elevate the heart rate to 110 to 120 beats per minute; a strenuous workout can easily push your heart rate up into the 160+ beats range. That’s almost certainly the reason why we find these tempos to be the most “natural” and appealing when composing or listening to music, especially when you consider that we all spent the first nine months of our lives in our mother’s womb listening to her heart beating.
Secondly, as none other than the late, great producer George Martin observed during an interview I did with him some years ago, music is a unique art form in that it needs time to develop. Think about it: music requires someone at the other end to listen to it. Here’s what he had to say on the subject:
Sir George Martin.
“You can’t look at it and say, “What a nice piece of music that is.” You’ve got to spend a bit of your life in order to appreciate it. Every time you listen to a symphony, you invest forty minutes of your life. You’ve only got a finite amount of time on this earth, and you’ve just spent forty minutes of it listening to a symphony, or to an album.
“The fact is that music doesn’t exist at all without time; time is the dimension which makes it work. [That’s why] music is the most sublime of all the arts. It’s the most intangible, it’s a mystery, and it’s been with us since we were primeval. Human beings were making music tens of thousands of years ago, before they could talk. I think it’s the most fundamental part of our lives; without rhythm, we wouldn’t exist. Your heart is pumping out a rhythm, and when it stops, you don’t live anymore, so rhythm is actually the difference between life and death.”
Everything, as Sir George pointed out in the conclusion of the interview, has a rhythm — not just we humans, but the sun, the moon, the stars, everything. And that’s probably the reason why music is indeed the universal language!
With so many superhero movies hitting the theaters, it’s ironic to hear ensemble directors tell their students “don’t be a hero” when someone is sticking out in the overall sound. Because of the brass instruments’ powerful directional abilities, blending the sound and dynamics of an ensemble can sometimes seem like an epic battle!
But Hollywood has taught us that an entire team of superheroes working cohesively is much more powerful than one rogue crusader working alone. Here’s how to tame your brass section to craft a blended ensemble sound.
Testing the limits of strong airflow is an important first step. “Start with a full, forthright sound because you can’t play soft with a good and blended sound unless there’s airflow,” says Dr. Ward Miller, music education consultant, arranger and associate director for the Macy’s Great American Marching Band in New York for the last 10 years. “If you start them too soft, they’re never going to develop the air flow later to play in different dynamics with a good sound.”
Once a good sound is established at louder levels, the ensemble can begin developing the technique of playing softer but with just as much power. Miller, who is also brass caption head of the Blue Stars Drum and Bugle Corps from La Crosse, Wisconsin, likens the difference to two types of whispers. “There’s the [typical quiet] whisper, and [then] there’s, ‘Hey, I’ve got a secret I want everybody to know! Everybody lean in and listen to me!’” he says. “That’s a really more engaged air even though it’s soft. That seems to really resonate with a lot of younger students.”
Beyond the dynamics and air, members of the ensemble must learn to match the tone and color of their sound. “One of the phrases I use a lot is playing ‘in tone and in tune,’” says Dr. Chip Crotts, director of jazz studies and assistant director of bands at the Georgia Institute of Technology in Atlanta. “I talk a lot about matching the same color and sound and matching the same energy or strength, which is a little different than just trying to play in tune or playing in the same dynamic.”
To bring this concept to life, Miller suggests an exercise utilizing a lead player as an example. “If we have someone who has a really, really good model sound, then it’s a good idea to have them play while everyone else buzzes or while everyone else sings through the instrument, and then have them connect their sound to that person,” he says.
Be the Hero They Need
Dr. Chip Crotts rehearses the Santa Clara Vanguard Drum and Bugle Corps.
Directors admit they can be guilty of telling a loud player, “We don’t need heroes,” or giving them, as Miller describes it, “the stop sign hand” more often than they’d like. “The truth is, as long as they’re not sticking out with a bad sound, you want everyone else to come up to their level,” he says.
According to Crotts, the key is to be more specific with feedback. He warns against a generic, “Hey trumpets, I need more!” and instead suggests mentioning which specific trumpet or which part of the chord needs to be brought out. When instructions are too generic, “the players who are already playing loud enough are going to play louder, and the ones who weren’t playing loud enough are not going to play strong enough,” says Crotts, who is also the brass caption manager with the Santa Clara (California) Vanguard Drum and Bugle Corps. “Make sure that you’re clear about what you want,” he adds. “Bringing the younger players up and using more air and playing with a fuller sound is a more ideal way to balance [the ensemble]. It just encourages more confidence from the younger musicians, and it promotes more of a confident performance throughout.”
Lead players may feel like they have to save the rest of the band with their sound. One way to keep them busy is to give them more listening responsibility. “Train the leaders to listen to the other leaders of the other brass sections, so that the lead trumpet is listening to the first chair French horn, who is listening to the first chair trombone, euphonium, tuba, etc.,” says Suzanne Dell, associate band director at L.D. Bell High School in Hurst, Texas. “Then get the players within the section to understand their responsibilities for how their parts support what is oftentimes the lead voice.”
Suzanne Dell conducts a student ensemble.
Define the Roles
With some students, ego can be the reason for overplaying because they may fear relegation to a lesser role. Clearly defining roles and emphasizing all parts helps to avoid these challenges.
Dell suggests rotating roles occasionally, so that everyone knows what it’s like to be first, second or third chair. Realizing how and why each part is important will prevent overplaying and sticking out. She also recommends an emphasis on small ensemble or chamber playing, where each part is very important so that this skill will be reflected in the larger ensemble.
Directors must create an environment where students perform the way they practice. Players need to understand that blending and balance make a better performance overall — they shouldn’t do it just to prevent the director from correcting them during rehearsal.
“We’ve all been in bands where you practice one way, and then everybody gets to the game and they just play completely different,” Crotts says. “You have to make sure that the way that they practice and perform is consistent, and that you’re having everyone play up to each other.”
Miller plays a game with his students where they take a passage of the piece and only play when they think they have the melody or most important part. The results can be illuminating. “People either don’t know that they’re the most important thing, they’re not aware of how important they are, they’re not aware they’re in the foreground, or they think they’re the foreground and they’re not,” he says. “It results in so much more clear balance and clarity for the audience to know exactly what they should be listening to at that moment.”
Consider the Logistics
While the students are working hard to play with a more blended sound, remember to consider logistics that can give your ensemble an advantage during performances. “Take into account the [concert] setup and be mindful where it is that you’re performing and how you physically use your space,” says Dell.
For example, you may need to put some of the brass with front-facing bells up on risers, or position the French horns in an area that can reflect their sound forward. Just because the group sounds great from the podium doesn’t mean the balance is right from the audience’s or judges’ standpoint. Dell suggests listening and recording from different locations around the room, and Miller agrees. “If you’re not somewhere where somebody can come in and be an extra set of ears for you, record and send it off to someone who can help you,” he says. “Send it to a college mentor, a friend, another band director or bring a guest in.”
Creating a blended sound among the brass takes hard work, but when you bring together all the different elements, you can have a sound worth fighting for. “It’s not achieved by individual players playing at their loudest, but by everyone matching energy and everyone being at the center of pitch and tone,” Dell says. “That’s how you sound bigger and fuller. It’s not by force, and it’s not by one or two players being the hero.”
Photo credits: Justin Brenneman, Cameron Kostopoulos, courtesy of the Blue Stars Drum and Bugle Corps. Copyright 2016. All rights reserved.
From prehistoric times to modern day, the trumpet is an instrument that has a rich and intriguing history. Want to know more? Read on…
Origins
The origins of the trumpet can be traced back several thousand years. However, since primitive trumpets were extremely basic wind instruments that the player sounded simply by moving his lips, they cannot clearly be distinguished from the forerunners of instruments such as French horn, which produce sound the same way.
Trumpets of old were made out of various materials, including wood, bamboo, bark, clay and metal — even human bone! Found on every continent, they are thought to have been used in religious ceremonies and even sorcery. In ancient Greece and Rome, trumpets were used for marching in wartime — a task for which they were well-suited! Eventually, almost all European royalty had trumpet bands that played military music.
But it wasn’t until the seventeenth century that the trumpet came to be used primarily in musical ensembles. At that time, however, it was still a so-called natural trumpet, which means the instrument could only produce the notes of the natural harmonic scale, so it wasn’t yet able to fully function like the modern trumpet. These trumpets had a very simple shape, with no valves — just a flared bell at the end. The only way a player could produce different notes was by varying his lip movement and the speed of his breath.
Enter the Valve
Before there were valves, whenever a trumpeter needed to play songs in different keys — such as C major and G major, for example — he would keep a C major trumpet and a G major trumpet on hand. Needless to say, looking after all these instruments and carrying them around was a lot of work! Accordingly, in around 1810 the valve was invented as a means for easily changing the length of the tube.
A valve is simply a device that changes the path taken by the trumpeter’s air. Additional tubes were added to the middle of the instrument and valves were attached at the point where they joined. These valves controlled which tube the trumpeter’s air would pass through, making it easy to change the length of the tube and enabling chromatic scales to be played.
A Trumpet with Keys?
As we’ve seen, the only technique that early trumpeters could rely on was lip control. As a result, the instrument was also limited in terms of the notes that it could produce. The trumpets of that era couldn’t play complex phrases filled with semitones; instead, they could only play simple notes such as C, E, and G.
Fortunately, there will always be people who will try and overcome limitations. Anton Weidinger — an outstanding Viennese trumpeter of the Classical period — was one such man. By adding keys to the tube, he devised an instrument that could play semitones. Weidinger asked a number of composers to write concertos for this new trumpet, including Joseph Haydn and Johann Hummel. Although Weidinger’s keyed trumpet was rendered obsolete by the appearance of the more functional valve trumpet in the mid-nineteenth century, it was due to his spirit of enterprise that the two greatest trumpet concertos in classical music came to be written.
What’s the Highest Note a Trumpet Can Produce?
There are many varieties of trumpet, and they also vary in range. The most common is pitched in the key of B♭, where the highest note that can be played is generally considered to be one octave higher than the C just above the middle line of the treble clef.
But there are ways to produce even higher notes. It’s actually not a question of the highest note that a trumpet can physically produce, but a matter of the highest note that can be played. In fact, performances by skilled musicians often extend up to two octaves higher than the instrument’s “highest” note. What’s the highest note YOU can play?
Note: This is the second installment of a two-part “Yamaha A Series Videos” series.
“Whatever the guitar itself sounds like, I want that to come through in the recording,” says artist Brooks Robertson, “and a guitar like this already sounds great acoustically, without being plugged in at all.”
The guitar Brooks is talking about is the Yamaha A Series, and as he demonstrates in this video, it’s ideal for recording as well as for live performance, thanks to the nuances provided by built-in microphone modeling and the ability to freely switch between different models on the fly — something that can’t be done with any other acoustic guitar. “The A Series is helping me sound better and play better,” he concludes. “It just sings on its own, which is really nice.”
Subwoofers are speakers with a singular, but important job: to reproduce the ultra-low bass frequencies that standard speakers can’t handle. They’ve been around since the 1960s, but came into their own with the wide use of cinematic surround sound in the ’80s and ’90s. If you want to hear (or, more accurately, feel) the impact of sound effects while watching a big-budget action film at home the same way you experience them in a movie theater, you need a subwoofer. And if you listen to a lot of contemporary pop, hip-hop and EDM, a sub is essential to capture that music’s full club-shaking punch.
A Question of Size
Before making an investment in a subwoofer, it helps to have a sense of how much physical space you want it to take up. Don’t assume that bigger automatically means better. In fact, developments in speaker technology have made it possible for relatively tiny subwoofers to achieve powerful lows. Yes, a twelve-inch speaker cone can push more air than an 8-inch one, but that doesn’t matter so much if it isn’t pumping out the right frequencies (see below).
The most compact of all the subwoofers offered by Yamaha is the YST-SW012, which measures just 11 3/8″ wide x 11-3/8″ high x 12-7/8″ deep. Other Yamaha subs with a small footprint but big sound include the YST-FSW150 and YST-FSW050.
Most Yamaha subwoofers are either square or rectangular and horizontally, rather than vertically, oriented. One exception is the NS-SW210, which has a tall, thin profile (6-1/2″ wide by 17-3/4″ high) that can match up well with certain types of flat screens.
The Big Crossover
Once you’ve gotten past size and shape issues, the biggest thing to consider when shopping for a sub is frequency response. A particularly important point to bear in mind is something called the crossover frequency — essentially, a kind of borderline that indicates where low frequencies stop being handled by your regular speakers and start being produced by the subwoofer. The most common crossover setting on an A/V receiver is 80 Hz, but generally speaking, the bigger the woofers are on your regular speakers, the lower the crossover point should be for your subwoofer. If you engage all your speakers (including the sub) and hear plenty of lows but can’t tell exactly where they’re coming from, you’ve got yourself a successful crossover.
Every Yamaha subwoofer has a broad enough frequency range to set the crossover wherever you feel most comfortable. The model with the widest range overall is the NS-SW050, which delivers frequencies from 28 Hz to 200 Hz. If you want your sub to hit absolute bottom, you may want to consider the NS-SW1000, which is powered by a 1,000-watt amplifier and can reach depths of 18 Hz, which is about as low as is possible for a human to hear.
Yamaha NS-SW050.
Yamaha NS-SW1000.
One Sub or Two?
Some home theater receivers, including many made by Yamaha, allow for the use of two subwoofers. Depending on the amount of additional speakers you have, this would make your system 5.2 (the number after the decimal place indicates how many subs there are), 7.2, 9.2 or even 11.2.
Left/right separation isn’t really a factor when it comes to low frequencies, so there’s no specific need to have two subwoofers; in fact, both subs in a “.2” system will generally be putting out exactly the same signal. That said, sometimes more is more, and having one sub behind you and another one in front can make for a truly bone-rattling experience! Just make sure that the two subs are not firing directly at one another (which can cause phase cancellations that reduce their effectiveness) and that they are working with one another as well as they do with the other speakers in your system. If one sub sounds noticeably different from — or louder than — the other, it can spoil what you’re going for: that glorious feeling you get when you’ve been catapulted right into the middle of a whole world of sound.
Special Features
It’s also worth considering any special features that a subwoofer may have. For instance, most subs on the market today have a port (a hole cut into the cabinet that helps increase the speaker’s ability to respond to low frequencies). But the Yamaha NS-SW series features a unique design called Twisted Flare Port, which — as its name suggests — has a gently twisting shape that creates a smooth air flow around the port edge, allowing those lows to ring out even clearer. (Rather counterintuitively, a standard circular port has a more turbulent air flow.)
In addition, all Yamaha subwoofers utilize something called Advanced YST II. YST stands for Yamaha Active Servo Technology, and at its heart are negative-impedance converters. Without getting too technical here, we’ll simply say that in certain electrical devices, negative impedance can amplify a signal. Obviously, this is an important trait for speakers, and Yamaha’s ANIC (Advanced Negative Impedance Converter) circuitry ensures that sub-bass frequencies are replicated with consistent accuracy.
Finding a Place
Once you’ve purchased a subwoofer, where do you put it? First of all, subwoofers are commonly placed on the ground to help convey the feeling that those deep lows are emanating from your floor (and potentially rattling it as well — a good thing, assuming you don’t live in an apartment).
In terms of positioning, most people tend to put their subwoofer somewhere in the middle of the stereo soundstage — that is, in-between the front left and front right speakers (though you’ll get best results if it’s a little off-center). But this practice isn’t one you need to follow, since low frequencies are pretty much unidirectional, meaning that you generally can’t tell where they’re coming from. In fact, the optimum location for a subwoofer in any environment depends mostly upon the room dimensions. The key to its successful placement is that its location not be apparent. If you’re able to perceive the direction that the low frequencies are coming from, that’s a sure sign that the sub is not positioned correctly.
Last but not least, if the subwoofer provides a phase switch, experiment with different settings until the smoothest bass response is heard. If it does not have such a switch, try rotating the sub in 90-degree increments until it sounds best. In certain circumstances, you’ll find that not having it face directly at you yields the best sonic results.
For more information about Yamaha subwoofers click here.
I did something the other day that I have never done in my career as a musician: I sat down and played along with all the music in my phone’s iTunes® library.
Why hadn’t I ever done this before? Well, one reason is that the songs I listen to in my off hours are different from the ones I perform professionally. My iTunes library contains the music I grew up listening to as a child, as a teenager and as an adult. It’s designed to be the “music of my life” — in fact, it could almost be considered my life’s soundtrack. As it turns out, I have rarely worked up any of my own arrangements of these songs for my professional appearances since my personal preferences are not necessarily the same music that I would use to introduce a product.
Another reason is that it is often difficult to find the music for these songs. Certainly, it is much easier to do nowadays with the advent of online sheet music. But it still can be tedious and time-consuming to find a matching arrangement for the version of the song on my device in the right key, not to mention the expense involved.
That’s all changed with the Yamaha Smart Pianist app. When I first used this remarkable iOS app along with my CSP Series Clavinova, I found that I suddenly had access to ALL of the chords and accompaniment scores for ALL of the songs in my iTunes music library.
Boom!
I spent the next three hours playing along with the “music of my life.” I loved it! It was an experience that was at once cathartic, enjoyable and invigorating — so much so that the time flew by without my even noticing it. And for one brief moment, there were five Beatles performing on my Clavinova: Paul played bass, George played lead guitar, John played rhythm guitar, Ringo played drums, and, yes, Craig played piano. We were amazing!
With this app, Yamaha seems to have accomplished what was considered impossible not that long ago. They have figured out a technology that converts the audio of a song into several different playable formats for anyone, regardless of their reading ability (or lack thereof), to learn and play along to their favorite songs.
Let that sink in for a moment.
1. If you READ MUSIC:
– you read and play the accompaniment patterns notated in the “audio generated” SCORE.
2. If you READ CHORDS:
– you create and play your own accompaniment patterns based upon the “audio generated” CHORD chart.
3. If you DON’T READ MUSIC and you DON’T PLAY CHORDS:
– you play by following the Stream Lights generated from the accompaniment pattern you selected in SCORE.
That pretty much covers everyone!
Let’s go into each in detail.
If You Read Music…
Smart Pianist generates a Piano Accompaniment Score for the selected song in your iTunes library by evaluating the musical and harmonic structure of each song and figuring out all of the harmonies that are being used from beginning to end:
It then creates a piece of sheet music, complete with right and left hand parts — a score that you could literally give to a piano player that reads music to enable them to accompany the original audio file:
Does this mean it scores the actual melody? The answer is no. It generates accompaniment music for you to play, so you can meaningfully play along with the musicians you are listening to. Let Paul McCartney sing the melody and the Beatles play their instruments. Your job is to accompany them, not play over them! In effect, you are joining the existing band.
Astonishingly, Smart Pianist allows you to choose from over 60 different piano accompaniment patterns to display different right and left hand parts, depending on how difficult you want the arrangement to be. Select “Basic 1” and the app will generate a score with one chord every measure. Select “Basic 3” and you will see notation for one chord on every beat:
If you are bold, select from other more advanced patterns. For example, you could choose one that scores your left hand playing a single bass note on beats 1 and 3, while your right hand plays chords on beats 2 and 4. You can even select arpeggios of the chords, with each and every note dutifully written out in the score for you by the app. You select from among the various patterns, depending upon how well the pattern matches the music or how simple or complex you want the arrangement to be:
If You Read Chords…
At this point, some of you might be asking, “What if I don’t read notated music, but I do know how to play and read chords?” Simple: Just look at the chord chart that Smart Pianist generates from the audio by selecting the chord symbol at the bottom of your iOS screen. This is perfect for jazz musicians and hobbyists who taught their fingers to play chords using symbols like Cm7, or Adim or G/D:
No app is perfect, of course, but if you find a chord that wasn’t analyzed accurately, or that doesn’t sound quite right, Smart Pianist lets you edit the chords directly in this screen. Say you want to change how the app displays a C6 chord, changing it to an Am7/C instead. Simply double-click on the chord symbol you want to change, then select from other suggestions provided by the app, or select the exact chord you want using the dials:
You can even create “on” chords, where you display chords with different non-root bass lines. You will notice there are also more advanced options provided here for the more advanced musicians, chords like m7b5 or “13th” chords. Also, be aware you can also COPY and DELETE from this screen by pressing and holding any chord instead of double-clicking on it.
There is an additional benefit to this screen chord chart screen. In the top left-hand corner there is a symbol that looks like a heartbeat. This is a symbol for “re-analyze audio.” This is where you go to make adjustments to songs that didn’t analyze 100% accurately:
In this re-analyzation area, you can also adjust the meter (3/4 or 4/4) and the numbers of chords per measure by adjusting the “tempo” to double-time or half-time. There are even options to adjust the key signature and/or “Beat Shift” the arrangement to make the chords line up to the measures.
If You Don’t Read Music and You Don’t Read Chords…
You can still take advantage of this amazing technology even if you don’t read music OR chords. That’s because each and every note generated in the Smart Pianist score — and all the accompaniment variations, too — are reflected in the Stream Lights above the keys of a CSP Clavinova. As a result, you can simply watch the Stream Lights show which which keys to play.
To make this easier to do, and to give you a chance to anticipate what notes are “coming down the pike,” Yamaha added four lights per key rather than just one light per key, giving you a chance to move your hand and fingers to the right position to anticipate playing the correct notes:
Bear in mind that the Stream Lights reflect the pattern you selected in the “score accompaniment pattern” area of the app. In other words, if you select the “Basic 1” pattern (one chord per measure), the Stream Lights will light up the same data above the keys, with one chord appearing every measure; if you select the “Basic 3” pattern (one chord per beat) the Stream Lights will do so one beat in every measure. They can even reflect arpeggios and other more sophisticated accompaniment patterns, possibly turning this into the ultimate “video game.” (Almost like trying to shoot those asteroids before they reach you. I know, I’m dating myself with that analogy…).
Since we are talking about video games, OK, it can be argued that this is a form of gamification. It’s true that this is a technology that certainly allows you to learn how to play along with your favorite songs, and get better over time. And like a game, you can even choose different “levels” by selecting different accompaniment patterns in the score area, which will be reflected exactly in the Stream Lights.
Still, I can’t wait to turn my little nephew loose on some of the music in my iTunes library! I’ll simply ask him if he wants to play a new video game on my Clavinova. Put that way, he definitely won’t say no to practicing.
Every January, the entire musical instruments industry — manufacturers, dealers, artists, fans and the merely curious — convenes in Anaheim, California for the annual NAMM® (National Association of Music Merchants) show. It’s quite an event. A wide assortment of music-related products and technologies are put on display, orders are placed for the coming year, autographs are gathered, and concerts and parties run long into the night.
If you weren’t able to make it to this year’s extravaganza, here are some of the hottest new offerings from Yamaha.
Clavinova CSP-150 and CSP-170
The Clavinova CSP-150 and CSP-170 digital pianos are the world’s first musical instruments to use game-like elements that allow you to instantly play your favorite songs along with the original artists, without any fear of failure or boring practice. Simply use a smart tablet running the free Yamaha Smart Pianist app to analyze the chord structure of any song in your music library and produce a piano score. Then connect it to your CSP, which teaches you how to play the song via interactive Stream Lights — a ladder of four cascading LED lights above each key that illuminate in rhythmic sync with the song’s tempo. Learning’s never been so much fun!
FG TransAcoustic Guitars
Making their debut at NAMM were two FG TransAcoustic guitars — the FG-TA dreadnought and its concert-size counterpart, the FS-TA. These groundbreaking instruments combine the durability and affordability of the best-selling FG and FS series guitars with award-winning Yamaha TransAcoustic technology that utilizes a vibrating metal “actuator” hidden inside the guitar to create authentic reverb and chorus effects — all without the need for any external amplification or effects.
EAD10
Ideal for rehearsal, recording and performance, the EAD10 allows drummers to easily record and enhance their playing using a combination microphone/trigger sensor that mounts on the bass drum, along with a central “head” module. The microphone effectively captures and reproduces the natural, dynamic sound of an entire acoustic kit, and the module allows you to add effects such as flanging, phasing and a variety of different reverbs. The EAD10 even comes with a free Rec’n’Share app (available for iOS and Android) that enables you to record your drums on top of your favorite music, while at the same time capturing a video of your performance that can be shared on YouTube™ and other social media platforms.
Genos
Genosis the most powerful Digital Workstation keyboard ever offered by Yamaha — the perfect songwriting and performance companion. With nearly 2 gigabytes of stunningly realistic sounds and accompaniment Styles, Genos is essentially an entire orchestra in a box! It offers a multitude of advanced features such as enhanced DSP effects, extensive real-time control and a large 9″ color touchscreen, along with Articulation Element Modeling (AEM) technology, which automatically chooses the correct articulation (that is, the way an instrument sounds depending on how it is played) according to your keyboard technique.
Venova YVS-100
Also on display at NAMM was the Venova YVS-100, a compact and lightweight “casual wind instrument” that’s perfect for taking to the beach, on a camping trip, to a barbecue — virtually anywhere. Affordable, easy to learn and fun to play, Venova uses advanced technology to combine the sound of a saxophone with a simple fingering similar to recorders, offering extraordinary expressivity (including the ability to bend notes) and a full chromatic two octave range.
New Revstar Finishes
Guitarists love the look of their guitars, and Yamaha unveiled seven bold new colors for the Revstarline of solid-body electrics, including Black, Ice Blue, Vintage Japanese Denim, Maya Gold, Vintage White, Snake Eyes Green and Shop Black. All Revstar guitars have been designed with painstaking attention to detail and include hand-wound pickups and materials that perfectly match each instrument’s character.
Alexa Integration with MusicCast and Disklavier
The Yamaha exhibit area also featured ongoing demonstrations of the ultimate in smart home integration: Amazon Alexa with the Yamaha Disklavier ENSPIRE™ reproducing piano and MusicCastMultiroom Audio System. This combination of advanced technologies makes it possible for the piano to play beyond the four walls of a single room to any room in the home — or even outside — all controlled by spoken commands.
See you at next year’s NAMM — and remember, if you can’t make the show in person, you can always catch the highlights here!
Note: This is the first installment of a two-part “Yamaha A Series Videos” series.
Yamaha A Series acoustic guitars are crafted from the ground up to be perfectly suited to life on the road. Watch and listen as master guitarist Brooks Robertson demonstrates the dependability, versatility, playability and sonic range of the A Series in live performance, with a discussion of the new SRT2 pickup system with mic modeling and the built-in Auto Feedback Reduction control.
“When I’m onstage I want my acoustic to sound like an amplified version of what it sounds like on my couch,” he explains. “The A Series is about eliminating the things that can go wrong and giving you all the best qualities in a guitar.”
Click here to view Part Two: A Series In the Studio.
Click here to find out more about Yamaha A Series guitars.
Yamaha Educator Suite: Building the Next Generation of Music Educators
Professional Development
Program Health
Launch a Mariachi Program
In its first few years, the Las Vegas High School Mariachi Program released a CD and performed for many dignitaries including President Joe Biden and Vice President Kamala Harris.
Student initiative is pervasive throughout the Huntington Beach High School’s pop music program, which emphasizes students’ ability to forge their own musical path.
A specialized flute choir has incredible range and can play music that was originally composed for full orchestras, choirs or wind ensembles, which is nothing short of amazing!
Known as the “voice of boxing” and as an inductee into the International Boxing Hall of Fame, Al Bernstein is also a singer! Find out how this sportscaster started this side gig.
Eighty percent of teachers say that funding is the main hurdle they face in music education. With often limited funding from schools and districts, music teachers spend an average of $945 of their own money every year on essential music supplies for their classrooms.
Jeff Coffin, professor and saxophonist with the Dave Matthews Band, is addressing the issue in partnership with Yamaha. He recently went on the road with the Yamaha Band & Orchestral division to raise support for school music programs, surprising students at his alma mater, Spaulding High School in Rochester, New Hampshire, where he spoke and performed at an event to promote teacher and citizen donor involvement in DonorsChoose.org, an online crowdfunding platform.
After encouraging students to apply the values learned in music classes, Coffin presented the school with a new Yamaha YX-500F xylophone. In addition, Yamaha donated $10,000 in Coffin’s name to DonorsChoose.org — monies that Coffin will disburse to public school teachers to fund music education projects for the new school year.
“As a Yamaha Performing Artist, I have been given the opportunity and potential to share the many benefits of music education with future generations of students and educators,” Coffin says. “I am forever grateful for the meaningful support and friendship.”
Currently in the second year of its #MusicEssentials partnership with DonorsChoose.org, Yamaha has donated more than $250,000 in matching funds, generating $500,000 worth of supplies for classrooms around the United States.
This article originally appeared in the 2017 V4 issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.
As trumpet players advance in their abilities, many make an effort to understand the finer nuances that make their instrument work better. One aspect that makes a trumpet play and respond the way it does is the space that exists from the end of the mouthpiece to the beginning of the leadpipe, known as the “gap.”
The basic function of the gap is to set up response, playing resistance, and to a certain degree it also helps in “centering” or “slotting” the sound (i.e., playing easily on pitch). While some are of the opinion that no gap is the perfect setup, over the years it has been my experience from repairing and customizing brass instruments that a gap is preferred and needed by almost all players.
The majority of trumpets manufactured today all have a gap built into the design of each instrument. One reason manufacturers do this is to ensure that just about any trumpet mouthpiece will fit even if the shank is worn badly. Many manufacturers have adopted an approximately 1/8″ gap. This appears to be an industry-wide standard — one that provides most players a subtle amount of playing resistance for a slotted / centered feel, but with flexibility and a warm sound character. Gaps smaller than 1/8″ have less resistance and less slotting while playing (i.e., it is easier to slur), but with slightly less security and warmth to the sound. Some players who blow with more effort may like this better as they create their own playing resistance because of the way they use their air. I have found that adjusting the gap to zero (where the mouthpiece touches the leadpipe) creates what most trumpet players feel as less “center” or “slot,” with the upper range feeling and sounding less secure. Playing in the lower range, however, feels very free with little resistance, with the response being more spread and harder to control.
There are some trumpets designed with gaps larger than 1/8″, which seems to provide players with more slot or centering while playing in the upper range. This particular design incorporates a lower leadpipe entrance ledge, so the design makes the function of the gap different than standard. It is difficult to compare this design style to standard setups because this large gap — paired with the design — lessens the resistance overall.
Different mouthpiece designs also add their own influences into the effect of the gap as well as the leadpipe opening dimension. It is difficult to generalize that a gap of a certain distance will give a player a certain result, but the effects of the gap described here are from using average mouthpiece and leadpipe designs.
Many factors need to be taken into account before you have the mouthpiece gap adjusted to better suit your playing needs. The procedure itself is a simple one for any experienced repair technician; however, it involves unsoldering the receiver and the rear bell brace and repositioning the receiver to the desired location.
Whenever I make this adjustment for a player I take into account the trumpet design, how the player plays (more specifically, how they use their air), and how well the instrument centers or slots notes across its range. After discussing the good and bad aspects of their trumpet with the player, a decision can be made as to whether altering the gap will make a positive difference and address the problems a particular player is experiencing.
Remember that adjusting the gap is only one small procedure that can be used to fine tune your trumpet to better fit you as an individual player. Each mouthpiece will have its own gap that will work better for a particular player and help improve response and sound quality.
Click here for more information about Yamaha trumpets.
When Dr. Kenneth Tse joined band for the first time at the age of 13, he wanted to play the trumpet; however, he was told that he had the right hands and teeth for making an ideal sound on the saxophone.
Only later did Tse find out that the band director had simply needed a second alto player.
That director must have been on to something though, because Tse has since emerged as one of the most renowned sax players in the world today.
Early Years
Growing up in Kowloon, Hong Kong, Tse was influenced by a musical family. His mother was a music teacher who encouraged Tse to play the violin and piano.
With the saxophone, Tse was self-taught for much of his early career. “I just really enjoyed music and playing saxophone, playing in band with all my friends,” he says.
Not limiting himself, he listened to all kinds of music — singers, orchestras, piano, cello — anything he could get his hands on. Without a saxophone specialist to teach him the intricacies of his instrument, Tse relied on his ear, spending hours with saxophone recordings and emulating what he heard.
“I would try to mimic the feel of a song by playing my own instrument,” he explains. “One of the hardest things to do was the diminuendo. I would try a bunch of things until I finally got it to sound the way it did on my recordings.” Through it all, Tse never felt discouraged. He would come home from the Hong Kong Academy for Performing Arts, where he studied for two years after high school, and practice for hours.
“I was only one of two saxophone majors at the Academy,” he remembers. “We only had clarinet teachers — [there were] no saxophone teachers — so they could only teach us basic things for our instrument. They also only had an orchestra, no concert band, so we didn’t usually get to play with an ensemble. But I never got discouraged.”
Tse can’t articulate what drove him to work so hard; he just chalks it up to his own love of music and routines engrained into him from playing various sports alongside pursuing his musical interests. Yet throughout the years, he never felt too concerned with where he was headed as a musician. And eventually his hard work paid off. World-class saxophonist and teacher Eugene Rousseau hosted a master class in Hong Kong, and Tse was invited to perform for him. Rousseau was impressed with what he heard, and Tse — after seven years of self-tutelage — finally found a dedicated saxophone teacher.
“I was always very much inspired by [Rousseau’s] playing,” he says. “His teaching style and my learning style worked very well together. I was used to fixing my technical issues on my own; Rousseau never tried to control my learning, forcing me to do this or that, because I did it all myself. He would teach me the musicality [and] helped me refine my sound.”
With a New York Artists International Award and a critically acclaimed debut recital at Carnegie Hall in 1996, Tse was hailed as a young virtuoso. Since then, he has been a prolific performer, traveling around the world for dozens of concerts every year.
Dedicated Teacher
In addition, Tse has embraced the world of teaching. He notes that his self-tutelage, combined with Rousseau’s refinement of his musical style, helped him define his teaching style, giving him the drive and motivation to benefit prospective musicians in the same way that he was helped in his college years.
“I enjoy the responsibility, and because I struggled as a young man without a proper teacher, I had to find out a lot of things by myself,” he explains. “Through that process, I think that I’ve gained a lot of experience, and I felt that I could help a lot of people with their own issues. That’s my mission.”
Currently, Tse is professor of saxophone at the University of Iowa. Though he enjoys a rewarding teaching career, Tse puts a great deal of value in staying active as a performer, both to improve his own musical talents and to demonstrate to his students that performing and teaching are equally important.
“Your students need to see that you’re not just lecturing to them; you’re going out and doing the things you tell them to do,” Tse says. “I need to keep myself sharp, and I can only do that by performing regularly. It may take time away from them, but in a way, it gives time back to them as well because I’m still learning. If I’m learning, I can pass that on to my students, and they’ll learn what I’ve learned.”
Giving Back
In addition to his teaching pursuits, Tse is a community leader, operating as the president-elect of the North American Saxophone Alliance (NASA), vice president of the International Saxophone Committee and founder of the Hong Kong International Saxophone Society, which hosts the Hong Kong International Saxophone Symposium every two years. Tse places a great deal of value in giving back to the communities that helped him get to where he is today.
“I wasn’t born a natural leader, and it doesn’t come easily,” he confesses. “However, just from working with a lot of friends and enjoying it, I’ve gained a lot of support. A lot of times you don’t really choose to be there, but people put you there because they trust you and your work. I’m very grateful for that.”
Iconic Sound
Central to Tse’s iconic sound is his saxophone; in fact, he has used just three horns on a regular basis. His first horn throughout high school in Hong Kong was a dull, rusty instrument. Eventually, Tse decided that he wanted something newer, to match the shiny, well-kept horns his peers had. The horn he chose and used for 25 years was a Yamaha. “I played it, and I just fell in love with the sound,” he reports. “I actually used that horn until just this year, as a matter of fact.”
Tse recently began playing on a new Yamaha model and carefully considers how his horn affects his sound. “The majority of the sound comes from the player; that’s what I believe,” he says. “Nonetheless, how well the instrument is designed does affect intonation and timbre a significant amount, and it can really make or break your sound. Yamaha horns really help give me the sound and response that I was hearing in my head.”
Tse’s career has been a lucrative and fulfilling one. From a self-taught young performer without a mentor to an iconic, world-renowned virtuoso of an instrument he didn’t even intend to play, his journey is one that exemplifies the creed of “hard work generates results.”
“Every coin you put in the piggy bank, so to speak, those will add up, and you can cash in when you have the chance,” Tse says. “It’s a long-term commitment, but if you’re prepared for it, you’ll succeed.”
Wisdom for Other Instructors
Tse’s advice for directors of all career paths is simple: inspire your students and set an example for them.
“Inspire them. Take them to local concerts or a recording [studio] … inspiration will always point your students in the right direction. You need to set an example for your students to follow. There’s no use talking about music all the time without being in the field. They need to see you in action.”
Photos Courtesy of Dr. Kenneth Tse
This article originally appeared in the 2016 Spring issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.
Bringing a guest artist to work with your students can be a win-win for all involved. Students and teachers have the chance to learn new skills and be inspired, while your administration and community will see your work firsthand.
I personally enjoy visiting schools because I can create meaningful connections and make a big impact on students, parents and communities.
Here are some steps you can take to properly plan for a visit from a clinician.
1. Figure Out the Finances
There are many ways to pay for the event, whether from your school’s budget, fundraisers, ticket sales, grants and/or sponsorships. If an artist lives far away but is touring in your area, you should be able to request a “routed cost” since travel costs and time are mitigated and the artist has an incentive to work during filler days.
2. Decide on Event Format
Will you have private clinics and/or a public concert? Will you combine forces with other schools within or outside your district? Know the artist you’re working with. Is the artist more likely to excel as a guest performer or as a classroom teacher? If you can find both, you can maximize the experience by allowing the kids to benefit from classroom learning in addition to an exciting concert.
My “Creative Strings” outreach offerings include everything from one 1-hour clinic to a residency of up to five days. I enjoy working with the students in the classroom, then showing a public audience what we’ve learned. In my residencies, I use three days for hands-on interactive clinics with middle school and high school orchestras. These classes have curricula that are totally separate from rehearsals for the culminating concert. I ask the teachers to prepare concert repertoire prior to my arrival, so that I have two rehearsals max. I also offer 30- to 40-minute assemblies at the elementary schools.
A teacher training session is another great activity. My collaborative concerts are always student-centered. On the selections I perform with the students, I feature myself sparsely and will sometimes simply sit in the section and play along. I perform three to five solo pieces, or about 20 minutes in a 75-minute show.
3. Promote Early and Often
For a public concert, a common mistake first-time promoters make is in assuming that an audience will come. Do everything you can to let parents, press, school administration, board of education members and community members know about the event well ahead of time. When I visit schools, I always offer them a boilerplate press release and let them simply fill in the details of their school name, location, date of event and a couple personalized quotes. Use this press release — or write one yourself — to invite your local press.
Also make sure to promote to your colleagues at nearby schools or in your competition circuit. Create and display an event poster at music stores, local schools, community bulletin boards, etc. Involve your students. They live in the media world. Ask them to help you promote on your webpage, create a Facebook event and link to videos of your guest artist/clinician. In general, choose a team of booster parents, students and/or administrators to promote the event and take care of the smaller logistics. For a private clinic only, you can still attract media coverage, making it a great way to nurture support from your community.
4. Prepare Your Students
When I visit schools, I send them online courses I have created, so they can study my teaching before I arrive and after I leave. You can ask your guest artist if they have instructional materials or recommended resources. You can show videos of the artist performing or teaching. It’s a great opportunity to discuss things you normally wouldn’t, like how an artist’s work reflects his or her personality.
5. Remember to Follow Up
Send thank-you notes to your guest as well as to those who helped with planning. Remember to take photos and send them along with a paragraph about the event to your media contacts, principal, school superintendent and school board. We always send photos to all our industry friends, supporters and especially any sponsors. Have a post-event meeting to evaluate what went well and what could be improved.
Photo Courtesy of Christian Howes
This article originally appeared in the 2016 Spring issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.
Mobilized by band director Sean Furilla, the community of Canton, Georgia, came together in a widespread show of support for the Marie Archer Teasley Middle School band.
Parents, staff and community members worked together to win five brass and woodwind instruments from Yamaha worth $20,000.
“There’s still a buzz around our community,” Furilla says. “[It] created support for our music program that continues to grow. Yamaha not only donated instruments, but it charged our community with an awareness of how supporting music education can change the lives of students and families.”
Program Expansion
The prize came at an especially crucial time for the Teasley band. Furilla became director in 2012 with 150 band students. Many of their instruments had been in use since 1986 — the year the school opened.
Furilla grew the program to 250 students in 2013. Then in September 2014, the school moved to a new campus, adding sixth graders. Band enrollment increased to almost 500 students. “It is a good problem to have!” said Dr. Susan Zinkil, Teasley’s principal, in a district press release. “We are so proud of how far our band program has come.”
School-Supplied Instruments
Teasley is a Title I school with 53 percent of its 1,400 students on free and reduced lunch. Many students and families in the band program rely on borrowing school-owned horns.
“I tell them, ‘Anybody can be involved in band; it doesn’t matter the financial state of your family, it doesn’t matter whether you can find an instrument or not. I will find an instrument to put in your hands,'” Furilla says.
Because of Furilla’s mission to include everyone regardless of financial constraints, students sometimes need to take turns playing instruments in class with some just blowing through their mouthpiece and mimicking the fingerings.
The new Yamaha horns — two tubas, two bass clarinets and one French horn — have made a big difference in giving more playing opportunities for the students. “Now I’ve got a sixth grade class with eight tuba players, and each one of them is able to have a tuba in their hands,” Furilla says. “If it wasn’t for Yamaha and those two tubas that I got, I would have two students that would be playing on their mouthpieces and not have an instrument to play on.”
Playing a new instrument right out of the packaging has led to increased dedication from some of the benefitting students. “By creating a situation where we have new instruments in the hands of students that care deeply about music, it gave them a bigger sense of pride,” Furilla says. “It was great to see the students opening the cases, seeing their faces as they’re unwrapping the instruments from the cases. That whole process gave them more of a connection and a sense of pride not only to the instruments but also to our music program.”
Eventually Furilla hopes to have enough instruments, so that students in different class periods won’t have to share, and each student could take an instrument home to practice. The school needs to purchase at least 30 instruments.
“I’m still in the process of trying to create the funds to buy more instruments because I don’t have enough funds to have each tuba player have a tuba at home,” Furilla says. “We’re still working toward that.”
The Quest for Music Education
Teasley won the instruments in May 2014 through a Yamaha online contest, “The Quest for Music Education.”
Furilla had extensive experience performing with Yamaha instruments as a member of The Cadets Drum and Bugle Corps staff based in Allentown, Pennsylvania. He first heard about the contest from a fellow instructor at the Yamaha-sponsored drum corps.
“I can think of no better company for consistent high-quality instruments than the Yamaha Corporation,” Furilla says.
For the competition, bands recruited adults in their communities to complete online quests on a variety of topics, including Yamaha Artists, Yamaha internships and music advocacy. “Because the Quest was educationally charged, they got information on backgrounds of musical instruments, different families of musical instruments, composers,” Furilla says. “The Quest was more than just [an online voting contest].”
At Teasley, Furilla convinced the school to devote faculty meetings to participating. But beyond the staff, teachers and booster parents (both at the middle school and local high school), he also used his ties to small business owners in downtown Canton, where his wife runs a company.
“Every opportunity that I was at a microphone, I was mentioning the Quest and the difference it could make in getting instruments into the hands of our students,” Furilla says.
Under Furilla’s direction, the band students spread the word to families and neighbors across the small town. “The most important thing for me was to get as much of the community involved in it as possible,” Furilla says.
“What I went after were instruments that we were in great need of,” Furilla says. “Both of the tubas that we had were from the ’80s, and they were put together with duct tape.”
Winning the Quest has helped with some of the more difficult instruments to find. “I really went after the instruments that were more expensive and harder for people to donate,” Furilla says. “It’s easier for me to get clarinets, trumpets, saxophones and flutes … but much harder to get some of those unique instruments.”
The excitement and publicity that Furilla generated from the Quest led to even more support beyond participation in the contest. For example, the band’s prior winter concert attracted 1,200 audience members, and many generously donated money and instruments.
“Families, community leaders and local businesses have jumped on board in support of music education because they believe in its power to mold our children and change our world in a better way,” Furilla says. “It’s still a daily battle. Our program is still in an ongoing effort to provide instruments for students in need, but [this] lit a giant spark that propelled us forward with our mission.”
Bottom photo: Courtesy of Cherokee County School District
This article originally appeared in the 2016 Spring issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.
It’s powerful, it’s lifting, it’s emotional. And it’s extremely personal. Music can help people express who they are as an individual and give them their own identity.
I know this, because that’s the effect it had on me. I started playing the drums at the age of 15, and I can honestly say that drumming has changed my life.
What Made Me Start Drumming
It all started one evening when I was watching television with my dad, Mike Rizun. During a commercial, he turned to me and for some reason asked if I’d ever thought about wanting to play an instrument. My response was, “Yes, I have, but I’m not sure what instrument.”
Without saying a word he reached over to our movie cabinet and pulled out an old VHS tape that was labeled “Lee Aaron Live: City TV Toronto 1983.” He put the tape in our video player and pushed play. To my astonishment, I saw my dad behind the drums making incredible music with this great singer while having the time of his life.
That moment was so powerful, it lit a fire inside me that I am sure will never burn out. To this day, that video still plays back in my mind; it will always remind me of why I started playing the drums.
My First Drum Kit
Not long afterwards, I went to the local music store with my dad to buy my first drum kit. I settled on a beautiful 5-piece cherry wine finish drum set with hi-hats and cymbals. As soon as I got home I couldn’t wait to set it up and start playing! Yet when I’d finished assembling everything, I just sat there in disbelief. I just couldn’t stop looking at it — the chrome hardware, the finish, the cymbals. Everything was perfect. I felt like the coolest kid on the block!
Over the coming weeks, I discovered new drummers, new techniques and music that I never knew existed. I started learning rudiments, time signatures, and how to put it all together. I practiced for months on end, reading through syncopation to improve my playing. In short, I learned how to become a musician.
I did everything I could to progress into becoming a better drummer. I would practice fills until I nearly passed out from exhaustion. I would watch videos of all of the pros and take in all of their styles and techniques, then alter them to make them my own. I put in hours upon hours of sweat, tears and sometimes even pain, constantly trying to find new ways to express myself, to shape my own identity. As much as I admired other drummers, I wanted to create my own path.
My First Gig … and Nearly My Last
I can still remember my very first gig and what I had to go through to make it happen. It was an extremely cold winter night in the middle of January — so cold that the grease on my drums’ tension rods had become frozen solid during the drive to the club in my parents’ van. As I was setting up my bass drum pedal, I noticed that the chain had broken due to the pedal being crushed by a hardware stand when I dropped my hardware bag on the stage floor. I was stunned, and I wasn’t sure what I was going to do. We had just 15 minutes until we were supposed to start the show!
As I thought about what I could improvise to repair the pedal, it suddenly dawned on me that I had a few zip ties in my cymbal bag because the handle was ripped. I took two of them out and put them together, then took off the broken chain and replaced it with the zip ties. Then I prayed for it to all hold together … and it did.
After our first set, we stopped to take a break. I remember sitting behind my kit for a moment looking out at the crowd, thinking to myself, “If I hadn’t figured out how to fix this pedal, I wouldn’t be playing this gig tonight. I would be packing up and going home miserable because I couldn’t do something that I love doing.” It was then that I realized that it’s all about taking action and doing whatever you can to make your dream come true.
Taking the Musician’s Point of View
I’m proud that I’ve become the kind of drummer that takes a musician’s point of view. Whether I’m recording, jamming or playing in a live setting, I’m always listening to the music as a whole, listening to what everyone else is playing while being open-minded in my approach. I’ve found that this is one of the most important tools in any musician’s toolbox, along with dedication, motivation, practice, effort and passion. Having those qualities will make it a lot easier for you to express yourself at any given time, no matter the type of musical situation you’re in. They will also open doors you never could have imagined and keep you ready for those once-in-a-lifetime opportunities.
Today I can take a step back and realize what an impact drumming has had on my life. If I had said no to watching my dad’s VHS tape, I wouldn’t have discovered this beautiful instrument. If I didn’t quickly figure out a way to fix that bass drum pedal, I never would have experienced what it’s like to play a live show. Those experiences, plus all of those long hours practicing rudiments and learning technique, have shown me what drumming is truly about. It’s about doing something that you love and giving it all that you have. It’s about taking the chance to make something of yourself and put your name out there.
Drumming makes me want to wake up every day and discover something new, something no one has ever thought of doing. It brings me the utmost joy, pleasure, and excitement every time I get behind my drum set. I still try to practice every day for at least 4 – 5 hours, always making sure to stick to a particular rudiment or fill for the week. I have this voice inside me that constantly tells me that I need to step it up so I can become a better drummer. Every time I pick up my sticks, I’m putting my entire heart and soul into my drumming.
In Part 1 of this article, we talked about the preparation required for successfully hosting a percussion camp. Now let’s talk about how to promote it, and what you need to do the day of the event, and afterwards.
Launching a Marketing Campaign
Here are a few tips for creating an effective marketing campaign for your event. Bear in mind that promotion can be costly, even when done strictly on a local level, so know what you are getting into:
Fliers and posters – These can be produced inexpensively at any copy center. Ask local businesses – especially music stores – to place them prominently in high traffic areas.
Local advertising – If budget allows, create a print and/or electronic ad (if you have permission to do so, include the school logo in the ad) and run it several times: ideally, two months prior, one month prior, and again one week prior to your event. Target the media where you run the ad: the state music education magazine, for example, might be a good place to start, although such publications may require extended lead time (contact them well in advance to obtain their advertising schedules). Use a consistent message in all advertising to maximize retention.
Website – If you already have a website, create a special place on it to advertise your camp. (If you don’t, what are you waiting for?) Use your school’s website for this too, if you are allowed.
Social media – Create an event on Facebook. Use your social media profiles to send out your message, then repost and re-share regularly. Use hashtags sparingly.
Press release – Write a press release and send it to the education editor or city desk of your local newspapers, your state music educator publications and any other appropriate regional newsletters. Provide a photo of a previous year’s camp, or of a featured clinician at the upcoming event. Be sure to follow up with a phone call or email and invite the media to cover the event.
Promotional packet – Produce a packet of materials with the following components and send it to local area band directors (it can also be included with the press release sent to media). The packet should be mailed out at least six weeks before school breaks to allow educators, parents and students adequate time to plan their schedules.
Cover letter
Details about the camp clinician(s)
School educational philosophy
Camp flier
Registration form with photo release (must be signed by parents if the attendee is under 18 years of age)
Directions to the site of the event
Brief your staff – It is important that each member of your staff be knowledgeable about the details of the upcoming event. There is nothing more deflating to a potential participant than to hear, “I don’t know anything about the camp. You’ll have to talk to ‘so and so’.” If your staff does not care about the event, how can you expect other people to get excited about it? An informed staff member can answer questions promptly and encourage potential students they speak with to participate.
Some Additional Suggestions for Making Your Camp a Day to Remember
Drawings – Hold a drawing for a prize at the end of the day. A new instrument or accessory product such as sticks or mallets is always a crowd-pleaser. Use numbered tickets and distribute them to participants as they register.
Have a contest – This can come in the form of a percussion-related question and answer session, with accessories or in-store coupons from local music dealers for prizes.
Giveaways – Every participant should receive a memento of the event. This is the perfect way to distribute a promotional item made specifically for your store or organization.
The Day of the Event
Okay, the big day is finally here! What do you need to do now?
Plan to be on site from several hours before the start of the event to several hours afterwards. The importance of being hands-on and immediately available cannot be understated!
Expect the unexpected. As the saying goes, “Whatever can happen, will happen.” Be flexible and ready to deal with a wide range of issues.
If you don’t already have complete permissions to use photos taken at the camp – including getting parent approval for students under the age of 18 years old – make sure you get all remaining paperwork signed during the event.
Stick to the schedule. Things rarely end early, so be prepared to diplomatically move events along so that none of your attendees is shortchanged. As an example, here’s a sample schedule for a two-day event:
DAY ONE 8:00-9:00 Registration 9:00-9:10 Welcome and introductions 9:10-10:30 Clinic for all attendees 10:30 Break 10:40-12:00 Individual auditions; staff teaches essential exercises to attendees 12:00-1:00 Lunch 1:00-3:00 Sectionals (“ability” groups) 3:00-3:10 Break 3:10-5:00 Sectionals/Full Ensemble as needed
DAY TWO 9:00-9:45 Full Ensemble clinic/rehearsal 9:45-12:00 Sectionals – include one break at discretion of instructor 12:00-1:00 Lunch 1:00-1:30 Full Ensemble clinic/rehearsal 1:30-3:00 Sectionals 3:00-3:15 Break 3:15-4:00 Full Ensemble: prepare for performance 4:00-5:00 Performance for parents, friends, families. Immediately prior to the performance, talk briefly to the audience about the school music program, the camp, the importance of music education, etc. Then introduce each staff member, who will take their section/group through whatever it is that they can play comfortably. 5:00 Dismissal
What to Do Post-Camp
First, take a little time to enjoy your success. Then do the following:
Send your favorite photos from the camp to local media. Action photos of students playing percussion instruments are always of interest.
Contact members of the media (especially those who attended) to see if they need any more materials or information. If they are undecided about writing an article about the camp, your actions may push them to do so.
Contact any music manufacturers or local music stores you dealt with and offer a brief report on your camp.
Send a hand-written thank-you note to the clinicians and staff. There’s no better way to encourage their return for future events!
Talk to your staff and volunteers who worked at the camp. Ask them what worked – and what didn’t. Make a list of the things that went right and the things that went wrong. This will allow you to take steps for making your camp better next time around.
Have a great event! And remember, it’s never too early to start thinking about next year’s camp. . .
Have you ever wondered what kind of music you should play on your electric stringed instrument? There is an assumption that these kinds of instruments are only used for jazz, rock and pop genres, but that’s simply not true! In fact, you can take your classical repertoire to new places with a few interesting tools and tricks.
In the video below, jazz violinist and Yamaha Artist Toshi Nakanishi gets creative by playing and layering all the parts to Pachelbel’s Canon in D by using his Yamaha electric violin (YEV) and a looper effects pedal.
“Canon in D” is a staple of the classical repertoire and quite possibly the most famous eight-note melody of all time. With this tune in your mind, you’ll be able to structure your approach by separating and then playing the different layers of the canon.
Step 3 – Add each part one at a time
As Toshi demonstrates in this video, add each part on top of the previous one, with effects as needed, starting with the bass line. It’s a great technique that allows you to perform each piece as a one-person chamber ensemble!
More videos featuring Yamaha Artist Toshi Nakanishi:
The strings of a piano are stretched under tremendous tension — from 16 to 20 tons altogether — so an extremely strong and stable frame is required to withstand the stress. Modern frames are made of cast metal, and are essential in sustaining the brilliance and beauty of notes played on the piano. The frame is such an important part that can be termed the “cornerstone” of the piano.
There is a story that a certain motorcycle manufacturer was trying to develop the ideal cast metal material for the cylinders of an engine. In the end, for some reason, it turned out to have the same composition as the cast metal in a piano frame.
So then, does the similarity lie in the fact that they are both devices that make loud sounds? No, it’s something different. If the only function of a piano frame was to support the tension of the strings, being strong and sturdy would be enough. But the frame also affects the sound by transmitting the vibrations of the strings, so it must also be elastic enough to vibrate a certain amount itself. In other words, the properties a frame must have are contradictory, namely, that the exterior be hard while the interior is somewhat soft.
The same applies to the cylinders in motorcycle engines. They must be strong enough to withstand the intense friction of the pistons, but at the same time, they need to have sufficient flexibility to cope with the heat deformation that results from the combustion of gasoline at high temperatures. Because they share these requirements, the conditions that the ideal material must meet are the same. This is the real reason why the composition of the metal castings of piano frames and motorcycle engine cylinders are similar.
You’ve decided that you want to host a percussion camp. After all, many school music programs are in need of expert percussion instruction to prepare for parades, halftime shows and other marching band activities. You think maybe a one- or two-day event would be just right.
Now what?
If you haven’t led an event like this before, you may not be certain how to begin planning to ensure that all goes smoothly. Done correctly, a percussion camp can be an unforgettable experience that provides top-notch instruction to the attendees while bolstering the relationships between local percussion educators and artists.
So where do you start?
Set a Goal
The first step is to define what you want the camp to accomplish. Ask these important questions:
What is the criteria for attendance?
How many students should attend? Is my goal to accommodate 25, 50 or 100 attendees?
Do I need to break even on the camp fees/costs, or can I afford to lose money on it? Does money exist in a budget somewhere to support this?
Will this provide students an opportunity to learn from someone new? (i.e., someone who is not usually accessible to them.)
Write down your answers with specific details. For example, one clinic might be structured like this:
Attendance will be open to local high school students in drum corps and/or marching bands who are looking to improve their competition technique.
Each student will receive a box lunch and a T-shirt.
We need a minimum of 20 students to break even on a one-day event, or 30 students to break even on a two-day event.
We can physically accommodate up to 50 students.
The students will learn from top notch DCI instructors – people I already know and with whom I have a relationship.
Once you determine these elements, you can begin planning.
Before the Event
1. Recruit a team and identify the “go-to” people. Decide who will be in charge overall (this might well be you!), and who will be responsible for specific items, such as:
Looking after the clinicians.
Ordering and distributing food.
Making payments.
Coordinating marketing and promotion.
Hold those people accountable with clear directions and due dates on their tasks.
2. Establish a date for your camp. Pick a date that works best for the schools in your area and be sure to avoid conflicts with other regional events that may attract the same audience (i.e. marching festivals, band camps, Super Bowl™, local elections, truck/tractor pulls, etc.).
3. Locate and secure the venue for the camp, such as a high school or college campus. With the help of an onsite coordinator, ensure availability and access – who has the key? Be sure to get all necessary approvals from your school or district administrator, and identify all specific facilities that may be required, such as:
An auditorium and or band room.
Multiple rooms for percussion sectionals, each large enough to handle a small ensemble (i.e. choir room, multipurpose room, cafeteria, etc.).
Shaded outdoor rehearsal areas, especially during the summertime.
A large outdoor area for full ensemble rehearsal and performance, as well as a sizable indoor area in case of inclement weather.
4. Choose and confirm key clinicians and any additional instructors:
Get approval in writing from all clinicians and staff for the payment amount, the time frame allotted, hotel needs and those expenses that will be covered.
Recruit local percussion instructors to assist at the camp. I suggest planning on one instructor for each section: snares, tenors, bass drums, cymbals, and pit, and one for every 8-12 students. These instructors will most likely encourage their students to attend, thus increasing enrollment.
5. Launch a local marketing campaign with fliers, advertisements, press releases, social media announcements and other activities. This is such an important topic, we’ll be addressing it in detail in Part II.
6. Make arrangements to ensure the availability of all necessary instruments for the students and instructors to use.
7. Follow up regularly with local band directors, area instructors, etc. to confirm the number of students that will be attending.
8. Create a list of registered students, their instrument and ability level. This will help organize ensemble and sectional rehearsals, and allow the check-in process to proceed smoothly. The more quickly students are separated into skill levels, the better.
9. Prepare a camp packet for each student (a band folder provided by the school or a local music dealer can work well). The packet should consist of the following:
Music book(s).
Schedule of each day’s events.
Clinician biographies.
Organization literature.
A Certificate of Completion personalized for every student (given out at the conclusion of the event).
You might also consider including a T-shirt if budget allows.
Final Pre-Event Checklist
Clinician housing and travel arrangements; attendees housing (if needed).
Camp packets assembled in band folders (includes books, schedule, etc.).
All instruments tuned and in playable condition.
Stage area set up as per clinician specifications.
A device for music playback.
All necessary sound reinforcement equipment.
Music stands.
Blackboard(s) with chalk.
Amplified metronome(s).
Additional help (i.e., ushers, hosts, runners, security).
A photographer.
Water coolers, cups and refreshments, especially on hot days.
First aid kit.
A game plan for inclement weather.
Suggested Timeline
5-6 months out:
Set camp dates.
Secure clinicians.
Secure facilities with school approval.
Appoint overall camp coordinator and on-site camp coordinator.
4-5 months out:
Create materials for promotional packet.
Mail promotional packet to area schools, etc.
Deliver an event poster to area schools, etc.
3-4 months out:
Send a press release to local media.
Schedule local advertising.
2 months out:
Run local advertising.
Follow up with local area band directors.
Send an email to all registrants promoting the event.
1 month out:
Send a reminder email to all registrants again.
Run local advertising again.
1 week out:
Confirm clinicians’ travel schedule.
The day before:
Do an initial tuning and then fine-tune every day of the camp.
Allow time to assemble the percussion carriers and set up the stands.
Be sure to check out Part 2 for details on how to put together an effective marketing campaign for your percussion camp, as well as what to do during and after the event itself.
I’m Sean Tokuyama and my boss refers to me as “the new guy” at Yamaha, which is accurate, so I can’t blame him.
Who Exactly am I and Why am I Here?
I’m 26 years old and I was born and raised in Newport Beach, California, but my heart is in Los Angeles, as I lived there for eight years. After a stint doing music blogging and PR/artist management, I’m now a marketing development specialist in the Professional Audio division at Yamaha, and one of my responsibilities is writing about my journey of learning about audio and more. Pretty cool, right?
As you might have guessed, I’m a “music guy” too. I love listening to and playing music, and in my spare time I’m a guitarist, producer and house/techno DJ. During high school, I performed in a reggae band with my best friends, and later on as a DJ, I played festivals like Electric Daisy Carnival Las Vegas and Lucidity in Santa Barbara, as well as venues/nightclubs like the Hollywood Palladium, Exchange LA, Denver’s Cervantes Masterpiece Ballroom and San Francisco’s Harlot, among others. Good times!
Even though I’ve done this and that, I had to start somewhere – just like you and everyone else – and you’ll be hearing about my experiences in this series of blog postings. I suspect they might be a lot like yours!
So What’s Next?
Me playing the Avalon Hollywood.
You can expect a lot of postings from me in the months ahead, as well as from my colleague, John Schauer, who knows a thing or two about getting great sound. We’ll be sharing:
– Important info on all things audio
– My personal stories of learning about audio
– Showcases of people using audio equipment – people just like you
– News about cool new Yamaha audio products and technologies
– And definitely much more…
I started working full time with Yamaha in 1997 after being a Yamaha Performing Drum Set Artist for a number of years. One of the first projects I was put in charge of was the Yamaha Young Performing Artist competition (YYPA), which recognizes outstanding young musicians from the worlds of classical, jazz and contemporary music. Winners of this music competition are invited to attend an all-expense paid weekend at the Music for All™ Summer Symposium, receive a once in a lifetime performance opportunity in front of an audience of thousands, national press coverage as well as a recording and photos of the live performance, and get to participate in workshops designed to launch a professional music career.
My first experience seeing the transformation of these bright, young, promising musicians from great players into confident, prepared and experienced rising stars lit a fire in me which burns hot still.
I have a vivid memory of first hearing Patrick Bartley as he rehearsed with the small group he performed with when he won the YYPA position for jazz saxophone a few years ago. His playing and sound were big, developed and deeply soulful. This was clearly a young man who knew how he wanted to approach the world out there. He was a masterful musician with a humble soul, searching for guidance on how to navigate his journey. We have kept in touch and I am as grateful to have met him as he is to have met us. I see Patrick in social media or on late night TV from time to time and take great pride in knowing that our program helped him design a career on his own terms. It’s great watching him unfold as a beautiful musician and man!
There is no way to describe the magnificent feeling of watching the YYPA winners walk onstage one by one, to the deafening screams of almost 2,000 music students and teachers cheering them on to a performance of a lifetime. But what is even more fulfilling is the quiet peace I feel getting a handwritten note from a winner thanking us for helping them along their life’s path.
Bet you’ve never heard that word before. Neither had I, not until I met legendary Beatles engineer Geoff Emerick — the man who recorded Revolver, Sgt. Pepper, Abbey Road and many other seminal tracks for the band that launched a musical revolution back in the ’60s.
“You know, I hear in color,” Geoff casually remarked as we chatted in his sun-drenched living room that bright winter afternoon.
“Are you joking?” was my incredulous response.
Well, no, he wasn’t. I spent the next half hour listening to Geoff’s vivid description of how the sound of different instruments conjures up all sorts of colorful images in his mind, leading him to the conclusion that the craft of audio mixing is not all that different from the way an artist paints.
A few years later, in a 2002 interview for MIX magazine, Geoff explained the phenomenon this way: “I use what I’m given by the studio like a palette of paints … I hear visually. I hear certain sounds in different colors. It’s really an art form to me.” Asked by the interviewer whether he usually had a sound in his head that he was aiming to achieve when he was recording the Fab Four, he said, “No, I just built the picture from the textures and colors of what the other instruments were doing — what Ringo was playing on the drums, or the way the guitar or keyboard sounded, trying to get something from that.”
In 2006, Geoff’s memoir Here, There, and Everywhere was published (with yours truly as co-author), and in the book, he elaborated on the subject further still. “I’d always viewed making records as painting pictures,” Geoff wrote, “with the sounds of musical instruments as my palette. I think of microphones as lenses and the different frequency areas seem like colors to me: high-pitched strings as a silver shimmer, mid-range brass as golden, the low tones of a bass as dark blue. That’s actually the way I hear things.”
The author and Geoff Emerick enjoying a libation in a London pub. Not sure why I’m smiling and he isn’t.
What Geoff was describing is actually a neurological phenomenon called — you guessed it — synesthesia. It’s a well-documented condition in which, as Dr. Eric Chudler, director of the Center for Neurotechnology at the University of Washington puts it, “one sense (for example, hearing) is simultaneously perceived as if by one or more additional senses such as sight. Another form of synesthesia joins objects such as letters, shapes, numbers or people’s names with a sensory perception such as smell, color or flavor.”
The cause has yet to be definitively determined, but it may just be a simple matter of crossed wiring in the brain. According to the Chudler, “Some researchers believe that these crossed connections are actually present in everyone at birth, and only later are the connections refined … It’s hypothesized by these researchers that many children have crossed connections and later lose them. Adult synesthetes [people who experience synesthesia] may have simply retained these crossed connections.”
What’s even more fascinating to me is that Geoff isn’t the only recording engineer or record producer who has told me that they hear music in color. The late, great Phil Ramone reported something very similar, as have several other sonic alchemists I’ve interviewed over the years. Given that only an estimated 1 in 100,000 people experience this — and especially given that most are women (and we all know how way too few women work in recording studios!) — that’s an entirely disproportionate representation among audio professionals.
What does this prove? Perhaps it’s an indication that people with this condition tend to gravitate to careers that allow them to express their creativity. (Other well-known synesthetes include Mary J. Blige, Franz Liszt and poet Arthur Rimbaud.) Or maybe it’s just sheer coincidence.
Either way, I do know this: If you ever find yourself listening to a piece of music and colors start to swirl around inside your head, you’re in good company.
Piano strings are made of steel. In contrast, the soundboard that translates their energy into a rich, resonant sound is made of wood. If it were only a matter of loudly amplifying the sound produced when the hammers strike the strings, a metal plate would have been much more efficient.
So why is the soundboard made from wood?
The answer is that, unlike metal, which amplifies both low-pitched notes and high-pitched notes in the same way, wood amplifies only the lower-frequency sounds. For the higher frequencies, it does the opposite: it reduces them.
If you were able to listen closely to the sound that struck piano strings make, you would find that it is full of metallic jangling noises. If this sound were to be amplified as is, the piano would end up being a giant noise generator. The reason why this does not occur is because wood cuts off the higher harmonic components (i.e., the overtones), leaving only those components of the sound that are musical and sound good to our ears – transforming them into a richer, more resonant tone.
In other words, a soundboard is a “board that transmits vibrations,” while at the same time, it is in a certain sense, a “board that stops vibrations.” What makes the spruce family so highly valued as soundboard materials – and especially the Alaskan sitka spruce used in many pianos – is that these species have the property of absorbing the higher-pitched overtones more effectively. They transmit only the pitches that we perceive as round and mellow, and they do so in a particularly rich fashion.
There is a sense of panic that sometimes occurs when musicians try to play along with pre-recorded backing tracks. They know that once they’ve started playback, they need to concentrate not only on striking the correct notes, but also on keeping up with the background arrangements. Even advanced musicians who ultimately master this art often view such an experience — which they liken to playing along with a metronome — as being confining and unfulfilling.
What is CueTIME?
CueTIME software is designed to change this. Developed for exclusive use with select Yamaha Clavinova CVP keyboards (those equipped with guide lamps), it provides pre-recorded MIDI instrumental backgrounds that actually “wait” for you as you play along, giving you complete control over the tempo, regardless of how fast or how slowly you play on your keyboard. As a result, it introduces musicality to the experience by allowing for tempo expression such as ritardandos and accelerandos.
How does CueTIME work?
In the course of reading and playing a CueTIME selection, you’ll be striking strategically placed notes on the keyboard. These “cue notes” are used to advance the background sequence and are indicated on the printed music score with subtle highlighting consisting of a gray shading or a “halo” around the note head:
You can easily identify these “cue notes” on your Clavinova with the lights above each key:
How do I get CueTIME songs?
Every purchase of CueTIME is downloaded with a printable PDF version of the sheet music, along with the companion MIDI file. You can buy one song at a time, or in book collections of eight songs, and you can preview selections by listening to the brief MP3 audio samples next to each title on the website.
Now you’re ready to start playing along!
Begin by copying your downloaded MIDI files onto a USB thumb drive and then insert the drive into the USB port on your Clavinova. Now all you have to do is go to the “SONG” area of the instrument and load your purchases one song at a time. The “GUIDE” function — the feature that makes your Clavinova “wait” for you — is automatically activated when a CueTIME song is loaded.
When you press “Play” on the front panel of the Clavinova, you’ll see just one light appear above one of the keys — that’s the first cue. You won’t hear any background music until this note is played. If you then play the song exactly as written in the sheet music, you will activate all subsequent cues in the process.
Some hints when using CueTIME:
— Focus on reading the music.
— Slow down if you are unsure of the notes, because the Clavinova will adjust to your slower tempo as you learn the piece.
— If you miss a cue, simple look down at the keyboard and look for the light of the key you missed: that’s the note that the Clavinova is waiting for you to play.
— To determine where you are in the music, locate the “cue” note — one of the shaded (or “haloed”) notes in the music.
Jeff Coffin remembers listening to AM radio in the car as a child and being attracted to the emotional component of music. In fifth grade, he chose to play the saxophone in the school band program, or rather he believes that the saxophone chose him. “I think [the saxophone] is very close to the human voice, which is one of the reasons it appealed to me,” says Coffin, a three-time Grammy® Award winner. “I felt like I was able to emulate the voice.”
This initial attraction produced a passion for and a dedication to music that would lead Coffin to an incredible professional career: playing with both Béla Fleck and the Flecktones and the Dave Matthews Band (DMB), forming his own group — Jeff Coffin and the Mu’tet — and teaching music at the collegiate level and in clinics around the world.
Stick With It
In middle school, long before starting his professional career, Coffin wanted to “say goodbye” to his band program and music altogether. “All of my friends were deciding to play sports, which I also did, and I was like, ‘Man, I’m kind of done [with band],’” he says.
His director, Arthur Lagassee, asked him to stay at least through the annual Christmas concert. Out of respect for Lagassee, Coffin stayed and never looked back. “I can’t imagine what my life would have been like had I quit band,” he says.
To keep young students interested in music, Coffin encourages directors to make rehearsals creative and fun. “[Students] want to have something that interests them. Get them improvising immediately. Get them doing call and response and get them listening to different kinds of music. Open them up and talk to them.”
In seventh grade, Coffin began playing with Lagassee’s trio, a defining moment in his musical career. “I got the bug,” he says. The bug was powerful enough to keep him involved in music throughout his high school years and land him in the music education program at the University of North Texas.
On Tour
After college, Coffin moved to Nashville, Tennessee, and began running jam sessions while teaching private lessons on the side. As luck would have it, a musician who knew Béla Fleck attended one of these sessions. Impressed with Coffin’s talent, he introduced him to Fleck, who then asked Coffin to go on tour with the Flecktones. Coffin spent the next 14 years as a Flecktone, during which time the group would often open for the Dave Matthews Band. In 2008, when DMB saxophonist LeRoi Moore was injured in an accident and later died, Coffin took his place with the band. “The Flecktones had been taking some time off,” Coffin says, “so, with [their] blessing, I took the Dave Matthews gig.”
During his time outside of these groups, Coffin also started his own band: Jeff Coffin and the Mu’tet — an ensemble that has been comprised of the same people for about 16 years and has recorded 10 CDs. “Being a leader is the most difficult thing I’ve ever done,” Coffin says about the Mu’tet. “I have to deal with all the merchandise, I have to deal with the assistants, I’ve got to deal with management, club owners, booking agents. There’s a plethora of things that I have to do that [the other members do not]. And I have to get up on stage and be the lead guy.”
Despite the difficulty of leading a band, Coffin consistently thinks outside the box and is a true innovator in his professional career. For years, he has used pedals on his horns, just as a guitarist would, to alter the sound of the saxophone and give himself more of a sonic pallet to choose from — because why should guitarists have all the fun?!
The sounds he was able to create with the pedals inspired him to learn a unique skill — playing two saxophones at once. “It’s fun, it’s a cool sound, it’s interesting, it’s experimental, it’s visually appealing to people, but it’s just a tiny part of what I do,” Coffin says.
On The Flip Side
To further his musical expression, Coffin composes and started his own record label, Ear Up Records. The company name derives from Coffin’s belief that listening is one of the most crucial components of musicianship. “The philosophy of the label is that it’s all handpicked by musicians, and it has to do with the artistic integrity, not the commercial potentiality of it,” he says.
In art as in life, Coffin takes advantage of many opportunities for personal growth. In his spare time, for example, he explores his creativity as an avid photographer. This pursuit of personal growth gave Coffin new insights as an educator.
Tailor Your Teaching
In Coffin’s latest gig as a professor of jazz studies, he teaches saxophone studio lessons and works with the top jazz ensemble at his university. The most important part of his teaching process is talking to his students about what they want to learn in order to tailor his lessons.
“Get to know them as people, not just as students,” Coffin says. “They are fertile minds and are looking for direction and guidance. Don’t make it about you. It’s all about them. There are many ways to reach students, and it’s our job as educators to expand the way we educate to fit the way the student learns.”
When he’s not busy rocking out on stage or in the classroom, Coffin leaves his stomping grounds in Tennessee and travels the world, giving clinics, master classes and lessons. “I involve the students from the very beginning of the clinic, and we talk about a wide variety of things — from why we do long tones to the aesthetic nature of music and how it relates to us as sentient beings,” explains Coffin. During these sessions, he encourages a lot of questions. “I try to get the students to be curious and to draw ideas and concepts out of what I present to them,” he says. “I basically allow them to be creative in their thought process and to provide a safe space for them to ask questions — no matter how ‘far out’ those questions might be.”
These clinics have given Coffin the opportunity to travel off the beaten path to unique places, including Havana, Cuba, and Tuva, a republic of Russia located in southern Siberia. “I’m really fortunate that music has taken me to a lot of very unique and unusual places around the globe,” he remarks. “I’m very thankful every day for that.”
For students wishing to pursue a career in professional performance, Coffin says that fundamentals are key. His three volume book, The Saxophone Book, (www.thesaxophonebook.com) discusses what Coffin calls “The Big Five” of fundamentals: listening, tone and dynamics, articulation, rhythm and time, and harmony.
Through his presentations and in his university classes, Coffin feels he learns as much as he teaches. “We are there to learn together, and I feel that I am a student most times, and they are the teachers,” he reports. Yet even as a prominent performer and educator, Coffin will always consider himself to be, above all, a student. “Stay open and realize that you have a lot to learn,” he says. “The moment you stop being a student is the moment you need to stop teaching.”
Photo Courtesy of Alysse Gafkjen for Yamaha Corporation of America. Photo (c) 2017 Carol Mackay Photography. All rights reserved.
When Daniel Berard walked into his job interview at Fossil Ridge High School in Fort Collins, Colorado in 2004, he had a clear vision of how to start the band program from scratch. He pictured the program one, two, five and 10 years down the road and hoped the administration would buy into his plans.
“I laid out what I thought we might be able to do at Fossil Ridge, and that resonated with the people who opened the building,” recalls Berard, who had previously been a high school band director for 10 years before working toward his master’s degree in music education and instrumental conducting at Colorado State University.
Berard became a critical member on a core team of about a dozen individuals who opened the high school. Since the birth of the band program, he has striven for music excellence at Fossil Ridge as the performing arts department chair for the last 10 years and currently as the director of bands.
Then-principal Dr. Dierdre Cook wanted the band program to set the school apart from others, citing it as “one of the foundational cornerstones” for a successful high school. “I knew a marching band would be important, and I knew it had to be the right band director, and Dan Berard is the right band director,” she says.
The band program has about 180 students this year, but 13 years ago, it had only 20 students. Over the years, the school’s bands have won several awards. The Wind Symphony and Symphonic Band received superior ratings at state and regional concert band festivals, and the marching band has been a state championship finalist every year since 2005, winning the 2012 and 2013 Colorado Class 5A marching band championships.
Baby Steps
As the Fossil Ridge band program took life before his eyes, Berard says the first few years involved pumping blood into the group to get it up and running. “As we were getting going, we were just taking little baby steps along the way to make sure that every time we took a step forward, it was something that [the students and administration] could feel good about,” Berard explains. “Then we just built from there, slowly and methodically, kind of putting things in place.”
The three other high schools in the area had bands, but they did not really participate in marching activities, Berard says, so nurturing the band program in a community without a strong marching culture was the hardest part in the beginning.
To grow the marching arts at Fossil Ridge, Berard analyzed successful bands from across the country. “It’s matching what we wanted to do with what was happening from around the country and tailoring it to what our situation was going to be,” he says.
His firsthand observation of other groups helped him determine the structure of his rehearsals, how to keep students motivated and how to operate the chamber ensembles. Berard also pulled from his own personal experiences learning the value of patience and the business of band.
Gauging Success
Logistically at Fossil Ridge, the students are split into three sit-down bands — concert band, Symphonic Band and Wind Symphony — starting with the first day of school. These three bands combine to make up the marching band in the fall. After marching season, students continue playing in the concert bands for the rest of the school year and perform in several small ensembles during the second quarter. Color guard members continue their training through a spring dance program.
While the program earned several awards over the years, Berard says he does not solely use those accomplishments to measure the bands’ successes — he also gauges everyday accomplishments during practices and dress rehearsals. “There’s a lot of what the community sees as being really successful,” he explains. “[If] you win a couple of state championships or something for marching band, everybody thinks things are great, which it is, but from the inside, I see it a little differently. The growth of the program is [measured] by having kids rally around achieving this really, really high level, and that sets the standard on a daily level. It was great to do some of these high-profile performances, but what we do every day establishes our opportunity to do some of those bigger things.”
The little successes, says Berard, snowball into large successes. Two of those pivotal moments came in 2012 and 2016 when the Wind Symphony performed at the Music for All National Festival. Berard submitted an audition video on a whim in 2012, and the performance became the first “award” from a concert band standpoint. “That started this special climb because the kids really rallied around what that meant for them and the school,” he remembers. “They knew they would be performing with some of the very best groups in the country, and that just kind of elevated everybody. That group of students set a new standard for what they wanted out of the band program, and that really challenged me. I had to get a lot better because they wanted to get a lot better.” And when the symphony went back four years later, he says the performance set even higher standards for the program.
The Heartbeat of the School
Berard says several people have spurred the band’s success over the years, with the students and administration being the driving force. Cook, on the other hand, credits Berard — who she calls the “heartbeat of the school.”
“Those kids learn skills they wouldn’t learn from anywhere else, and he rallies kids to that level of excellence,” says Cook. “Dan moves it to the next level because he believes in the quality of the program and he believes in the talent of those kids, and he’s able to bring that out and have them be successful.”
The skills students learn in band go beyond the music and technical side of playing; they learn responsibilities and lessons that translate both on and off the field, according to Cook. Seeing band students working on homework while riding the bus is a common scene at Fossil Ridge High School because they understand responsibility. The music students have higher GPAs and college acceptance rates along with less disciplinary problems.
French horn and mellophone player Morgan Herrick understands firsthand how the program helps students grow musically and academically. “The competitive nature of band and how successful our band is kind of pushes you, especially as young high schoolers, because you realize how you have a part in the whole,” says Herrick, a May 2017 graduate. “It’s your responsibility as an individual to be a part of something bigger and to help the group. I think that’s a really good skill for people going into high school — to start learning right from the beginning.”
While band programs may be expensive, Cook says that the rewards outweigh the costs because they allow students to explore future opportunities, like college scholarships and university and military bands.
Creating a Legacy
Looking back on 13 years of the band program and how it all started, Berard calls the band’s success “magical.” The band met his 10-year goals in its seventh and eighth years, but maintaining this success could be even harder, he warns.
“Going from a 95 percent to a 96 percent is way harder than going from a 50 percent to a 90 percent,” explains Berard. “It’s that one percent that is almost impossible to get to. It’s that whole ‘good-to-great’ threshold.”
Embracing music technology and discovering different ways to keep students’ attention are just a couple of Berard’s current goals. With the foundation of the band now set, these “little” goals will eventually lead to the long-term health of the program and, Berard adds, hopefully create a legacy that will continue to live on.
This article originally appeared in the 2017 V4 issue of Yamaha SupportED. To see more back issues, find out about Yamaha resources for music educators, or sign up to be notified when the next issue is available, click here.
While in high school in the 1990s, Kevin Marcus Sylvester programmed his cell phone to play a Busta Rhymes rap song. The customized ringtone amazed his orchestra-mates, who eventually transcribed the whole piece and played it regularly together in class.
Their director, James Miles at Dillard High School in Fort Lauderdale, Florida, encouraged this free-thinking fun. “He was always open to us trying new things,” Marcus recalls. “Some orchestra directors shun the hip hop, shun the alternative stuff … [but he] allowed us to be ourselves.”
Miles trained his students on classical music but taught far beyond the basics. “He made everyone believe in themselves and had confidence in their abilities,” says Marcus. “And sometimes that’s more important than scales and arpeggios. Most times, actually.”
This encouragement to trust oneself would turn out to be a vital source of inspiration for Sylvester and classmate Wilner Baptiste. Now known as Kev Marcus and Wil B., the duo has gone on to form the group Black Violin, enthralling audiences with a unique musical genre that blends classical sounds and hip hop beats. At the same time, their music challenges stereotypes and brings people of different generations and cultures together in mutual appreciation.
Soul Searching
Marcus began his journey with the violin in fifth grade orchestra. His mother enrolled him in music class in hopes that the commitment would keep him away from a troubling group of friends.
At first, Marcus played violin only because his mother wanted him to play. He might not have stayed with music at all if his natural talent hadn’t been fostered and acknowledged by his teachers. “I started getting really good at it, and I liked the attention that I was getting,” he says. “It builds a lot of confidence in you to become good at things, and people recognize you for doing something at a high level.”
Marcus was accepted at Parkway Middle School, an arts magnet in Lauderhill, Florida, and eventually landed at Dillard High School, where he transitioned to viola and met Baptiste. He then received several full-ride scholarship offers for music degrees, accepting one at Florida International University. He was concerned, however, that his options as a professional musician would be limited. “I had just assumed it would have to be under a classical umbrella of some sort,” Marcus says. “I really never heard any other kind of violin music before.”
Marcus’s professor, Chauncey Patterson, quickly dispelled this notion. On Marcus’s first day of lessons, Patterson gave him a tape featuring jazz violinist Stuff Smith. The album title: Black Violin.
“It really changed my life,” says Marcus. “He was playing, but he was doing it in a way I had never heard before. I felt like when he played violin, it spoke to me. It had soul … I could hear him. I could feel him.” He shared the tape with Baptiste, and the sound stuck with them throughout their college careers.
The eventual blend of hip hop and strings came naturally. “The idea was just something that always was in us,” Baptiste explains. “We were hip hop before we were classical. And hip hop’s whole thing is being creative and expressing yourself. For us, it was natural to do that on the violin.”
A failed demo contract with a performer made Marcus and Baptiste decide to form their own group. As for a name, Baptiste had an answer ready: Black Violin, as homage to Stuff Smith, the man who had sparked the soul behind violin. Within the group, Marcus plays violin, and Baptiste plays viola.
Black Violin, the album, had shifted Marcus and Baptiste’s perspectives on what string music could be. Black Violin, the band, would shift the world’s perspective as well.
Dream Bigger
Kevin Marcus (left) and Wilner Baptiste (right).
Looking back, Marcus attributes a lot of his success in music to the immense opportunities he was given in school and the encouragement he received from his professors to continue. “Music education is the reason why I am who I am,” Marcus says. “I can’t understate it at all. Music education has provided a better life for me and my family. I have my career, I have my calling, I do what I love for a living because of it.”
Marcus and Baptiste strive to give similar opportunities and encouragement to students. “We know that we have a responsibility … not just to music education but also trying to instill confidence in kids and trying to get them to think in different ways,” Marcus says.
While on tour, the duo often invites local youth orchestras to perform a song with them. “We try to do that a lot because those kids will never forget that,” says Baptiste. “And dreaming will be a little easier now because of that [experience].”
Making the instrument your own is an important theme that Marcus tries to pass along to young musicians. “Try to find ways to educate kids and make this instrument theirs, so it’s not just Bach’s or Beethoven’s; it’s theirs,” Marcus advises. “When my instrument finally became mine, I would never let it go. And I would always be working to try different things and trying new ways to make it different and to really take it to another level.”
Additionally, Marcus always sends the following message to young musicians: “Use the time you have wisely because when you get older, the time you [used to] have to sit around in a shed and practice, you don’t have [any more]. Your time to practice is limited, so use the time you have now.”
This perseverance and success is embodied in the way Marcus practices and performs — habits stemmed directly from his professors. “My teacher would always say five minutes of focused practice is better than an hour of just playing around,” Marcus says. “We use every instance that we play to practice. It’s all about if you’re going to play something or if you’re going to concentrate on what you’re playing. Right now I feel like my bow isn’t going as straight as I would like and my pinky finger is flaring on my right hand. These are the things that I’m thinking about constantly when I’m playing.”
Even when a performance doesn’t go as well as he hopes, Marcus keeps his head up. “I just practice, just keep trying to be better,” he says. “Those [tough] moments may seem long [at the time], but they’re really quick moments in life, and you move on.”
Marcus and Baptiste are currently in the development phase for opening a Black Violin Music Academy to provide music lessons in their hometown of Fort Lauderdale. The curriculum will feature classical training as well as help students determine their musical passions. The hope is to gather the students into a full orchestra. “We want it to be 40 to 45 minutes of complete fundamental classical … but the last 15 has to be whatever each individual student wants to do,” says Marcus.
The plans include a studio where Black Violin can record and produce their own tracks and videos, allowing students to watch. Students will also be able to reserve rooms for practicing, jamming together or developing their own songs and ideas with teachers and other classmates. “We would use it to do our professional stuff, but students would be able to come in and see behind the scenes,” Marcus explains.
For students, Marcus already has exceptional advice. “Always try to think about things differently. A lot of what our focus is and what our mission is, it’s more thought process than it is musical mastery … to be everything you could ever be, to reach and dream and think big about everything you could possibly do.”
Stay True
The keys to success for Marcus and Baptiste were persistence and staying true to themselves. When Black Violin started, the idea of hip hop violin was completely foreign. Club promoters and prospective clients would look at the two of them, instruments in hand, and often turn them away without listening.
However, Black Violin strove to break the mold. When shunted from a club, Marcus and Baptiste would camp outside the building instead, playing on the streets. The response was so overwhelmingly positive that club owners would often have no choice but to reconsider. “We were very ambitious,” Marcus says. “We worked very hard. We wouldn’t take no for an answer.”
They soon found themselves onstage performing Amateur Night at New York’s Apollo Theater for the 2004 season, taking home first place. Using this as their launching pad, Marcus and Baptiste soon began recording and touring. Black Violin has since toured with Linkin Park in addition to embarking on its own tour around Europe, Thailand and the United States. The group has also been featured on numerous television shows and is currently working to develop a program for Fox.
Black Violin also received the honor of playing at the inauguration of President Barack Obama. “That was one of the experiences that you can never really top,” Marcus says. “I haven’t really been nervous for a show ever since. How can you be, really?”
A Powerful Message
Kevin Marcus.
Black Violin’s most powerful message is to think differently, whether it’s in music or in life. One of the group’s biggest hits, “Stereotypes,” challenges listeners to overcome preconceived ideas.
Whether it’s a kid from Florida becoming a world-renowned violist or the concept of violin making a significant break in the hip hop world, the message of Black Violin has always been the same: Be different, value your education, and use it to express who you are.
“It’s really interesting to step away and change people’s perception of what’s possible,” Marcus says. “The reason why people pay to see us isn’t because we’re the best violinists in the world. The reason people pay to see us is because we’re thinking about it in a way that most people haven’t and won’t. And to me, the people in this world that do amazing things … are not necessarily the smartest; they’re just the ones that approach it from a different angle.”
Advice to Young Musicians
Kevin Marcus has learned many valuable lessons from his music teachers throughout the years and offers the following tips to young musicians:
1. Focus your practice: Avoid simply running through your music for an extended time. Instead, focus on how you are playing. “My teachers always said, ‘It’s not about how much you practice, it’s about how you practice.’”
2. Think differently: If there’s a really hard passage, incorporate something familiar or likeable instead of getting frustrated. “My college professor was really big on that,” Marcus remembers. “He would always encourage me to give it a hip hop beat, ’cause that’s what I like … It makes you get into the practice more.”
3. Be yourself: You should always be willing to try new things and to be free with your music — keys to taking away nervousness. “Let it all hang out and have fun with it,” Marcus advises.
What do you get when the world’s largest manufacturer of musical instruments (that’s Yamaha!) and the world’s largest distributor of sheet music team up to create something fun and unique?
The answer is You Are The Artist, a collaboration between Yamaha and Hal Leonard that will get you playing along to your favorite songs by your favorite artists, on your favorite Yamaha digital keyboards.
What makes You Are The Artist unique is that in addition to print music by popular and iconic artists such as Adele, The Beatles, Coldplay, Elton John and more, the equivalent MIDI files can be purchased right along with printable sheet music — two files designed to be used with one another. While it’s fulfilling to learn how to play your favorite songs, playing along with a backing band takes it to a whole new level.
Every MIDI file in the You Are The Artist collection has been created to take advantage of some of the very best sounds in your keyboard — the Yamaha XG voices. These voices are incredibly realistic, and are showcased in the arrangements. And because these song files are in MIDI file format — not audio file format — you have total control over the music. You can change the speed, mute and solo various tracks – even use the learning features on your instrument to help you master the songs.
To get started, simply visit the You Are The Artist page in the Yamaha Downloadableswebsite. After selecting a song title, you’ll notice that you have three options: You can purchase just the backing track, just the sheet music or both bundled together.
The sheet music you purchase can be viewed and printed as a downloadable PDF file or through the interactive sheet music viewer.
To get the MIDI file with the backing tracks out of your computer and into your keyboard, you’ll need a USB thumb drive. (As a rule of “thumb,” it’s best to use a drive no larger than eight gigs since smaller drives tend to be more compatible with keyboards.) Insert it into your computer, then drag the MIDI file from your download location (which may be your desktop, or a “Downloads” folder) to the thumb drive. Next, eject the drive from your computer and place it in the “to device” port on your keyboard. (The location of this port will vary from instrument to instrument.) The process of loading a MIDI file will vary as well, but generally, SONG MODE is a good place to start. (Refer to your keyboard’s documentation for detailed instructions.)
Once your selected MIDI file is loaded in your keyboard, you have a number of options in addition to basic song playback. You can slow the tempo down, which makes it easier to learn more complex musical passages. You can mute certain backing tracks if you’d rather play the instrumentation yourself. You can even select which part you’d like to practice — the left hand part or the right hand part.
But by far one of the coolest features in many Yamaha keyboards — something that works incredibly well with YATA song files — is the ability to put a song in what we call “guide” (or “waiting”) mode. In conjunction with the Score Display, this will pause the music until you play the correct note or notes, so you’re never rushing to catch up. If you have a CVP or CSP Clavinova, you can even take advantage of its Follow Lights (or Stream Lights) feature, which illuminates a light above every key, showing you which keys to play next.
Another big advantage is that MIDI files take up very little space, which means that you can store literally hundreds of MIDI songs on a single USB thumb drive. So go crazy, load up on You Are The Artist songs and get started playing the songs that you love!
A music professor once said to me, “My role is not to teach you how to play, but how to practice.” The statement probably had something to do with practicing slowly, a habit that can take a long time to master.
As students, our inclination is to follow direction, but it’s important to understand the benefits of practicing slowly, regardless of the instrument you are learning. You may have the sense that doing this worked well in the early stages, but that it may not be as necessary to practice slowly later on. In fact, once you know the notes, it can seem mind-numbing to slow a piece down to half or quarter of the performance tempo. It hardly seems an effective use of time to spend half an hour on less than ten measures of music, especially when the performance date is coming up soon. You could run a whole piece two or three times in those thirty minutes. Why practice slowly, unless it is to initially learn notes and rhythms?
There are three reasons why. Let’s look at each of them in turn.
Listening
Not only does slow practice provide the benefit of playing accurately, it allows you to better hear and evaluate your performance. You’ll be able to identify subtle nuances and inflections that may be difficult to discern at full tempo. You can control the character and timbre to produce a sound that matches your intended interpretation. Slow practice will get you noticeable results on all instruments, from cleaner articulation when playing trumpet to flawless pitch while practicing timpani.
Muscle Memory
In order to form muscle memory, the movement you’re trying to retain must be repeated many times. Slow practice allows the muscles in your hands and other parts of the body to adjust to repetition. Once this is achieved, it’s important to stay engaged and avoid going into “auto-pilot” mode when practicing at full tempo. Finding a balance is key to developing muscle memory.
Clarity
Slow practicing encourages clean technique with no hiccups or slop between the notes. Each musical moment is defined and communicated clearly. With this method, you’ll worry less about the quantity of notes you learn, and more about the quality of sound you can produce.
Start today by picking an étude or scale you’re working on and play it slowly. Take a deep breath and resist the urge to speed through your practice session. Your next performance will thank you for it!
Failing to recognize when your child is ready for a new violin can hinder their progress in learning a string instrument. Many factors can contribute to the need for a new instrument. Here are some signs that will let you know when your child is ready:
1. Improperly-sized instrument — the “Goldilocks factor.”
The most common reason for a younger player to require a new instrument is size. A violin that fits a student perfectly will quickly become too small when their growth spurts hit.
Want to check? Have your child extend their left arm out to the scroll of the instrument and wrap their fingers over the scroll. If the fingertips reach into the peg box (the component that houses the tuning pegs) and there is just a slight bend in the elbow, the instrument sizing is correct. If the elbow bends into a sharper angle, it’s time for a larger instrument. A trip to a local dealer will help you find an instrument that fits just right.
2. Poor instrument condition — Grampa’s fiddle from the attic.
It’s not uncommon for a family to have an heirloom instrument that’s been passed down through generations. However, most are not kept in good playing condition. An instrument that is in poor playing condition can affect a student’s playing skills. Open seams and cracks cause loss of tone and buzzing. Bumps in fingerboards and pegs that slip or stick can cause intonation problems.
Before putting any antique instrument in your child’s hands, have a knowledgeable luthier evaluate its condition and assess what repair work may be needed. Many times the cost of putting an instrument back into playing condition exceeds its value – or even the cost of a new one. If a student struggles with playing problems but still shows interest and initiative to learn, investing in a new instrument that has been properly constructed and shop-adjusted by a luthier will help them take a big step forward. It’s often better to appreciate the heirloom on a bookshelf or mantle.
3. Your child is growing more enthusiastic — practicing to perfection.
When your child is making an effort to increase their playing skills, take notice. Is this something that they might want to keep doing for the rest of their school years – or perhaps even the rest of their life? Are they starting to compete in solo festivals? If so, then start thinking about a good intermediate or advanced instrument that can last through their high school years and beyond.
4. Your child is in a strong music program — not all are created equal.
The strength of a music program may create the need for a better instrument for your child. An enthusiastic and capable mix of educators, administrators and community support is what builds high-functioning performing groups. These groups often travel to festivals and competitions where they are rated against other strong programs. If this is the case, a better instrument not only helps the overall sound of the performing group, but makes it easier for your child to keep up with the demanding challenges of increasingly advanced musical works.
5. Your child is graduating to a new school level — Pomp and Circumstance.
Advancing through grades brings increased challenges in a student’s curriculum. Moving from elementary school to middle school – and from middle school to high school – are also big steps in your child’s musical life. It’s important that students have a well-made and good-sounding instrument that will be up to the job as they advance through grade levels. A new step-up instrument serves as a reward for their efforts and will provide them with enjoyable experiences through their high school career and beyond.
So if you’ve questioned whether or not your child is ready for a new instrument, these are some scenarios that may provide you with an answer. Any of these is a very valid reason to talk to your child’s teachers or local music retailer to see what steps you should take next to support their development. It’s the best thing that a parent can do to assure that they helping to provide their child with a well-rounded musical life.
Click here to learn more about Yamaha violins and other string instruments.
DTS Virtual:X™ is the latest innovation from our friends at DTS, the company that brought us DTS:X – the object-based audio technology featured in movie theaters and many Yamaha sound bars and AV receivers.
DTS Virtual:X uses proprietary audio processing techniques inside the sound bar to create spacious 3D sound – including the sensation of height – from any content, and without the need for in‑ceiling or upward-firing speakers. In other words, you’ll enjoy a wider, higher, more immersive audio experience from your favorite TV show or football game when you listen to it through a DTS Virtual:X-enabled sound bar such as the Yamaha SR-B20A.
Unbelievable? Well, you better believe it, because your mind does. DTS Virtual:X uses intricate audio cues to tell your brain where sounds are coming from, even when they’re not. The result is ambient sound that seems to surround you while dialogue stays centered. And because these results are achieved digitally – and not from wall or ceiling reflections – it doesn’t matter what the size or shape of your room is.
Yamaha SR-B20A sound bar.
DTS Virtual:X can take full advantage of a full-blown 7.1.4-channel system to produce stunning three-dimensional sound with robust height channels. And while such a system may be your ultimate goal, DTS Virtual:X can also do wonders with even modest speaker configurations. In fact, it’s especially well-suited for sound bars because of their small form factor.
Thanks to DTS Virtual:X, you don’t need a full-blown home theater setup to enjoy 3D surround sound.
As you may have noticed, the spaces between the frets on the neck of a guitar grow narrower the closer to the body they are.
Why is this?
Well, each time you move one fret closer to the body, the pitch increases by a semitone. A very simplified way to calculate how much a string should be shortened in order to raise its pitch a semitone is to take the original length of the string and multiply it by 0.944. In other words, the distance between each fret is narrower and narrower as you go higher in pitch.
Of course, this is only a theoretical number. In reality, a variety of factors (such as tension offset) must be considered and a much more complicated formula is used to calculate the exact positions of frets in well-designed guitars.
Speaking of frets, did you know that “cutaway” style guitars (like the Yamaha model in the picture above) make it easier to access upper frets?
As the name suggests, a cutaway in a guitar refers to an indentation that looks like a part of the guitar was “cut away” from the body. With this type of guitar, the body is shaped so that the fretting hand can more easily access the frets closer to the body (i.e., the higher notes). This allows a guitarist to easily reach the very highest frets, although in cutaway acoustic guitars, the sound can suffer to some degree due to the indentations in the body. However, this does not pose any significant problem for electric or electric-acoustic guitars.
Have you ever found yourself leaning toward the TV straining to hear what’s happening during your game? Sometimes dialogue in movies and commentary in newscasts or sporting events can be difficult to understand.
Why is that? It’s because sound effects and background noise can compete with the sound of human voices.
Clear Voice to the rescue! This feature, found in many Yamaha sound bars, brings dialogue and narration to the forefront – making voices easier to hear and understand. Or in nerd-speak, “The vocal frequency range and its harmonics are emphasized for greater intelligibility while remaining frequency components are attenuated.”
So turn on Clear Voice, and when they say:
“This team’s chances of winning are slim.”
You won’t hear:
“Team advances with convincing win.”
Click here for more information about Yamaha sound bars.
It is inevitable in the life of every string player that they will encounter a sudden distracting buzzing sound coming from their instrument. Fixes can range from the simplest of tweaks to a major repair that requires a skilled luthier.
Luckily, most buzzing is caused by a loose fitting on an instrument — something that’s simple to diagnose and easily fixed.
Follow these five steps to get your instrument back into playing condition:
1. String fine tuners. These can loosen not only at the screw that’s used to tighten the string, but also at the nut that locks the tuner to the tailpiece. The more such hardware you have on your instrument, the more likely they are the cause of the buzz. Make sure each tuning screw is tight and then check the lock nuts to make sure that none of them have vibrated loose.
2. Chinrest and hardware. Check the turnbuckle that tightens the chinrest to the instrument. If this loosens, the result is often not only a buzz, but a chinrest that comes off altogether! A little careful tightening assures a quiet chinrest that stays attached.
3. Tailpiece and tail adjuster. Ideally the tailpiece should never contact the saddle or the top of the instrument. A tailpiece that is tightened too far down the tail adjuster can not only cause a buzz or a rattle — it can inhibit the tone of the instrument. Loosening the tail adjuster by one or two millimeters can quickly remedy this problem.
4. Loose string windings. A common culprit is string windings becoming loose. Many times they are hard to see, but they can cause buzzing from the bridge area all the way to the fingerboard nut. Running your fingertip up and down the entire length of each string can reveal a rough spot that can be the beginning of an unraveling winding. If you detect this, replace the string immediately.
5. Ornamental pegs. While decorative collars are attractive, over time they can come loose and become the source of a buzz. Push on the collars to see if any come free from the shaft of the peg. If that happens, they can easily be refastened with a drop of super glue.
While these are the most likely causes of a buzz, there are several other, considerably more complicated possibilities. If you have checked the fittings carefully and found no obvious cause for the sound, the culprit could be an open seam, a lining that has come loose, or — in very rare cases — a bass bar that has loosened. All of these require a visit to a luthier to diagnose and repair the instrument back to a healthy state.
It’s important for every string player to remember that their instrument was once a living, breathing organism. It consumed water and exchanged gasses with the environment around it and changed constantly. Even in its current state it constantly reacts to its surroundings, and as those surroundings change, your instrument changes as well. Sometimes those changes can cause a sudden buzz that can not only be annoying to the player, but detrimental to the instrument if allowed to continue.
Keeping these steps in mind when first detecting an unwanted vibration will give you the skills to do an accurate diagnosis of the cause. More importantly, knowing what parts are likely to come loose can lead you to a fast remedy — invaluable should you ever find your instrument buzzing just before you take the stage! There is nothing more rewarding to a performer than to hear their instrument delivering the very best sound it is capable of producing.
Click here to learn more about Yamaha violins and other string instruments.
If you’ve ever listened to a radio personality, you have most definitely heard the sound of a compressor. No matter whether they are talking in a whisper or a very loud voice, the sound level from your radio stays pretty much the same. It’s as if someone is “riding the fader” — turning the microphone input up and down according to how loud the person is talking. A compressor can do this, and more.
In its simplest terms, a compressor reduces dynamic range – the difference between the loudest and the quietest sounds in a mix. Loud sounds are lowered so that they fit below the maximum levels desired, which in turn causes quiet sounds to appear louder (i.e., more prominent) in the mix.
Compression ratio graph
Compression on input channels is a common tool used both in live and studio settings to accomplish several things:
Help tame or reduce the dynamic range of an instrument or vocal. A good example might be a vocalist who whispers the verses but really projects during the chorus. The compressor holds back the parts being belted out, which effectively raises the apparent level of the whispers. The end result is a sound that is more consistent.
Bring an instrument more “forward” in the mix. This might be a kick drum or bass guitar that is not being heard over the other instruments. A compressor can do a great job here in increasing the perceived loudness of the instrument(s) that need the help.
Maintain the levels of a person talking at a podium so that every word can be easily heard and understood.
Used on the output side, compression can:
Remove some of the highest overall output levels to make the audio output “fit” into the limitations of the system. In live sound, a system’s lowest level is a function of crowd noise and other environmental sounds, while its upper range is determined by either the maximum output of the amplifiers being used — or when the neighbors start to complain!
Protect the system from damage due to overloads. Some professionals call compressors “limiters” (or “comp/limiters”) which is really redundant, since a limiter is actually just a compressor set very aggressively to “limit,” or govern the output so as not to exceed a set maximum level. See infinity (“∞ : 1”) in the graph above.
Typical analog compressor controls
Yamaha MG series 1-knob compressor control
After seeing how frustrating and confusing it can be for live sound people to adjust a compressor with all its different parameters — often right in the middle of the performance! — Yamaha pioneered the 1-knob™ compressor you’ll find on our MG and MGP series analog mixers. This takes all the guesswork out of setting and operation.
For instance, when a compressor is reducing levels it becomes necessary to add some gain or level to compensate for lost level. Our engineers found a way to make adjustments to multiple parameters — not just “makeup” gain, but advanced controls like “threshold,” “ratio,” “attack” and “release” — with a single knob. The ultimate goal was to allow you to get back to the performance … and not need a degree in audio engineering to use a compressor effectively.
Similar 1-knob compressors are also offered on some Yamaha digital consoles (like the TF series) so pro users can get results quickly.
Yamaha TF series 1-knob COMP™ screen
Compression Advice
When setting a compressor for the first time, use something other than your voice to check or adjust it. Because of the way we hear our own voice through vibrations in the bone structures of our head, subtle effect changes (including compression) can be very difficult to perceive. Over time, and with practice, you’ll develop this ability — but using another voice or an instrument will give better results.
While compression can be very helpful, there are also some potential drawbacks. In a live setting, as you increase the amount and number of compressors, you reduce the maximum potential gain or output of your PA system. In other words, feedback will occur sooner. Follow this rule: Use compression when necessary but avoid overuse.
When using compression with singers in particular, be aware that since you are “squeezing” their dynamic range this will affect what they hear too. So take care to add compression lightly, and only as needed, so as not to affect their performance.
In the early days of the drum pedal, there was one type in which the beater was attached to the top of the bass drum rim (the frame that attaches the skin of the drum, called the head, to the body, called the shell), and another type in which the beater was attached to the bottom of the rim, as they are in today’s drum kits. The pedals were made of wood and were not spring-loaded, so the beater had to be returned to the ready position using the foot.
The spring return mechanism of today’s pedals was introduced in 1910. In 1934, ball bearings were added to create a smoother pedal action, and in 1950, the spring was built into the frame, improving the look and allowing for finer adjustment of the foot pedal – improvements that many drummers supported.
The next breakthrough was the chain-driven pedal. Near the end of the 1970s, a craftsman at a drum store in New York removed the pedal’s drive mechanism and replaced it with gears and a chain taken from a bicycle. Prior to that, there were pedals with metal parts connecting the drive mechanism, and those that used a belt made of nylon or other material. The former were said to have a “quick response,” while the latter were said to have a little “play” in them. The chain drive combined the best aspects of these two approaches to create a robust pedal that quickly gained wide acceptance.
The First Hi-Hat Looked Like a Snowshoe
The hi-hat taps out 8-beat and 16-beat rhythms clearly, and sets the rhythm of music along with the snare drum and bass drum. However, the emergence of the hi-hat is surprisingly recent, and the hi-hat as we know it today was invented around 1930.
The original hi-hat consisted of two small cymbals attached to two boards, one on top of the other, joined with a hinge. The upper board was attached to the foot with a strap like a sandal, which made it look like a snowshoe, and thus it was actually called “the snowshoe.” When famous jazz drummer Baby Dodds was playing on a Mississippi riverboat, he tapped the floor with his left foot in tempo with the music, and seeing this, an enthusiastic fan fashioned a device that enabled him to clash two cymbals together using a foot pedal, which is said to be the beginning of the development of the hi-hat.
You’ve just purchased that awesome AV receiver, speaker or sound bar you’ve had your eye on. If it’s a Yamaha product, it comes with a great warranty that includes parts and labor, and even if it’s a product made by a different manufacturer, it probably comes with some kind of coverage. Either way, you think you’re golden.
Well, like any legal document, there’s fine print. And since many of us don’t take the time to read every one of those tiny, barely-there words, here are some suggestions for what NOT to do if you want to keep your warranty in force:
1. Use your AV receiver as a step stool.
If you send your receiver back with a giant dent in it because Junior used it to help reach the cookie jar on top of the fridge, don’t expect a replacement. This is high-tech gear we’re talking about, and while it may well be solidly built of the finest quality heavy-duty materials, there are limits. You simply cannot expect help from the manufacturer if you abuse the equipment.
The phrase “under normal use and service” in the Yamaha warranty is typical language:
“YAMAHA will, at its option, repair or replace the product covered by this warranty if it becomes defective, malfunctions or otherwise fails to conform to this warranty under normal use and service during the term of this warranty, without charge for labor or materials.”
2. Let your friend Joe “crack ’er open” to figure out why your amp isn’t amplifying.
A surprising number of self-proclaimed “audio experts” attempt to fix something perceived as “wrong” with a new piece of AV gear, realize they can’t, and then send it in to the manufacturer to get the job done right. But if Joe has already given it a shot and failed, your warranty will fail too. The experts at your manufacturer will still be happy to fix whatever the issue is, but you’ll have to pay for it.
Here’s what Yamaha has to say about the matter, which is the approach pretty much any AV manufacturer will take:
“This warranty does not cover repair or attempted repair by anyone other than YAMAHA or an authorized YAMAHA Service Center.”
3. Use your wireless speakers in the shower.
Many speakers, sound bars and receivers do fine indoors in humid climates – certainly the ones made by Yamaha do. But that kind of equipment doesn’t do nearly as well when constantly exposed to high levels of humidity, such as in a small bathroom. Deterioration due to precipitation or other external causes such as extremes in temperature or humidity will void your warranty faster than you can say, “Will somebody bring me a towel?”
The Yamaha warranty addresses the issue this way:
“This warranty does not cover damage, deterioration or malfunction resulting from perspiration, corrosive atmosphere or other external causes such as extremes in temperature or humidity.”
4. Jury-rig your sound bar as a karaoke device.
A sound bar is an absolutely fantastic solution for improving TV audio. But if you alter it in a way it wasn’t intended – say, you manage to take off the back panel and hot-wire a microphone for a night of a capella oldies – you’ll lose out on any warranty coverage if something goes wrong.
Or, as the Yamaha warranty states:
“This warranty does not cover damage, deterioration or malfunction resulting from accident, negligence, misuse, abuse, improper installation or operation or failure to follow instructions according to the Owner’s Manual for this product.”
5. Dig someone else’s non-working receiver out of a dumpster and send it in for repairs.
Yes, this actually happened. The erstwhile owner of said receiver was disappointed to discover that, no, he couldn’t get it repaired for free under warranty.
Typical of most AV warranties, Yamaha puts it this way:
“Any evidence of alteration, erasing or forgery of proof-of-purchase documents will cause this warranty to be void. This warranty covers only the Original Owner and is not transferable.”
Warranties Are Your Friend
In all the excitement of installing your new AV gear, you may want to pause for a bit to read over the warranty info. While you may never pry off the casing of your outdoor speaker to make sure it’s REALLY weatherproof, you’ll still want to know that on the off chance you need an expert at the factory to fix something for you, the warranty will cover it.
Or, as the Yamaha warranty says:
“YAMAHA products are designed and manufactured to provide a high level of defect-free performance. Yamaha Corporation of America (“YAMAHA”) is proud of the experience and craftsmanship that goes into each and every YAMAHA product. YAMAHA sells its products through a network of reputable, specially authorized dealers and is pleased to offer you, the Original Owner, the following Limited Warranty, which applies only to products that have been (1) directly purchased from YAMAHA’s authorized dealers in the USA, including Puerto Rico (the “Warranted Area”) and (2) used exclusively in the Warranted Area. YAMAHA suggests that you read the Limited Warranty thoroughly, and invites you to contact your authorized YAMAHA dealer or YAMAHA Customer Service if you have any questions.”
Have you ever wondered what goes into the design of a Yamaha instrument? How does a designer go all the way from concept to production? Here’s an interview that was recently conducted with Mr. Shinya Tamura, lead designer of the Yamaha SILENT Bass™ and SILENT Cello™ instruments.
Can you tell us about your background?
ST: I’ve been working on the development of the SILENT series of string instruments since I joined Yamaha in 1998. My first product at Yamaha was the SILENT Cello SVC-200. Following that, I was involved with the SILENT Bass SLB100 [SVB-100 in the U.S.], released in 2000. Because it was the first SILENT Bass we ever developed, I remember I worked like mad at the time, but it has become a good memory now.
How did the SILENT Bass come about?
ST: The SLB-100 was developed with the expert input of mainly classical music players. In contrast, the SLB-200 [SVB-200] was developed in 2004 under a concept of being more suitable for jazz. Working on these two projects gave me valuable opportunities to talk with various kinds of artists. Through this experience, I came to have strong aspirations to make a new product, and I believed I would be able to make one, blending professional ideas I had learned from those artists and ideas that had been gestating in my head. Finally my wish came true and I started to embark on the development of the SLB200LTD Silent Bass Limited Edition PRO.
What sort of challenges did you face in developing the Limited Edition PRO?
ST: I faced lots of things from the beginning. Playing it on its own, I had confidence that we had made a good instrument with nice sound. But then I showed our first prototype to [American jazz bassist] Chris Minh Doky in 2007 during his visit to Japan. When I asked him to play it in his band and I heard it from an audience seat, it turned out that the sound was too fat and didn’t carry well. So I asked Chris and his co-players for their opinions and also did further listening to develop an image of an improved instrument. To realize this image, prototyping was repeated again and again. During the course of development, we asked many bass players, including [Yamaha Artists] Nathan East and Tatsuya Ikeda, as well as Chris, to test play. We also tried various materials and parts, experimenting with different combinations.
When did you start to see an improvement?
ST: When we made some modifications to the bridge and circuitry based on the lessons learned from the first live test, I felt that the sound was improved one rank. After that, when I had Chris try the SILENT Bass again on his stage, I was convinced that it had improved. What’s more, Kevin Kaufman, a former bass technician with Jaco Pastorius who happened to be there at that time, praised the SILENT Bass a great deal, which made me really happy. That experience gave me confidence that we were going to make it.
What was the most important thing in the instrument’s development?
ST: Of course, improving sound quality is important in developing any musical instrument. We sought to get a tonal color close to the raw sound, like the sound of a contrabass with a pickup through an amplifier. But if you place too much importance on that, it could make the sound difficult to use on a live stage, which is not good at all. I think it is most important for an instrument to have a feel that makes you enjoy playing it and want to play it more, in addition to having a good sound. “Feel” is something you experience through your five senses, like the texture [of the fingerboard] you feel unconsciously while playing, the vibrations transmitted from the frame unit and the touch of the tuning pegs you turn. We bore this in mind all throughout the instrument’s development, including part selection such as tuning pegs and neck.
Do you think you achieved the feel you aimed for?
ST: I saw players keep playing our SILENT Bass while chatting with others after they finished their evaluation of the instrument. That meant they spontaneously liked it. So I guess I could say I achieved the playing feel I had aimed for. It feels pretty good to see that players keep touching our instrument; in other words, that they like it by instinct.
Do you have any thoughts about how SILENT series string instruments should be used?
ST: The SILENT Violin was initially developed to allow a player to practice in a small house in Japan, so people said that it would not be in much demand abroad. But when it was released in overseas markets, it became popular for a different purpose – they used it to make the sound louder on stage. As to this SILENT Bass especially, we had a strong wish from the start of its development that it be played onstage, so I want musicians to not only practice it alone but play it in front of others. Because it has other advantages, such as easy home recording, I’d like to see it used in other ways, too, such as recording the heavy low register – something that is unique to the SILENT Bass – and uploading those recordings to the internet. I think musicians will be able to find new genres or musical possibilities by using a SILENT Bass instead of an upright bass or electric bass guitar, so I would strongly encourage players to try it in various ways.
The piano that Bartolomeo Cristofori first invented in Italy had only 54 keys. As piano music developed and evolved, this was gradually expanded in response to requests from composers who sought a broader potential for expression.
By the 1890s, today’s modern keyboard had become established with 88 keys spanning 7 ¼ octaves. These produce frequencies from 27.5 Hz to 4,186 Hz (4.186 kHz) when A is tuned to 440 Hz. (The pitch of the individual keys will vary depending on the tuning method.)
The human ear can hear sounds in the range from approximately 20 Hz to 20,000 Hz, but the upper limit of frequencies that the human brain can discriminate is at the very most around 4,000 Hz. Even if the range was to be expanded by increasing the number of keys on the piano, the extra notes at the bass end would, to the human ear, sound like nothing more than a rumbling noise, and the added treble notes would be heard as an unpleasant dissonant noise with no sense of being in a tonal range, and thus, musically, would be almost meaningless.
It’s true that, today, some manufacturers are making 97-key pianos to special order, with nine additional keys at the bottom of the keyboard. However, the strings for these nine keys are really only there to provide a richer sound when other keys are played by resonating along with them. In reality, the extra keys themselves are almost never played directly.
And now you know why most pianos have only 88 keys!
This is the third and final installment of a three-part video series called “Yamaha Revstar: Meet Your Other Half.”
Here’s a cool video in which musician Twin Shadow recalls his early experiences with guitar – taking one from his father’s closet whenever his dad wasn’t home – and gives us a look into the solitude afforded by his motorcycle journeys to Big Bear, California. “It’s important to remind yourself how important it is to take a step back sometimes,” he reflects.
“Learning how to play music has dictated the entire path of my life,” Shadow adds. “It puts you in the gang, this club of people that have a way of communicating with each other that [non-musicians] don’t have … [Music] is about elevating people and being elevated.”
He also shares his thoughts on his custom Revstar: “This guitar reminds me of a lot of different guitars that I’ve had throughout my life … [It’s] my tool for my vision, for my ideas.”
At the end of the day, isn’t that what all guitarists are searching for?
Miss the first two parts of this series? No problem! Click here for Part 1 or here for Part 2.
Click here to find out more about Yamaha Revstar guitars.
Have your students ever wondered why a piano has 88 keys instead of 89 or 90? Have they asked you which instruments are easy to play, and which are difficult? Are they curious about the components of a drum kit, or the difference between an acoustic guitar and an electric guitar?
Now there’s a comprehensive online resource for music educators and students that answers those questions, and many more.
The Yamaha Musical Instrument Guide offers detailed descriptions of 21 of the most popular instruments, with a wealth of information that includes the origin of each, along with its components and physical construction, as well as playing techniques.
But that’s not all. You’ll also find fingering charts (many of them downloadable), advice about choosing the best instrument, and tips for care and maintenance. There are even a variety of trivia questions for each instrument – little-known facts that lift the veil of mystery and add to the appreciation of music – along with hands-on exercises that will keep your students engaged and excited about the world of musical instruments and the sounds they create.
The instrument categories covered in the Guide are:
Note: This is the second installment of a three-part video series called “Yamaha Revstar: Meet Your Other Half.”
In this video, Andrew Aged of the band “Inc. No World” gives us a behind-the-scenes glimpse into his life, his home and his studio. He also shares his memories of the beginning part of his journey. “As a kid I saw a guitar in a music store and I just had to have it,” he recalls. “I asked my dad and he got it for me, and literally since the moment I got it I’ve never stopped.”
Recently, Aged started playing a custom Yamaha Revstar. His thoughts? “This guitar is responsive and precise, which I really like. It’s like driving a faster car than I’m used to!”
Like most musicians, Aged has his reflective side too. “I prefer to communicate musically because it’s abstract,” he says. “Words get in the way, no matter how hard we all try.”
“The thing about the guitar,” he adds, “is that it kind of removes a certain part of the intellect in the mind, at least the way I hope to play – it’s coming from the heart and there’s a sincerity about it.”
Aged concludes with a word of advice for up-and-coming guitarists: “You’ve got to put in the work; you’ve got to put in the time and the energy – then you’re able to get out of the way.”
(This is the third installment in our four-part series about brass mouthpieces.)
In Part 1, we talked about choosing the right mouthpiece for your needs.
In Part 2 we explored the mouthpiece cup and rim, which frequently get the most attention because they are the parts you can easily see and feel. However, the size and shape of the interior of the mouthpiece – the throat and the backbore – also have a huge impact on the way a brass instrument sounds and plays. Let’s take a closer look.
Throat
The throat is the opening at the bottom of the cup and is the narrowest part of the entire mouthpiece. All of the air you blow into your instrument is compressed and funneled through this tiny hole, so it focuses the energy you produce from the vibration of your lips before it moves into the instrument. The diameter and length of this part of the mouthpiece have a major influence on how much resistance you feel while playing. A narrow, long throat creates a lot of resistance which contributes to a fast response, brilliant tone and enhanced playability in the high register. A wide, short throat makes it easier to play low notes and can produce a large volume of sound, but will require more air from the player. If the throat is too large, you may find yourself tiring quickly.
Backbore
The backbore starts where the narrow part of the throat begins to widen. It runs all the way to the end of the mouthpiece, and may be given a complicated shape to help create a specific sound. Like the throat, the diameter and shape of the backbore have a big influence on both the tone produced and the amount of resistance you feel when playing. It’s probably no surprise that a narrower backbore will help with high notes, create a brighter tone and increase the overall resistance, while a more open backbore will make lower notes sound better and yield a darker tone.
Most Yamaha mouthpieces use a standard backbore shape that’s balanced to match the other characteristics of the mouthpiece to produce the appropriate sound. Models that are used for playing in the upper register are built with a tighter backbore to help you reach those high notes. The model numbers for these mouthpieces all end in the letter ‘a’ – for example, the trumpet mouthpiece 14A4a has a shallow cup and a narrow backbore, making it very popular with lead players.
In Part 4, we discuss how the weight of a mouthpiece and the materials it’s made from impact the sound and feel.
Click here to learn more about the extensive lineup of Yamaha mouthpieces.
Note: This is the first installment of a three-part video series called “Yamaha Revstar: Meet Your Other Half.”
Here’s a very cool video featuring solo artist Twin Shadow and Andrew Aged of the band “Inc. No World” – neither of whom had met before this day – coming together for an improvisational session with their Revstar guitars. The good vibes they create as they share in a melding of thought and creativity demonstrates the powerful role that guitar can play as an extension of one’s self.
We’ve all heard that firmware updates are crucial for every piece of electronic equipment we own, from our smartphones to our Wi-Fi® routers and everything in between. But what is firmware, really?
Firmware refers to the background program that runs a particular device. Basically, it’s software that is specifically designed for a piece of hardware. Sort of like “software for hardware.”
Unlike regular software — which are the programs that handle broad tasks like communicating, gaming and record keeping — firmware has a narrow purpose. It’s specifically written to address particular issues for one — and only one — piece of hardware.
Usually, you will only need to update firmware when the manufacturer sends out a notice to do so. Like all your other electronic equipment, your Yamaha AV receiver has firmware that may need to be updated from time to time.
Network Receivers
If you’re using a Yamaha network receiver that’s connected to your home Wi-Fi network, you’ll periodically receive an automatic notification on the front panel telling you that a firmware update is available.
When you see that notification, simply select “OK” on the on-screen display menu using the ENTER button on the remote. Wait a moment or two for the software to be downloaded and that’s it – you’re done!
Older or Non-Network Receivers
But what if your receiver is older or not a network model? Are firmware updates even available for such receivers? And how do you access them?
It’s simple – all you need to do is download the firmware update online. Here’s how to do it:
2. Once you’re on the product page for your specific receiver, click on the Downloads tab. If there are firmware updates available for your model, you’ll see a section called “Firmware / Software.” If it’s been a while since you’ve checked, you may find several updates listed – choose the most recent version.
3. Connect a standard USB thumb drive to your computer and download the firmware to it – a process that usually takes just minutes. Once that’s done, remove the thumb drive and plug it directly into the USB port on your receiver.
4. Power off your receiver. Then press and hold the STRAIGHT button on the front panel. With your finger still on the STRAIGHT button, press the Main Zone power button:
Keep your eye on the receiver’s display screen. Once you see the words “Advanced Set Up” appear, you can let go of the STRAIGHT button, then release the power button.
5. Press the PROGRAM left or right buttons on the front of the receiver until the display shows “Update USB.”
6. Press the INFO button on your receiver to start the update process. Have a little patience (or a cup of coffee) — it can take up to 20 minutes for the update to install.
The update goes through different stages. When it gets to the end of stage six, the process is complete – look for the on-screen display to say “Update successful, please power off.”
Enjoy Your New Features
Once you power your receiver off and then power it back on, you’re all set.
Now just sit back, relax and enjoy the great new features and increased functionality your firmware update delivers.
(This is our 100th blog posting … and it’s a special one!)
Company founder Torakusu Yamaha
On July 15, 1887, the principal of an elementary school in the remote city of Hamamatsu, Japan summoned a young watchmaker / medical equipment repairman named Torakusu Yamaha. Torakusu was asked if he could fix the school’s beloved reed organ, and he agreed to give it a try.
He was successful.
The principal of the school, one assumes, was delighted.
There and then, a company was born.
The Early Years
Encouraged by his success and recognizing the need for quality musical instruments, Torakusu began creating a prototype reed organ of his own. When it was complete, he decided to present it in person to the prestigious Music Institute (today’s Tokyo National University of Fine Arts and Music). The journey between the two cities at that time was a long and difficult one: Torakusu literally slung his creation over his shoulder on a carrying pole and crossed the mountains of Hakone on foot. This historic trek was later immortalized in the bas-relief shown here.
Reed organ assembly on the Nippon Gakki factory floor
But the organ was not well-received – in fact, it was criticized harshly for its poor tuning. Undaunted, Torakusu began studying music theory in order to master the art of tuning. After months of grappling with technical obstacles, he was finally able to construct an organ with reliable tuning. Later that same year, Torakusu established the Nippon Gakki Company (which, in English, translates to “Japan Musical Instrument Company”) and started producing portable reed organs. By 1889, the company employed 100 people and manufactured some 250 instruments a year.
In 1899, Japan’s education ministry sent Torakusu to the United States to learn piano making. Nippon Gakki began manufacturing upright pianos in 1900, followed by grand pianos starting in 1902. In 1914, the company introduced their first harmonica and began exporting them worldwide.
Diversification into New Areas
In the late 1940s, Genichi Kawakami, then-president of Yamaha, began looking for ways to apply the company’s expertise to the manufacture of motorcycles. In 1955, the success of the YA-1 “Red Dragonfly” resulted in the founding of Yamaha Motor Co., Ltd. At around the same time, Nippon Gakki began research into the use of new materials such as glass fiber reinforced plastic, resulting in products such as sailboats, yachts and oceangoing fishing vessels, as well as bows for archery and skiing – even bathtubs! That same research led to the development of lead alloy production equipment for boilers and central heating systems.
Audio Comes of Age
The Yamaha CA-1000 audio amplifier
Despite the worldwide success of Yamaha Motors, the central theme of Nippon Gakki remained true to its founder’s central interest: music. During the “Hi-Fi” boom of the 1950s, the company began producing audio components to help music lovers enjoy their leisure time. When integrated circuits began replacing transistors in the early 1970s, Nippon Gakki started making their own in order to meet the rapidly increasing demand for electronic keyboards and audio devices. In 1976, a factory to produce large scale integrated circuits was opened; soon thereafter, all Yamaha electronic keyboards were converted from analog to digital format. Not coincidentally, that same year saw a spate of new product releases, including the first Yamaha electric piano and synthesizer.
An Era of Rapid Expansion
The 1980s were a time of growth for Yamaha. In 1982, the Disklavier™ was unveiled – a revolutionary product that combined an acoustic piano with a built-in computer to record and play back performances. The DX7 digital synthesizer, introduced in 1983, quickly became the world’s best-selling synth. In 1987, Yamaha released its first digital mixer, followed in 1989 by the world’s first CD recorder.
The Yamaha DX7
This was a trend that would continue. 1993 saw the introduction of the first of the innovative SILENT™ series – a piano that could be heard normally, or through headphones only. This was later followed by other SILENT instruments, including trumpet, drums, violin, cello, bass, guitar and viola. In 2009, Yamaha debuted the world’s first hybrid piano – an all-digital instrument that replicates the touch and feel of an acoustic piano without the cost or maintenance.
In addition, Yamaha has acquired a number of other leading companies over the years, including piano manufacturer Bösendorfer; software developer Steinberg; and Line 6, maker of digital modeling guitars and amplifiers.
Yamaha Today
In 1960, Nippon Gakki established the Yamaha International Corporation (later renamed Yamaha Corporation of America). Today, Yamaha is the world’s largest manufacturer of musical instruments, as well as a leading manufacturer of semiconductors, AV components, computer-related products, sporting goods, household and furniture products, specialty metals, machine tools and industrial robots. Yamaha also continues its pioneering research in modern technologies such as the application of artificial intelligence to music-making and live performance.
Anatomy of a Logo
In 1898, Nippon Gakki adopted a tuning fork as the basis for an official company logo, inspired by the challenge faced by founder Torakusu Yamaha as he struggled to refine his reed organ prototype into one that held its tuning.
The three tuning forks of the modern Yamaha logo symbolize the three essential musical elements: melody, harmony and rhythm. They also evoke the company’s reputation for sound and music the world over – a territory signified by the enclosing circle. After all, music is the universal language!
For more information about the history of Yamaha, check out the video below:
Milestones
Here are a few milestones in the history of Yamaha:
1887: First reed organ 1900: First upright piano 1902: First grand piano 1914: First harmonica 1915: First xylophone 1932: First pipe organ 1954: First Hi-Fi player 1959: First electric organ 1966: First acoustic guitar; first electric guitar; first electric bass; first guitar amplifier; first trumpet 1967: First recorder; first saxophone; first marimba; first acoustic drum set; first loudspeaker 1969: First trombone; first tuba 1970: First French horn; first flute; first clarinet; first euphonium 1972: First audio mixer; first integrated amplifier 1974: First alto horn; first power amplifier; first headphones 1975: First preamplifier 1976: First electric piano; first synthesizer 1979: First portable keyboard 1982: First CD player 1984: First marching drums; first timpani; first sequencer; first MIDI keyboard controller 1985: First multi-effects processor 1986: First oboe; first rhythm machine; first electronic drum kit 1987: First Disklavier™; first bassoon; first MIDI wind controller; first digital mixer 1991: First AV receiver 1993: First SILENT Piano™ 1995: First SILENT Brass™; first home theater surround system 1996: First SILENT Session Drums™ 1997: First SILENT Violin™ 1998: First SILENT Cello™ 2000: First violin; first SILENT Bass™ 2001: First SILENT Guitar™ 2002: First SILENT Viola™; first Arranger workstation 2004: First digital sound projector 2008: First audio interface; first pocket recorder 2009: First hybrid piano
Recorders are a fun and accessible first instrument that’s easy to learn and play. In fact, it’s safe to say that the simple recorder is one of the most common musical instruments on the planet, with millions of children around the world learning to play music on a recorder every year. However, it can be confusing to know what type of recorder to use, especially since there are two different fingering systems to choose from. Here’s some history and an explanation that will hopefully help clear up the mystery.
Baroque Recorders
Instruments similar to the recorder have existed for many hundreds of years – and probably even longer. These instruments evolved over time, reaching a peak of design and popularity in the 1600s and early 1700s, also known as the Baroque period of music. While modern recorder designs have continued to develop, most of the instruments you can buy today share many of the fundamental features of those Baroque-era designs.
German Recorders
In the 1920s, instrument designers in Germany felt that the standard Baroque recorder was too difficult for beginners to learn, since some notes put the player’s fingers in positions that can feel uncomfortable or unnatural. Because of this, they made a small change to make those notes easier for a beginner to play. However, there was a trade-off – while the finger positions were easier, some notes became harder to play in tune.
Telling Them Apart
You can easily tell which type of recorder you have by comparing just two tone holes. If you look at the holes on a traditional Baroque recorder, the fourth hole down from the top is smaller than the fifth hole. On a German recorder, the order is switched – the fourth hole is larger than the fifth hole. That’s all there is to it! (You can find more information about the differences between the two here.)
Which One to Use?
Most schools today teach the traditional Baroque system and will expect students to use a Baroque recorder such as the Yamaha YRS-24B. If you happen to have a teacher or class that does teach the German system, then a model like the Yamaha YRS-23 would be the one to use. If you’re not sure, it’s always best to ask the teacher. Otherwise you might end up playing some of the notes wrong!
If you’re playing by yourself for fun, either style is OK. You can play the same music with both types, so use whichever you prefer. However, if you’re a serious recorder player you may find that the improved tuning of the Baroque system is better in the long run.
Click here for more information about all the different types of recorders that Yamaha offers.
Player pianos have come a long way since the days of providing music in the saloon! Join pianist and music educator George F. Litterst in this three-part video series as he takes you through the main features of the Yamaha DisklavierTM PRO.
This installment provides a comparison between the standard Disklavier and the Disklavier PRO, along with a description of the many advantages offered by today’s models:
If you missed the first two videos, check them out here:
Have you ever heard the term “gray market piano”? Many people shopping for pianos may come across this phrase when doing research online or speaking with a dealer. Shopping for a new piano can be a daunting task, and if you have little (or no) experience buying one, it can be easy to be misdirected by sellers offering gray market pianos – instruments purchased in large quantities in Japan or other Asian countries, packed into shipping containers, and then brought into the United States for resale. They may be great instruments in excellent shape – and they often come with an attractive price tag – but before you jump at the opportunity to buy one, there are a few things you need to know:
1. You may be looking at major repair problems down the road. Only a handful of piano makers, including Yamaha, build pianos specifically for the three major world markets: Asia, which is a moist climate; Europe, which is fairly dry by comparison; and the U.S., which is considered to be extremely dry. (Keep in mind that we are talking about the INDOOR climate, as opposed to outdoors.) In winter, heating systems remove substantial moisture from the air, and in summer, air conditioning systems also lower the humidity. In addition, American homes tend to be better insulated than homes in many other countries, further isolating the interior from whatever moisture might be in the outside air.
The problem is that, when a piano that’s intended for a moist climate is placed in a dry environment, there is the likelihood that its structural integrity will be threatened as the wooden parts lose moisture. This in turn can cause warping of case parts, cracks in the soundboard and/or loose tuning pins. And while soundboard cracks are often only cosmetic in nature, loose tuning pins will have a direct effect on the ability of the piano to hold its tuning. If that happens, the only practical solution is to re-pin the piano with oversized tuning pins – a procedure that typically comes with a fairly high price tag, since it often encompasses re-stringing the piano too. That’s why, when Yamaha builds pianos destined for the U.S., it seasons the critical wooden components – including the soundboard, bridges, ribs and pin block – by drying them to a much lower moisture content using computer-controlled kilns and other advanced manufacturing technologies.
2. Lack of warranty. There is absolutely no factory warranty coverage on gray market pianos, so if you ever need any of the (likely, and likely expensive) repairs cited above – or any other repairs, for that matter – you’re strictly on your own.
3. “New” may not really be new. Many gray market pianos represented as “new” are actually used pianos that have been reconditioned by independent piano shops. Others have been sold to third party entities, who then ship the products into the U.S. for unauthorized sales.
4. Replacement parts can be difficult to find. It’s always a good idea to verify the true origin and backstory behind any major purchase. You wouldn’t buy an existing house or a used car without trying to learn all you can about its history, would you? The unfortunate reality is that you won’t ever truly know everything about a gray market piano, ranging from its cabinet style and finish to its year of manufacture and/or internal components. There are many models and styles of piano built for other areas of the world that are quite different from those sold in the U.S. As a result, finding parts can become a rather complicated affair for the owner of a gray market piano since even the manufacturer may be unable to assist you.
If you or someone you know is being offered a gray market Yamaha piano, or if you want to verify whether or not your Yamaha piano was built for use in the United States, you can use our free serial number finder tool available here.
For the past 27 years, Yamaha has been the presenting sponsor of Music for All, an organization that has brought life-changing music education and performance opportunities to generations of band and orchestral students since its founding in 1975.
Player pianos have come a long way since the days of providing music in the saloon! Join pianist and music educator George F. Litterst in this three-part video series as he takes you through the main features of the Yamaha DisklavierTM PRO.
Legendary pianist Arthur Rubinstein once said, “The more I play, the more convinced I am the pedal is the soul of the pianoforte!” In this video, George Litterst describes how the Disklavier PRO accurately records and plays back pedaling motion – not just of the damper pedal, but the una corda pedal as well – and explains why incremental pedal data is so important.
Custom installers spend hours carefully measuring, evaluating, analyzing and adjusting the audio settings on home theater systems so they sound just right. YPAO™ Sound Optimization by Yamaha delivers similar results in less time than it takes to decide what movie to watch. In just minutes, it automatically analyzes the acoustics of your listening and viewing space so that the sound you hear is the absolute best it can be. It’s as if a custom installer has set up and calibrated your entire system – the results are that good.
Best of all, it doesn’t matter if the room is a cavernous space with soaring ceilings or a 10′ x 10′ bedroom that’s been converted into the kids’ “media room” – the technology works the same way.
The Magic Starts Here
Featured in the majority of Yamaha receivers, YPAO uses sophisticated digital processing to work its magic, starting with the provided YPAO microphone. The receiver generates a series of high and low sounds, which are actually specially devised test tones, and plays them through your connected speakers. The microphone then picks up these test tones and sends them to the processor for analyzing.
Place the YPAO microphone on a stable surface at ear level, near where you will be doing most of your viewing and listening. Try using a tripod.
The receiver then measures and sets speaker levels, adjusts speaker delays and matches the timbre of the speakers to each other, optimizing your system settings and listening environment.
Reduce Reflections
Furniture and walls close to the speaker can have a “muddying” effect on sound clarity. YPAO employs a special Reflected Sound Control to reduce their impact, producing even, high-resolution sound.
YPAO Volume
As an added bonus, YPAO-equipped receivers also provide a feature called YPAO Volume. As described in a previous blog posting, this applies loudness equalization to the audio that passes through your AV receiver. The result is improved clarity and balanced low, mid and high frequencies at all volume levels.
In 2016, Yamaha ushered in a new era of sonic exploration with the introduction of MONTAGE.
Building on the legacy of the industry-changing DX and the hugely popular Motif, MONTAGE synthesizers combine sophisticated dynamic control, flexible sound creation and a streamlined workflow in a powerful keyboard designed to inspire creativity.
Whether you’re new to MONTAGE or a veteran user, we’ve got resources galore for you.
MONTAGE Videos
Love learning online? You definitely want to check out the Mastering MONTAGE video series. Here you’ll find over four hours of video content, all completely free of charge. These range from “MONTAGE 101” – six videos that cover basic user interface controls and navigation – to advanced topics such as interfacing MONTAGE to Cubase via both MIDI and audio.
FM-Related MONTAGE Articles
The MONTAGE’s FM-X engine is a powerful tone generator that offers a huge and diverse palette of sounds, and the touch screen user interface – coupled with physical controls – provides extensive editing capabilities. You can explore all this in detail in our four-part series of articles entitled “Mastering MONTAGE: An FM-X Exploration,” authored by Phil “Bad Mister” Clendeninn.
In Part 1, Phil introduces some of the features that make FM-X so powerful, explains the basic difference between a carrier and a modulator operator, and talks about how the influence of a modulator on a carrier adds brightness and harmonics to the sound.
Part 2 highlights the real time control possibilities of FM within MONTAGE. In this article, Phil assigns FM parameters to each of the MONTAGE’s eight assignable knobs and describes in detail what each parameter is controlling.
Part 3 provides an even deeper exploration of the carrier/modulator relationship – the fundamental building blocks of FM synthesis. Here Phil explores different operator waveform spectra and demonstrates how the MONTAGE’s Super Knob can be used to dramatically alter the timbre of the sound as you play.
Finally, Part 4 puts all the pieces together with a detailed description of how to create a multi-part “Moving Floor” Performance.
For more information about MONTAGE and our other synthesizers, visit the yamahasynth.com website.
Player pianos have come a long way since the days of providing music in the saloon! Join pianist and music educator George F. Litterst in this three-part video series as he takes you through the main features of the Yamaha DisklavierTM PRO.
Here he explains how the Disklavier captures key release velocity with the use of highly sensitive key and hammer speed sensors:
For more than four decades, Yamaha Corporation of America has partnered with the Monterey Jazz Festival (MJF) to provide world-class instruments for the festival’s multiple stages and rehearsal areas, as well as support for the organization’s many educational programs designed to nurture and develop young jazz musicians. As the official supplier of drum sets and pianos during the three-day festival, Yamaha helps ensure consistent and exceptional sound quality for performers and concertgoers alike.
The MJF is the nation’s oldest continuous running jazz series. Throughout its long history it has brought thousands of artists from across the globe to create musical magic amid the beauty of the Monterey peninsula. The Festival attracts an audience of over 36,000 and features a line-up of hundreds of artists, showcasing the best jazz has to offer and performing on everything from a Yamaha CFX concert grand piano to Absolute Hybrid Maple drums.
In addition, an annual Jazz Legends Gala benefits MJF’s numerous jazz education programs, including Monterey Jazz in the Schools, Next Generation Jazz Festival, Next Generation Jazz Orchestra, Summer Jazz Camp, Monterey County Honor Ensembles and the MJF Instrument Bank and Sheet Music Library.
Learn more about the MJF programs and festival in these videos:
Click here for more information about the Monterey Jazz Festival.
In Part 1 of this three-part series, we talked about the general differences between an acoustic drum set and an electronic one – and in Part 2 we focused on the acoustic variety. Let’s wrap things up with a detailed look at electronic drums.
Cost Versus Quality
If you’re shopping for electronic drums, you’ll find that the market is full of low-cost options. But remember, your child will be physically hitting the drums and many cheaper kits will fail over time due to heavy use. More expensive electronic kits tend to be more robust, feel more realistic and offer larger playing surfaces similar in size to those found in an acoustic drum kit. For beginning students, look for an electronic drum set that is priced similarly to a good quality, entry-level acoustic one – it will offer better value as well as a variety of great sounds for your child to enjoy during their practice and learning.
Module
The module – sometimes known as the “brain” of an electronic drum set – generates the sounds that you hear when connected pads are struck. The quality of the chips inside the module play an important role in keeping your young drummer more engaged. The better the sounds, the more fun it is to play! Modules are sometimes advertised as having thousands of sounds, but keep in mind that quantity isn’t everything. The sounds should be useful, realistic and have an authentic “latency” (that is, the appropriate amount of time from the instant a player hits the pad to when the sound is heard). Creating lots of sounds that meet this criteria – without eating up memory – adds cost, so entry-level kits typically have fewer sounds.
You may also want to strongly consider purchasing an electronic drum kit that allows your child to edit and/or create their own sounds. Young students love to tinker!
Training Functions
One big advantage to electronic drums are the built-in training functions that allow the aspiring musician to improve the critical skills of timing and feel. This can include built-in songs the student can play along to, making training and practice more fun – and therefore ultimately more successful.
Drum and Cymbal Pads
There are several types of drum and cymbal pads available. When choosing, look for a good feel that pairs well with the sounds of the module. You can have a very good pad and an average module – or vice versa. To a certain degree, having one element of better quality may help enhance the capabilities of the other, but eventually you’ll find that the response of the pad is the most important factor.
Another thing to consider is the feel of the pads as compared to acoustic drums. Most likely, your child will be playing acoustic drums if they end up performing in school or other live settings. Look for pads that have a rebound that’s similar to acoustic drums and traditional practice pads. Unlike acoustic drum heads, electronic pads tend to have a similar feel from one to the next. As a result, rubber pads are generally used in less expensive starter electronic drum sets, although some may offer mesh or foam.
Rack/Hardware
Racks or stands are used to hold electronic drums in place and are an important part of the playability factor. Small racks tend to be used for smaller pads and so the spacing can be very different than that of an acoustic drum set, making for a dissimilar experience. Electronic drum sets like these can take time to feel natural, especially if moving between acoustic in performance and electronic for practice. Large racks, on the other hand, can accommodate larger pads, making the spacing much more realistic. This in turn gives the student a more authentic practice experience. Spacing can influence the kit’s durability too, since allowing proper playing position and being able to keep things stable once the kit is set up (as opposed to constantly loosening and tightening knobs) can cut down on the wear and tear of the mounting hardware.
Some Things to Consider in an Electronic Kit
1. Sounds: There’s usually a direct relationship between the price of a module and the quality and variety of sounds it offers. Top-notch modules include all the standard drum set sounds you would expect, but also offer many other instruments such as bells, wood blocks, special effects, non-percussion instruments and much more. High-end modules also allow you to edit and create your own sounds, and in some cases, allow you to download your own samples. Modules with download capabilities can cultivate creativity! 2. Preset patterns: Every module has a selection of preset patterns, typically, short two-bar patterns or drum parts related to specific drum kits or musical styles. As mentioned earlier, these can be valuable learning tools, as well as a source of inspiration in creating your own unique drum parts. Many modules include full play-along tracks for both fun and practice. 3. Connectivity and expansion: If you plan to expand your child’s electronic kit with more pads and triggers in the future, be sure the module has enough connectors to allow this. A USB port lets you send MIDI data to external PCs, digital audio interfaces and workstations – giving you access to a wide range of music software. Audio inputs for connecting MP3 or CD players let you practice and play along with your favorite music. Multiple outputs that can send your performance simultaneously to a mixer and recorder can be useful in both live and studio settings. Also, be sure that the outputs will support the type of amplification system you plan to use.
Features to Look for in an Electronic Kit
1. A module that is simple to use and sounds well: It should also allow you to download new kits and customize existing kits with fresh sounds and capabilities. There’s no better way to keep your child engaged! 2. Pads that are sturdy and have a good feel when played: They should have some give, but not too much rebound or bounce. 3. A rack that has sufficient weight to keep things in place yet easy to adjust: The mounting hardware of your electronic drum kit should make it easy to keep components in place, using a standard drum key or knobs that stay tight. 4. Durability: Anything your student hits with a stick should have some mass – and feel sturdy.
Things to Avoid in an Electronic Kit
1. A module with significant limitations: If it doesn’t allow you to personalize the feel of the kit or limits the number of pads you can add (due to only a few or single-zone inputs), keep looking. 2. A module that has poor sounds: Unlike acoustic drums, you can’t fix the sounds of an electronic kit with well-placed tape or muffling. 3. Pads that feel too hard: This can can cause fatigue for younger hands. 4. Pads that feel flimsy: Typically, these will not hold up under normal playing conditions – especially at the hands of a child. 5. Pads that are too bouncy: These can make transitioning to an acoustic drum kit difficult.
That about wraps it up for electronic drums – and our series. If you haven’t had an opportunity, check out Part 1 and Part 2 of this three-part series for more information.
Good luck to you and your burgeoning young drummer!
Click herefor more information about Yamaha drums.
Here are some links that can augment your understanding of the music industry and help you identify key trends, including: details on student enrollment; demographics and projections relating to educational funding, school construction and teacher population; and key economic indicators that affect the business of music.
These are also good listening topics for your students. Look them up on iTunes® or any other Podcast app service:
– NPR
– Talking up Music Education
– Marching Roundtable
– Marketing Music Education
– TED Radio Hour
Email Lists
We all get too many unnecessary and unwanted emails. Here are four email subscriptions worth having. These are all free and provide current info about arts education:
One of the great pleasures in life is enjoying a favorite movie in the comfort of your own home. For many people, that’s the only way they watch movies. Who needs the crowds of the multiplex, the distracting glow of cell phones, the people talking in the row behind you – not to mention the ticket prices?
The Old Days: Wearing Out the Volume Control
The YPAO™ Dynamic Range Control (DRC) feature offered by many Yamaha AV receivers is one of the reasons that watching movies at home is better now than ever before. (“Dynamic range” refers to the difference between the softest parts of the audio and the loudest.)
Before this innovation, you often had to turn up the volume in order to clearly hear dialogue, especially during quiet passages. Then, mere seconds later, the scene would change and suddenly loud audio – dramatic music or an explosion – would come bursting out of the speakers, making everyone jump. Then, of course, you had to turn the volume down, only to have to raise it again a few minutes later when machine guns started chattering or bombs started flying. The annoyance factor was off the charts!
Getting It Right
YPAO DRC puts an end to all that. Featured in the entire line of AVENTAGE and RX-V series AV receivers, this advanced technology compresses the dynamic range of the sound track. It raises the volume of the quietest sounds to make them audible, while decreasing the volume of the loudest ones, resulting in a more comfortable listening experience.
Voila! No more startled jumps when the scene switches between whispered conversation and the lobbing of hand grenades. No more “Dang, these commercials are so loud!” complaints interfering with the enjoyment of your favorite TV show. With YPAO DRC technology, your sound is always perfectly attuned to you.
And better sound, of course, means better entertainment. No wonder more people than ever are watching movies at home!
In Part 1 of this three-part series, we talked about the general differences between an acoustic drum set and an electronic one. Here in Part 2, we’ll focus on the acoustic variety.
The parts of a drum set (sometimes called a drum “kit”) that your child will use most of the time are the bass (“kick”) drum, snare drum, hi-hat and ride cymbal. These are the basic components of any groove and are therefore the focus of most beginning lessons. A starter drum set may also include one or more crash cymbals and several tom-toms. Typically, at least one small tom-tom will be mounted to the bass drum, in which case it is called a “rack” tom. Larger ones may be freestanding, in which case they are called “floor” toms.
Drum Sizes
Beginning drum sets usually come in standard drum sizes. The snare drum will typically be 14″ in diameter; rack toms will be 10″ or 12″; floor toms will be 14″ or 16″; and the bass drum will be 20″ or 22″. The only real consideration here is that if your child is short, a 20″ bass drum is probably a better choice, since any rack toms mounted to it will be easier to reach. (There are 18″ bass drum options also available but the larger sizes have a more standard tone and tend to be better suited for a variety of different types of music.)
Smaller drums are typically tighter and higher in tone, with more of a controlled sound; while larger drums resonate more and generate lower tones. Your child should be able to play any style of music on a well-constructed acoustic kit.
Shell Types
There are many types of hardwoods used by drum manufacturers. The most common found in entry-level kits are birch, maple and poplar. While most woods are capable of creating a good tone, the construction of the shell will determine how easy the drum is to tune, as well as the sound quality at various tuning ranges or dynamic levels.
Drum Heads
Standard drum heads on entry-level kits tend to be inexpensive and need to be replaced after a short time. They may be durable enough to get you started, but in many cases, changing the head to a better quality one can improve the sound of an average drum. Additionally, a higher quality replacement head will wear better and last longer than the original that came with the kit.
Cymbals
This is an element you want to make sure sounds just right when you purchase it! Unlike a poor-sounding drum that you can improve by applying tape or changing the heads, there’s little you can do to change the tonality of a cymbal. Good cymbals will have definition and a warm tone. An entry-level drum set will typically include a pair of thin 14″ hi-hats (cymbals that are mounted horizontally on a stand so that they come in contact with one another with varying pressure as a foot pedal is pressed), a medium-weight 18″ or 20″ ride cymbal, and sometimes a lightweight 16″ crash cymbal too. Many players opt to add a second crash, though this is less commonly found in starter kits.
Hardware
Hardware starts with the bass drum pedal and the hi-hat stand – these can impact the experience of playing the drums as they act as extensions of the feet. Good hardware is not only easy to adjust, it holds up better when traveling. The metal should not bend when adjusting, nor should it lock up after use. Beware of peeling chrome and sharp metal edges. Even lightweight stands should have a sturdy feel. If they tip easily, or are difficult to position, they will only get more difficult to work with as they age.
Drumsticks
This is a another element that needs to be good from the start – you can’t make bad sticks better. Make sure the size is appropriate for your budding young drummer. The 5A is a good starting point for most students; as they begin to develop various musical styles they may want lighter or heaver sticks. In order to prevent injury to both themselves and their drum set, avoid giving developing students sticks that are too large or too heavy.
Drum Key
As discussed in Part 1, this small device is used to tighten the drum heads and raise them up or down in pitch. Most drum sets – even those for beginners – will include such a key. Thankfully they are inexpensive and universal in size, so they’re easy to replace if lost!
Things to Look for in an Acoustic Kit
1. Mass: A good drum has some weight and feels sturdy. If the drum feels light, the metal and shell is a lower quality. While such drums are not necessarily bad, they are typically harder to tune and tend to need to be replaced sooner.
2. Expandability: If the skills and enthusiasm of your young drummer grow in future, make sure you can add extra components and order individual drums in the same color as your current set. Ask what sizes might be available.
3. Substantial features for your investment: Good drums, heads and hardware can cost a bit more, but they will also retain their value and make it easier to trade up when your child is ready.
Things to Avoid in an Acoustic Kit
1. Metal corrosion and poor workmanship: Examine the drum shell inside and out. Pay attention to the appearance of the seams. Are they well-crafted and without flaws? Is the finish smooth, with no “bubbling”? If the work is sloppy, chances are you’ll spend more time repairing or replacing things than actually playing the drums.
2. A manufacturer that doesn’t stand behind their instruments: Research drum brands ahead of time. Look for those that have gotten good reviews from users and/or impartial journalists. Lofty features and marketing claims are hard to substantiate without reviews! Things can break and get worn, but quality endures and is reflected in the way the manufacturer is perceived in the marketplace.
Safety First!
Because your child will come in contact with metal parts and wood that is glued in sheets, the proper manufacture of the drum set components you purchase will ensure the safety of your young musician. It’s particularly important that you inspect metal parts for sharp edges and plating that is not peeling or corroding.
That about covers it for acoustic drums. In Part 3, we’ll examine the electronic drum kit in detail.
Photo courtesy of Reverb.
Click here for more information about Yamaha drums.
Shopping for drums can be time-consuming and confusing for parents of a beginning music student. This three-part series provides a simple guide for making sure your child starts out with the right instrument – one that grows with them as they progress.
Lessons for Everyone
Teaching children how to play drums can be fun – and you might learn a bit about drumming, too – but to inspire them to the next level, you should investigate lessons and local teachers. Online lessons offer some great tips, but similar to coaching a golf or tennis swing, there’s no substitute for a real-life teacher who can provide on-the-spot guidance as a student learns correct stick movement and other fundamentals. Teaching proper technique is of critical importance in helping ensure that your child is not stressing muscles and creating unnecessary fatigue. One lesson can go a long way in improving the skills and concepts of drumming.
Have Fun!
The most important thing is to have fun! This is a great opportunity for you and your child to enjoy something exciting, creative and collaborative. Music may not be their career, but they can use these new-found skills to make and enjoy music for the rest of their lives.
Speaking of “fun,” let’s take a look at some of the fundamentals…
The Drum Set
A drum set (sometimes called a drum “kit”) is simply a collection of drums, cymbals and mounting hardware, similar to those you see played onstage by your favorite band. If your child is part of a school music program, they might be required to rent or purchase a bell kit, combo kit or drum pad. The fundamentals of percussion are typically taught on bells for note reading and on the snare pad or snare drum for rudiments of stick control. These rudiments are important. If you already have a bell kit or combo kit, your child is off to a good start. However, a drum kit will cost a bit more and require more space. Even if your child has not taken music lessons and has not joined the school band, not to worry – the articles in this series will provide you with all the tools you need to get them started.
A typical 5-piece acoustic drum set.
Student bell or combo kit with drum pad.
An acoustic drum set is made up of the following five basic components:
1. Drums: There are typically at least four or five drums in a set. Each consists of a shell (typically made of wood, but also sometimes metal), across which is stretched a drum skin or “head” (typically made of clear plastic Mylar® or calfskin) – the surface you hit with a stick. 2. Cymbals: Circular plates made of metal, used for a crashing sound. 3. Hardware: Metal stands to hold the cymbals and drums, plus a throne (seat), a foot pedal (for the bass drum) and a hi-hat stand that includes a pedal for crashing two cymbals together. 4. Sticks: Long wooden dowels used to strike the drums and cymbals. 5. Drum key: A small metal device used to tune the drums by stretching their skins.
Electronic drum sets contain only the first four components, although the “drum” and “cymbal” sounds are produced via electronic not acoustic means (more about this in Part III.) Whichever way you go, starting with good quality instruments will make the experience more enjoyable – and can save you money down the road.
Acoustic Drums or Electronic Drums?
When deciding which kind of drums to buy, one of the most important factors is the space required. In addition, you will want to consider the time of day your child will be practicing – will this disrupt you, your other family members or the neighbors?
Acoustic kits are the most common types used by school bands. They are much louder than electronic drums, have a much larger footprint and will require some sort of isolated room for practice.
Electronic kits are smaller, quieter and easier to use since you don’t have to worry about tuning or changing drum heads. An electronic drum kit is often the best choice for beginners since you won’t need to soundproof the room where they are located – your child can use headphones to practice.
Here’s a summary of the advantages and disadvantages of each:
Acoustic drums
– The standard for school lessons and live performance.
– Loud!
– Take them anywhere: not tethered to a power outlet.
– Instant gratification: nothing to plug in or set up. Just start hitting ’em!
– Good for larger bedrooms, basements or garage… especially if the spaces can be soundproofed.
– Produce one sound with various tunings.
– Drums and cymbals come in various sizes.
– Larger footprint: requires an average 5′ x 5′ space.
– Requires lots of new sticks and drum skins as they wear.
Electronic drums
– Easily used at home but requires amplification for performance.
– Quiet practice with headphones.
– Good for apartments or small bedrooms.
– Capable of producing various sounds and styles of drum kits.
– Requires some setup and an electrical outlet.
– Pads for drums and cymbals are typically smaller than their acoustic counterparts.
– Smaller footprint: requires only an average 4′ x 4′ space.
– Built in training functions and metronome.
– Less stick wear and no heads to tune or replace.
In Part 2, we’ll take a closer look at the acoustic drum kit and components.
Click here for more information about Yamaha drums.
Through the Yamaha Disklavier Education Network (DEN) Auditions program, young pianists everywhere can now record their college admission or scholarship audition performances — complete with synchronized video — at regional centers. By combining the sophisticated technologies of the Disklavier™ PRO acoustic grand piano with the modern capabilities of the internet, music schools and conservatories are provided with virtually the same experience as a live in-person audition. For students and their families, these time-shifted auditions eliminate prohibitive travel expenses while offering the convenience of applying to more than one school with a single performance.
The time has come. You built up the courage to get out there and audition for the drum corps of your dreams. You’ve gone to lothype.com and have watched video after video, and finally decided: “OK, I am going for it!”
Believe it or not, you are already halfway there! Setting the goal is the most important step in actually auditioning. In this article, I’ll share a few secrets I’ve learned about auditioning for a DCI drumline.
Preparing for Your Audition
To prepare for your audition, you need to understand the logistics. Do you know the answers to these questions?
– Where is the drum corps located?
– Where are the audition camps held?
– Are you able to attend the dates for the audition?
– Can you afford the cost for doing the camp? (Don’t stress, there are ways to pay — a topic we’ll be covering in a future blog posting.)
– What material should I prepare to audition?
All excellent questions! Most of the time, a quick visit to the Drum Corps International website will provide the answers. Once you are on their site, clearly labeled resources will direct you to the necessary registration form (often, you will have to pay a minimal fee to participate). After that, you will receive your audition packet. The packet will have all the necessary music you should prepare prior to the camp.
Be Present
To make your dream a reality, you should make sure it’s possible to actually be present at the audition. Video auditions are common, but in my opinion, you should go to the camp.
Being at the camp will give you an advantage over those not able to attend in person, and will prove your commitment right out of the gate. It benefits you for many reasons, including opportunities to:
– Meet and speak face-to-face with those holding the audition.
– Ask questions in real time and get immediate feedback.
– Network with new people – you can never have too many contacts!
And even if this camp doesn’t work out for you, you can potentially gain leads on other camps where you could audition in future.
Tips for the Camp
Once you have the logistics nailed down, the musical preparation comes next. As mentioned, each corps will provide an audition packet filled with exercises, cadences and small chunks of show music. This will be your bible for the coming months. Specifically:
– Learn the packet inside and out. Be sure you are comfortable with the sticking, dynamics, measure markers and marking time. At the camp, you will be playing in front of several judges – your preparation will set you apart.
– Film yourself playing. You will be watched while you play. Getting in front of a camera when you practice will help simulate this feeling of being watched. Viewing each take afterwards will help you critique your own technique.
– Play with a metronome. The importance of rhythmic accuracy and tempo control cannot be emphasized enough. It’s simple: The more comfortable you are with playing to a metronome, the stronger an individual player you will be, the greater your confidence when asked to play alone and the more of an asset you are to the drumline.
– Stand up and play on an instrument instead of a practice pad. Standing up and getting off the practice pad will do wonders for your preparation. Simulate what you will be doing at the audition.
– Meet people before the camp. Often there will be some sort of social media gathering of folks planning to audition, and it’s likely that you will have common connections to others auditioning. It’s great to communicate with someone who is preparing the same music. Perhaps they see something different and can offer you a fresh approach!
– Treat this like a test (one you want to score an “A” on). If you go into the audition with the mindset that it is a test, your preparation should reflect that. Know that you are showing your skills to people judging you — you want to impress them, don’t you?
Set Yourself Apart
In any audition, the degree of preparation you do will be what sets you apart. If you were trying out for the track team, running and conditioning would consistently be a part of your daily routine. To try and cram this type of practice into the day before a race would do nothing for you!
Auditioning for a drumline is no different. When you have material to prepare, be sure you know all of it thoroughly. And be sure to:
– Have confidence. From the outset, remind yourself that this is something you want. When you make that conscious commitment, you make a promise to yourself to see it through. Don’t shy away from it because you think you lack the skill — go after it.
– View this as a learning opportunity. Believe it or not, just the act of going to a camp will make you a better performer. Being there teaches you things you have not yet learned in other programs. There is something amazing about being surrounded by like-minded individuals who are all striving for the same goal.
– Enjoy the process. Learn to love getting better. Know that attending a camp is a real undertaking, but not one you have to go at alone. Auditions are a great time to meet new people and make new friends — and if you keep an open mind, you can learn a lot from the people you meet!
Now you’re ready to charge forward in your pursuit of marching drum corps!
As drummers, we know how easy and convenient it is to play on a practice pad all day. But did you know that using a pad as your only practice tool may actually be doing harm to your technique? Not only that, but you could be training your ears improperly too!
In this post I will dive into the philosophy of why drumming on an actual drum – and standing up as you practice – will do wonders for your technique and approach to drumming.
Drum pads are all the rage. I probably have three or four drum pads of my own! However, when I was actively marching and auditioning for drum corps, I found three things to be true of using a practice pad:
No matter how advanced the technology, the feel of a drum pad is different than an actual drum.
Hearing my sticks striking a drum head after being on a pad for so long was really alarming! My touch and sensitivity as a drummer grew tremendously when I was practicing on a drum rather than a pad.
Standing up behind the drum helped me practice the posture I needed to have when performing. Like athletes, we know that how you practice is how you will perform.
With this in mind, I am by no means saying drum pads are not useful – quite the contrary. Drum pads are excellent additions to your practice, and are to be used as such. When you are up at midnight, and you just need to get that last rep of swinging double triple in, a practice pad will be appreciated! Likewise, when you are on the bus to a show, getting the drums out and standing up may be a bit too difficult a task.
However, if you are drumming on a pad ONLY, you are doing yourself a great disservice. Not only are you developing your chops and hands to be comfortable with, and acclimated to the pad, you are not growing your sense of listening and hearing – skills that are all too often overlooked in drummers. Listening and hearing are two very different tasks (something we’ll cover in a future blog post), and as drummers, we often overlook their respective roles. How can you expect to develop your sense of hearing and the sound quality you get from your instrument if you never practice with it?
You would not show up to a race having not trained. You would not try out for quarterback having never thrown the ball. Don’t show up to an audition having never drummed on a drum!
Of course, access to a drum is not a reality for everyone, so here are three suggestions:
For those in drumline or university band – ask your band director to obtain a drum for you.
For those out of school – eBay and Craigslist sometimes show individual drums for sale.
For anyone – contact your local music dealer and search their inventory for used drums, often they are only barely used.
A Few More Tips to Get the Most Out of Your Practice
If you want to be a serious player, you have to be serious about your practice. For me, the more time I was carving out of my schedule to dedicate to practice, the more I found myself prioritizing these items:
Practicing on an actual drum and not a pad.
Using a metronome either out loud, or plugged into headphones.
Standing behind my drum and marking time.
Drumming in front of a mirror to check for technical mistakes.
These are all tips that can help improve your technique and develop your potential as a performing artist. They require you to drop the pad and get on a drum, and to use a metronome when you practice. Being great at something takes time and a commitment to doing the right things.
Lastly, don’t forget — drumming is an art, so be sure you’re painting on the correct palette!
You’ve always wanted to play piano, but can’t dedicate enough time to conventional lessons. Or maybe you’ve been playing for years, but you’re looking to expand your repertoire and find new inspiration.
The Yamaha Clavinova CSP provides a revolutionary solution, allowing you to learn how to play many of your favorite songs on the piano — regardless of your playing level. Through the use of an innovative app, it enables you to access your music library on your mobile device, analyze the chord structure of any song you choose, and produce a piano score taught via interactive “Stream Lights” above each key.
Learn to play using your smart device and the Smart Pianist app
The CSP is the first Clavinova where most of the features are accessed through a tablet or smartphone, using a free Yamaha app called Smart Pianist, available for iOS and Android™. Just download Smart Pianist onto your device, then plug your device directly into the USB port behind the music rack on the CSP and enjoy a fully customizable playing experience.
The heart of Smart Pianist lies in its unique Audio-to-Score function, which analyzes iTunes® songs from your music library and then generates a piano accompaniment and score for pretty much any song you’d like to play. The notes are displayed on your iPad® or iPhone®, and as you play along with the song, the pages turn automatically. You can even adjust the complexity of the arrangement by going into the app settings and choosing how many notes you’re comfortable playing with each hand.
Additionally, there are 100 popular and classical songs by artists like Adele, Sting, Elton John and Coldplay already built into the app, along with 303 lessons by Beyer, Czerny, Hanon and Burgmüller — all accessible with a touch of a button.
Stream Lights: A New Approach to Learning
Clavinova CSP essentially turns learning to play piano into a game, drawing inspiration from popular music simulator games like Guitar Hero™ and Rock Band™. After you select a popular song that you’d like to play, ladders of cascading “Stream Light” LEDs above each key illuminate in sync with the song’s tempo. When the song starts playing, the lights move down towards the keys and all you have to do is strike the keys as the lights reach them. Now you can take the basic premise of popular video games and put it to practical use, learning how to play popular songs on an actual musical instrument. It’s a new, fun, technology-driven way to play along with original artist recordings of many of your favorite songs.
The Clavinova CSP can inspire you to make music in ways that conventional lessons never have before. Gone are the days of playing tedious scales repeatedly. The Smart Pianist app, paired with the Stream Lights function, helps you learn to play virtually any song you already own – and have always wanted to play.
For more information about Clavinova CSP, click here.
What would it be like if a master pianist who died two decades ago could play a concert with today’s leading players? Sound impossible? Well, a new technology developed by Yamaha has done just that.
Yamaha AI Ensemble Technology understands a player’s intentions and responds in harmony with their performance. It works by analyzing a human player’s gestures and sound to anticipate their next notes and then instructs a Yamaha Disklavier™ piano to play accordingly — with a faithful reproduction of the touch of any pianist, living or dead. What’s more, while the Disklavier is playing, a shadow of an imaginary pianist is projected on the stage to give human accompanists a visual cue to synchronize their rhythm and tempo!
Yes, you read that right. This advanced technology provides the experience of playing music with any legend from any time, understanding each other’s musicality and performing perfectly in sync. It goes beyond replicating the touch of a master pianist, allowing live musicians to actually play with his or her avatar.
In a stunning demonstration, a performance was given last year by the renowned Scharoun Ensemble, which was founded by members of the Berlin Philharmonic Orchestra in 1983 and is comprised of some of the greatest string players of the 21th century. For this concert the ensemble was composed of members performing on the violin, viola, cello and contra-bass, and a special Disklavier was configured based on Yamaha’s flagship model CFX concert grand piano and linked to an AI system programmed to replicate the touch of master pianist Sviatoslav Richter, who passed away in 1997. (Interestingly, modern CFX concert grand pianos are a later generation of the Yamaha CF series concert grand pianos that Richter performed on in his later years.)
Ensemble members practiced together with the Disklavier right up to the day of the performance, treating the AI system just as if it were a person, with machine and players deepening their mutual understanding to steadily improve their joint performance expression.
The concert was given on May 19, 2016 in the Sogakudo Concert Hall at the Tokyo University of the Arts, with a program that spanned the fourth and fifth movements of Franz Schubert’s Piano Quintet in A Major (D667, “Trout”). The polished performance delighted audience and Scharoun Ensemble members alike — and hopefully our AI system was pleased, too!
After the concert, Isao Matsushita, composer and Vice President of the Tokyo University of the Arts, had this to say: “AI is on the cutting edge of scientific technology, and, in the near future, it may become indispensable in our daily lives. These days, you hear much about AI “winning” or “losing” against human beings, but what we saw here today suggests that we may be able to experience the joys of living with AI. It is precisely because the music we heard was performed by human beings that today’s performance shows we can share passion and performance together with AI.”
“I enjoyed this challenging joint performance,” added Scharoun Ensemble member Peter Riegelbauer. “I feel it is really exciting to be tackling the challenges of doing things that are thought to be impossible. One should try these activities not just in classical music but also in electronic music and in other genres. These initiatives are just beginning, but just as today’s technological environment is completely different from 20 years ago, 20 years from now, the environment will certainly be quite different from today.”
Since 2015, Yamaha has participated as a member of the Tokyo University of the Arts Center of Innovation (COI). This collaboration was part of these activities and is aligned with our firm commitment to the music and instruments of tomorrow.
Here’s a translation of some of the acronyms and terms you see used in descriptions of Yamaha Percussion products:
ABS™ (Articulated Back Support) Carrier
The articulated back support (ABS) carrier, designed by Randall May International, is a feature on the higher-end carrier system. The ABS promotes correct spinal posture by equally distributing the weight of the drum for comfort and safety.
Acoustalon™
A synthetic bar material used in the manufacturing of marimbas and xylophones, Acoustalon is produced from fiberglass-reinforced plastic in a one-step manufacturing process providing exceptional durability and a pure tone. The scientifically designed Sonic Tone Holes™ created in this process give Acoustalon bars a tone similar to rosewood. The color is impregnated directly into the fiberglass material.
Acoustalon-Lite™
Acoustalon-Lite bars share the same manufacturing process as Acoustalon bars but are thinner for lighter weight. The smaller bars utilize three Sonic Tone Holes.
Air-Seal System™
The Air-Seal System is, in part, responsible for the quality of Yamaha drum shells. The wood sheets are cut into plies, positioned with staggered diagonal seams, and sealed together with evenly distributed air pressure. The resulting shells are perfectly round and of uniform thickness – delivering superior tone and excellent durability.
Balanced Spring System
A type of timpani pedal mechanism where the tension of the pedal spring and timpani head are balanced so that the set pitch is maintained even if the player removes their foot from the pedal. This mechanism helps facilitate glissandi and other advanced playing techniques.
Bearing Edge
The point where a drum head makes contact with the shell.
Die-Cast Rim
Aluminum alloy rims are made in a die-cast mold to remain perfectly round and rigid. This design helps provide immediate response and fast decay at all dynamic levels. Medium weight die-cast rims also maintain proper tuning at any tension.
Dyna Hoop Rim
Dyna hoop rims are triple-flanged and constructed of 2.3 millimeter thick steel, contributing to a fast, well-defined attack.
Extended Snares
Snare wires that extend past the diameter of the drum.
FiberSkyn™
A medium weight, synthetic head made by Remo™ consisting of a laminated film that has a feel and sound similar to calfskin.
Field-Corps Carrier
The Field-Corps Carrier, designed by Randall May International, features an ergonomic lightweight design with multiple adjustments to enhance comfort. These carriers are gender-friendly tubular embodiments, with adjustments to fit a wide range of student sizes.
Free Floating Lug Bridge™ (FFLB)
A suspension system for marching toms designed by Randall May International. The FFLB is installed without drilling into the drum’s shell; instead, high-strength performance polymer bridge suspension connectors use the existing lug casings.
FRP™ (Fiberglass Reinforced Plastic)
Synthetic material exclusive to Yamaha used to make durable, lightweight products such as Acoustalon tone bars and Acoustalon-Lite tone bars.
Graduated Tone Bars
Vibe, marimba and xylophone bars with widths that gradually increase from higher to lower register.
High Profile Rim
A batter snare drum hoop with a greater than normal distance between the hoop’s eyelets and the top of the hoop. This protects the bearing edge from inadvertent rim shots as the head stretches.
Kevlar®
A very light yet strong, non-stretch woven material used in drum heads by competitive marching drum lines. It provides great articulation, but may cause damage to drums not designed to use Kevlar heads.
Lug Casing
A treaded receiver for the tension rod that is either attached to the drum shell (concert snare drums, marching tenors and bass drums, and drumsets) or freely suspended (marching snare drums).
Non-Graduated Tone Bars
Vibe, marimba and xylophone bars of the same width throughout the instrument’s range.
PAC™ (Pedal Adjustment Clutch)
The PAC system allows pedal resistance to be adjusted while maintaining perfect pedal balance. A large knob in the middle of the base makes for easy adjustments.
Padauk
A type of wood from Southeast Asia used in the production of some marimbas and xylophones, Padauk is a natural material that is less expensive than rosewood and an excellent choice for student level instruments.
Rosewood
High quality wood from Central America – primarily, Honduras – used in the production of some marimbas and xylophones.
Sonic Tone Hole™
A type of design that uses holes which run horizontally through Acoustalon bars in order to simulate the air pockets that rosewood has naturally. They produce a sound which closely resembles rosewood, but with less ring than solid synthetic bars.
Tension Rod
The tension rod, or tuning bolt, is used to tighten and tune the drum head. It goes into the threaded lug casing and is adjusted by a drum key.
Three Piece Tube Lug
The three-piece tube lug is a feature on intermediate and advanced snare drums. The design of this kind of lug minimizes the amount of material that is touching the shell, thus allowing the shell to ring more freely. By holding the tension of both the top and bottom heads with unified lugs, an optimal balance of tension between the heads is achieved.
Triple Flanged Hoop
Triple flanged hoops are constructed of 1.6 millimeter thick steel that contributes to an open sound and long sustain.
We’ve all seen videos of excited, passionate people gathering on the steps of a government building to fight for something they believe in. This time, I was one of those people, because I truly believe that quality music education is something every student should have access to, regardless of their ZIP code. When I heard about NAMM’s Stand Up 4 Music advocacy day, I saw a chance to get involved that might just help make a difference.
This year’s Stand Up 4 Music Day took place on May 18 at the California state capitol. The event brought together a contingent of over 30 state chapter music and arts advocates, arts educators and music industry trade members. Our task was to meet with our individual senators and assembly people and ask them to support (read: fund) a number of bills and spending measures that will benefit music education, teachers, students – and ultimately our communities – in the State of California.
As a total newcomer to this process, it was an eye-opening experience to see how bills get funded and who is involved.
Lesson One: It’s Really Easy to Do
We began by making phone calls to request an appointment on the day of the event. It turned out to be surprisingly easy – somehow it never occurred to me that elected officials are required to respond to all inquiries from their constituents. Within a few days I heard back from all of my elected representatives and was able to line up six appointments.
Lesson Two: Showing Up is Important
The big day finally came, and the Stand Up 4 Music contingent was on its way to Sacramento. Music education advocacy organizations had already done the work of reading through the bills, and articulated how best to gain support (or, in some cases, argue against it) for those elements benefiting music education. I learned that just making those phone calls to my representatives – and then showing up at the appointed time – is all it takes to drive the focus needed to keep bills moving forward through the process. If you don’t make a little noise, then someone else’s priorities may be louder, and you might not be heard.
Lesson Three: They Want to Talk to You
Your elected officials actually want to know what you care about as a voter. I came to realize that they welcome every single constituent, and that they will give you your 15 minutes. I also discovered that, in many cases, the legislative aides are just as important to meet because they write, research and track the various bills and topics. It was really valuable to talk to the staffers who work behind the scenes because they are the people crafting language and including relevant details for each bill. The now well-informed aide you met will be the person who actually writes the line item you want funded.
Lesson Four: Regular People Make Things Happen
What really resonated with me during this experience was that regular people – both on the legislative side and on the advocacy side – are the people who makes things happen. You don’t have to be a policy expert to tell a meaningful story to your elected official about why music education is important to you and your community. Reiterating how music education equips students with the fundamental abilities to learn, achieve in other academic subjects, and develop the capacity, skills and knowledge essential for lifelong success was the foundation of our requests.
At the end of the day, it was a tiring and a thrilling experience, but I didn’t go to Sacramento to burn calories running around the hallways. I went because I truly believe when people have access to, and receive a quality music education, it improves our society – and makes our world a better place.
Best of all, on June 14 (budget release day), we received notice that our advocacy efforts were successful, and that the funding for the bill that was passed will not be delayed! Proof positive that you can make a difference if you say something and advocate for what you believe in. You just have to show up!
In this article, we’ll focus on the most recent Disklavier: ENSPIRE™.
The ENSPIRE made its debut in 2016 and ushered in a new era of advanced player piano technology and wireless control. The ENSPIRE line consists of:
ENSPIRE PRO
Available in pianos of the C3X size and larger, the ENSPIRE PRO continues the tradition of PRO model Disklaviers, providing the highest resolution recording and playback paired with the highest quality acoustic pianos, now enhanced by Hammer Sensor Feedback.
ENSPIRE ST
Available in the C2X size and smaller grands as well as in 2 upright models, the ENSPIRE ST offers standard Disklavier features, including full recording and playback functionality. All ST models also include the SILENT feature.
ENSPIRE CL
The ENSPIRE CL is a playback-only model available in a 5′ grand.
Differences Between ENSPIRE models
Outwardly, the various ENSPIRE models are difficult to distinguish from traditional pianos that lack the Disklavier system. The typical control box that was visibly positioned under the keyboard of earlier models has been replaced with a very small and nearly invisible “switch box” positioned much farther under the keys:
Although a few Disklavier features can be accessed using the switch box, it is expected that the user will normally use their own mobile device or even a computer web browser to interact with the instrument. Yamaha provides a custom ENSPIRE Controller app for both iOS and Android™ devices.
Communication between a mobile device or computer and the piano is established using normal network protocols. There are three connection methods for the ENSPIRE:
1) Using a standard Ethernet cable to a local area network. Computing devices with access to the same network can be used to control the piano.
2) Wirelessly to a local area network using the WPS protocol to a WPS-compatible router. Computing devices with access to the same network can be used to control the piano.
3) By creating its own wireless access point (i.e. private network) using the included UD-WL01 wireless LAN adaptor. Computing devices that connect to the ENSPIRE’s access point can be used to control the piano. Although the ENSPIRE Controller app for iOS and Android mobile devices is typically used to access the piano’s functions, it is also possible to access them with an HTML 5-compatible web browser running on any platform. The browser must be directed to the local IP address of the piano in order to establish a connection with the instrument.
The ENSPIRE is further distinguished by a number of new or substantially enhanced features, including:
Binaural CFX Piano Sample
When the piano is placed into Quiet mode, the instrument plays a new sample of the 9′ Yamaha CFX concert grand piano that can be heard on headphones. This sample was recorded binaurally (i.e. from the player’s perspective) and provides unprecedented realism.
Binaural sampling is a unique technique that captures the source instrument using equipment designed to replicate the auditory response of the human ear. In this way, the Quiet mode of the Disklavier ENSPIRE recreates the performance space of the Yamaha CFX concert grand, including the effects of incremental use of the sustain pedal and sympathetic string resonance.
Performance Voices
Similar to a feature that was available previously only on the Mark IV, the ENSPIRE has a set of performance voices that can be layered onto the native acoustic piano sound or used alone in Quiet mode.
In addition to the CFX concert grand voice, there are three electric pianos, two harpsichords, vibraphone, celesta, four pipe organs, jazz organ, strings, choir and synth pad.
Advanced DSP Servos
The original Disklavier PRO introduced moving magnet sensors and key sensors that enabled the instrument to monitor itself during recording and playback, effectively providing an internal feedback loop that ensured the highest quality recording and playback available at the time.
Over the years, Yamaha has continued the development and application of similar feedback loops in a variety of standard and PRO models. The ENSPIRE PRO has taken these innovations even further with the introduction of hammer sensor feedback in addition to key, pedal, and moving magnet monitoring.
USB Audio Recording
Previously available only on the Mark IV, the ENSPIRE has reintroduced real-time USB audio recording. While playing the instrument, you can simultaneously capture an audio recording that is created using the CFX concert grand piano sample or other chosen performance voice. The recording is saved to a connected USB flash drive. This feature provides, in essence, “microphone-free” audio recording.
Improved XG Tone Generator
The ENSPIRE also includes a more advanced set of 480 XG voices that were derived from the world-class line of Clavinova digital pianos from Yamaha.
Additional MIDI Features
The MIDI In and Out ports and the USB “To Host” port can be used simultaneously for MIDI communication. When coupled with either Yamaha Bluetooth® LE MIDI adapters (MD-BT01 or UD-BT01, available separately), wireless MIDI transmission and reception are possible.
MusicCast Whole-home Audio Integration
The ENSPIRE can be integrated into a wireless whole-home audio system using Yamaha MusicCast technology. By doing this, the user is no longer limited to the listening space of the acoustic piano but can enjoy piano music anywhere in the home via MusicCast wireless speakers and AV products. Control of the instrument is integrated into the MusicCast Controller app’s user interfaces, making control of the instrument easy and intuitive.
Today, the ENSPIRE PRO series of Disklavier pianos represents the flagship of Yamaha piano technology – combining the most advanced Disklavier system with the finest acoustic piano design from Yamaha.
Haven’t yet had a chance to enjoy learning about the earlier chapters in the history of Disklavier? Check them out here:
It seems as though every legendary artist has their own sound. Ever wonder how that happens?
To be sure, a lot of it comes from years of experimentation and experience. Renowned keyboardist Chick Corea is a perfect example.
Back in 1984, Chick worked with Harold Rhodes to create the Stage 73 Mark V electric piano. Over the next decade, Chick and his team developed what they called the “Number One” – replacing hammers, developing custom electronics and creating an instrument that reflected the singular talent and innovation of its owner.
In 2009, after enduring years of pounding, the keyboard became too fragile to take on the road. Before being shipped into storage, Chick and his tech team painstakingly sampled every note at Mad Hatter Studios in Los Angeles. After months of searching for the right technology platform, Chick took the massive amount of data to the Yamaha sound design team, who turned it into the Chick Corea Mark V Sample Library for the MOTIF XF, the predecessor to the MONTAGE.
Chick’s direct involvement made this sampling session unique. A specially developed “Vorsetzer” player-piano mechanism helped capture perfectly balanced velocities across the entire keyboard scale. The resulting Chick Corea Mark V Sample & Performance Library contains all the original samples recorded in the meticulously engineered sessions, and consists of 12 unlooped velocity layers, with the full, natural sustain of each note carefully maintained.
Part of what makes this collection unique is the custom hammer and preamplifier configuration of Chick’s original instrument. At F# above Middle C, Corea and his team modified the hammers from the standard neoprene to wood, and sent the signal from those keys to a separate preamp with a specially designed EQ. This creates an almost split keyboard effect, letting the treble notes ring with a clarity and punch unavailable on a standard Mark V.
The Chick Corea Mark V Sample & Performance Library is available as a free download from the Yamaha Downloadables website and loads directly into the MONTAGE integrated flash memory. It features 16 all-new Performances, each programmed using data sampled from Chick Corea’s customized Mark V electric piano. A Yamaha MONTAGE synthesizer running MONTAGE OS v1.51 or higher is required.
Are you tired of your valves sticking halfway through your performance, even though you just oiled them? Brass instruments like trumpets and French horns need a lot of lubrication to work properly. All of the different moving parts need to be continually oiled and greased to operate correctly and ensure that the right notes are played. The basic garden-variety valve oil that’s been around for decades will get the job done, but recent advances in chemistry have led to a whole new breed of synthetic oils and lubricants that work better, last longer and help protect your horn against corrosion and wear-and-tear.
Regular Oils
Traditional valve oils have molecules of different sizes that evaporate at different rates.
Regular valve oils are traditionally made from a blend of standard mineral oils such as kerosene or paraffin oil. The thickness, or viscosity, of these oils is controlled by altering the mix of mineral oils blended together until it “feels right.” If you could look all the way down to the molecular level in a blend like this you’d see individual oil molecules of all different sizes, ranging from very small to very large.
The problem with a traditional oil like this is that the smaller oil molecules tend to evaporate much more quickly than the larger ones. This means that an oil that starts out “right” will gradually get thicker as the thinner parts of the oil evaporate away. The end result for the player is that valves start out feeling great, but begin to get gummy over time because the oil that’s still left on the valves is made up entirely of the remaining larger, heavier molecules.
Synthetic Oils
Molecules in synthetic oils are even in size, so the oil stays consistent over time.
On the other hand, synthetic oils are created from a chemical process that produces very even and consistent molecules that are similar in size. Since the molecules all evaporate at the same rate, the oil will continue to provide the same lubrication and smooth feel over time without getting gummy or slow. This also allows the oils to remain much more stable and consistent in extreme conditions, so if you often find yourself playing outdoors or in very hot weather, a synthetic oil will keep your valves working smoothly and much more reliably.
In addition, having control over the size of the molecules means that the thickness of the oil can be precisely adjusted to create different options for different uses. This allows Yamaha to offer four different viscosities of valve oil and an assortment of other slide, rotor and key oils that are all fine-tuned for the specific part of the instrument where they are used.
Yamaha synthetic oils have the extra benefit of a specially designed anti-corrosion agent that’s added to the formula. This additive counters the natural corrosive effects that saliva and moisture have on the inside of an instrument, giving increased protection to your valves and slides and helping extend the life of your horn. Make the switch to a synthetic oil and see for yourself how much better your valves work!
In 2002, Yamaha updated the Disklavier once again, introducing the Mark III standard Disklavier (available in the U1 upright and most models of grands) and the Mark III PRO, available in the C3 and larger pianos.
The Mark III control unit and interface was nearly identical to that of the Mark IIXG. All standard models included the Silent system and improved playback that could be made quieter for the benefit of consumers who enjoyed listening with the volume turned very low.
In addition, the Mark III PRO offered double the resolution for the pedals, enabling recording on a scale of 0-255.
The Mark III control unit included something new: a CD drive in addition to the traditional floppy drive. The purpose of the CD drive was not to record MIDI data but rather to play back audio recordings, making three new features available:
1) Audio-sync Recording: This made it possible to play along with an audio recording and add a piano part that would be automatically synchronized on subsequent playback.
2) PianoSoft Plus Recordings: The CD drive was capable of playing a new type of format called PianoSoft Plus. These kinds of recordings contained normal instrumental and/or vocal audio on the left channel and MIDI data encrypted as audio on the right channel. During playback, the Disklavier would intelligently send the left-channel audio to both the left and right speakers and decode the right-channel audio for playback by the piano itself.
3) Smart PianoSoft Recordings: This made it possible for artists to create piano recordings that enhanced existing audio CDs. A Smart PianoSoft Recording consisted of two separate recordings: a commercial audio CD and a Disklavier MIDI recording on floppy disk, both played back in perfect sync.
Mark IV
The year 2004 saw the introduction of the Mark IV. Standard and PRO models were available on the C3 and larger grands. A high quality consumer model was available on the C2 (5’8″) grand and smaller pianos.
The Mark IV brought a number of technical innovations to both the standard and the PRO models. Especially noteworthy was a design change to the hammer sensors which were altered from a metal shutter to gray scale sensors, enabling continuous monitoring of hammer position.
The PRO models recorded keys, hammers and pedals with the same extra precision as the previous PROs. For the first time, both the standard and consumer models recorded the full spectrum of 127 values of the una corda and sustain pedals. The standard model also recorded key release velocity.
In addition to all of these technical improvements, the Disklavier feature set expanded considerably including:
– A wireless controller that connects to the Mark IV over a private wi-fi network.
– An Ethernet port that connects the Disklavier to the Internet so that it can receive streaming performances from DisklavierRadio™. This network capability also provides access to firmware and feature upgrades. (Many years later, this connectivity feature made it possible for the instrument to receive RemoteLive broadcasts from DisklavierTV™.)
– Internal 80GB hard drive.
– USB port for connecting USB storage media such as flash drives.
– USB port for MIDI communications.
A few years later, Yamaha released a controller app for the Mark IV that runs on the iPhone, iPod touch, and iPad. The app provides access to the most commonly used features of the instrument.
In 2006, Yamaha introduced a peer-to-peer connectivity technology for the Mark IV called RemoteLesson. RemoteLesson makes it possible to connect up to four Mark IV and E3 Disklaviers together so that when you play any one of them, you simultaneously play the remote Disklaviers as well. Although the feature has not been released to the general public, it has been used regularly by music educators and music institutions that are active participants in the Disklavier Education Network.
E3 – 1st Generation
In 2006, Yamaha introduced the first generation E3 Disklavier in a single upright model (U1) and in the C2 and smaller grand pianos. Although the first-generation E3 used state-of-the-art components, it was designed as a lower cost, consumer-level instrument that featured a key sensor-based recording system and an infrared, line-of-sight remote control.
The instrument included all of the primary Disklavier features that had previously become standard, including basic record and playback, video-sync recording, Internet access to firmware and feature updates, DisklavierRadio, and (later) DisklavierTV – to name a few. Yamaha later released a controller app for iPhone, iPod touch and iPad that provides access to nearly all of the instrument’s user features.
The DKC-850 Upgrade
IIn 2009, Yamaha began to offer an upgraded control unit for older model Disklaviers. Outwardly, it is identical to the E3 control unit (which is called the DKC-800) and offers the same user features.
The DKC-850 can be used as a replacement control unit for Mark IIXG and Mark III Disklaviers – both PRO versions and non-PRO versions. It does not change the recording and playback capabilities of the sensors and solenoids in these earlier Disklaviers, but it does provide a user experience that is nearly identical to that of the E3, including connectivity for USB storage devices and access to advanced features such as DisklavierRadio and DisklavierTV.
The DKC-850 can also be used as an add-on control unit for the Mark II Disklavier, connecting to the Mark II control unit with MIDI cables. Other than turning on the old control unit, the Disklavier owner can then ignore the old control unit and use the features of the DKC-850 instead. It should be noted, however, that DisklavierRadio and DisklavierTV are not supported in this configuration.
E3 – 2nd Generation
In 2012, Yamaha replaced the Mark IV series with standard and PRO versions of the E3. The standard version (complete with hammer sensors) was made available on the C2 and smaller grand pianos. All larger pianos (from the C3 on up) were outfitted with the PRO system.
About the same time as the introduction of the second generation E3s, Yamaha introduced a new feature for the Mark IV, E3 and DKC-850 called DisklavierTV. DisklavierTV is built on a technology called RemoteLive that enables the live streaming and archiving of video, audio and Disklavier performance data (e.g. MIDI data). By connecting a compatible Disklavier to both the Internet and to a computer, Disklavier owners can watch as well as listen to live and archived performances that are reproduced on their own piano — even performances that include instrumental and vocal audio.
The introduction of the second generation E3 coincided with the debut of a new series of grand pianos called the CX series. CX pianos are based on design principles that were previously featured on the CFX concert grand piano, an instrument that made its way to the concert stage in 2010.
CX series pianos were the result of years of research and development. The instruments feature a thickened back frame for improved support, providing a rich and resonant tone. They include a new, revolutionary piano wire as well as hammers based on those found in the CFX concert grand.
Want to continue learning about the history of Disklavier? Check out the next chapterof this four-part series.
And if you missed it, catch up on the first two parts in this series now:
In 2017, I had the honor to take part in the NAMM Fly-In on behalf of Yamaha Corporation of America for a fifth year, meeting with congressional members to discuss funding Title IV-A (which supports music and arts education in our public schools) as part of ESSA (Every Student Succeeds Act). The bill passed with bipartisan support in 2016, requiring $1.65B to be fully funded.
The President’s first budget draft was released on May 23, and unfortunately, there were zero dollars allocated to this program — all the more reason for us to be on Capitol Hill the very next day to advocate for this to be funded. The 98 NAMM members that attended the 2017 Fly-In had almost 200 appointments, and the California contingent met with a total of 13 members of the Senate and House of Representatives.
Yamaha and NAMM both believe that the joy of making music should be a precious element of daily life for everyone. We envision a world where every child has a deep desire to learn music and a recognized right to be taught, and in which every adult is a passionate champion and defender of this right. This belief is rooted in our corporate philosophy – and music advocacy has long been an important part of that philosophy.
Who hasn’t had music impact their life in one way or another? After repeatedly begging to be allowed to play drums in the school band, it was my fifth-grade band teacher, Mrs. Mandy, who finally said, “OK, David, grab some sticks. You’re now one of the drummers in the band.” Looking back, that was one of those big “Yes” moments in my life. All of us have had those times when a decision had a powerful effect on our lives, whether negatively, or as in my case, positively.
What I want for every child is that same right: to have the opportunity to play a musical instrument. That’s why I continue to advocate in Washington year after year.
Lessons Learned from Advocating This Year — and in Years Past
1. It’s amazing how in our country every citizen has the right to speak with their elected officials. More importantly, as a public servant, their office is required to meet with you.
2. You are not the only one who is passionate about their issue. One of the main reasons I participate in the Fly-In each year is to provide research about the benefits of playing music and to share personal stories about how much music has impacted my life and the lives of people I know. It’s these personal and passionate stories that help keep our senators and representatives focused on the issue.
3. The 20- to 30-year-old legislative aides, assistants and directors are running our country. Well, kind of. Believe it or not, 80% of our meetings on the Hill were with these people and not the actual elected official. If they don’t want your message to get to their boss, it won’t. Be nice to these staffers since, to a large degree, they determine whether your viewpoint gets heard by your elected official.
4. Be on time and always come prepared. Give the folks you meet with constituent data, research and a simple and convincing “Ask.”
5. Let it be a conversation, not a one-way street. Make sure you engage in a dialogue, not a monologue. Listening can be even more important than talking!
Photo, left to right: Justin Emord, Wedgie Accessories and professional musician; Ana Loehnert, Cordoba Music Group, Inc.; Congressman Ted Lieu, 33rd District, California; Timothy Miklaucic, founder and CEO of Cordoba Music Group, Inc.; David Jewell, Yamaha.
Here’s the second chapter in the History of Disklavier:
Disklavier PRO
An important historical moment in the evolution of the Disklavier occurred in 1998. The new PRO Disklavier — with a Mark IIXG control unit — offered unprecedented recording accuracy and playback realism.
With improved solenoids and a new moving magnet sensor and key sensor servo, the Disklavier PRO was capable of recording and playing back performance data with greater resolution than the MIDI spec normally accommodates.
Prior to the Disklavier PRO, all models of Disklavier were somewhat limited with respect to their playback dynamic range. Thunderous chords would be played back a bit softer than recorded and whisper-quiet playing would be played back a bit louder.
The Disklavier PRO, on the other hand, was capable of reproducing the full range of dynamics — and it did so with 8 times the resolution of normal MIDI data, recording hammer velocity, key down velocity, and key up velocity on a high resolution scale of 0-1023. The instrument used normally unused MIDI controller messages combined with key aftertouch messages to store the extra bits of resolution in a Type 0 Standard MIDI File. This high-resolution performance data was called extended precision (XP) data.
With the introduction of the Disklavier PRO, pedals were no longer limited to 16 increments but were recorded on a scale of 0-127, thus taking advantage of the full granularity of the MIDI specification. The PRO even recorded and accurately reproduced brushed notes – keys that were moved slightly during the performance without the hammers actually hitting the strings.
Available only in C3 (6’1″) and larger grand pianos, the Disklavier PRO looked outwardly like any other Mark IIXG Disklavier. Its control unit provided the same user functions as other Mark IIXG pianos. There was one important difference, however: The Mark IIXG PRO was the first Disklavier grand to include the Silent system.
Within three years of the initial release of the Disklavier PRO, a firmware upgrade added the capability of recording and playing back MIDI performances that were synchronized with MIDI Time Code (MTC). When used with a converter, Disklavier PRO recordings could be synchronized with video using industry-standard SMTPE time code.
In 2002, the Minnesota International Piano-e-Competition made history by enabling pianist Yefim Bronfman to judge the competition from Japan. The sonata round of the event was recorded with a Disklavier PRO concert grand piano with synchronized video. The video and MIDI files were uploaded over the Internet and reproduced for Bronfman in Japan, where he watched the contestants on a large screen and listened to a concert grand Disklavier reproduce the performances.
Disklavier PRO 2000
In 2000, in celebration of the 100th anniversary of the very first Yamaha piano, Yamaha presented the world with a concept piano that demonstrated remarkable, future possibilities. Called the Disklavier PRO 2000 it was a C7 (7’6″) piano with a Disklavier PRO system installed, housed in a case that was based on the modern design called Neo.
The PRO 2000 was visually noteworthy for its clear, acrylic glass, split lid and built-in computer monitor. Indeed, the piano came with a Windows 98 PC mounted underneath and connected to a touchscreen monitor that was positioned to the left of the clear music desk.
In addition to providing video-synchronized performances, the PRO 2000 also included score-following software called Home Concert 2000 from TimeWarp Technologies, as well as an advanced generator that included a built-in performance mode.
Only 9 of these instruments were produced, and they were later sold for $333,000, making them the most expensive Yamaha piano of all time.
Want to continue learning about the History of Disklavier? Join us for the next chapter (third of four) here.
And if you missed it, catch up on the first chapter and learn about the inception of the Disklavier here.
And at any time, you can keep up with what is happening at the dedicated site for Yamaha Disklavier.
You love spending time outdoors in the summer. The warm air, the cool breezes, the longer days, ahhhh … the only thing that could make it better is a little music.
A pair of outdoor speakers are exactly what you need. But are they easy to install? After all, you don’t want to be sweating over your sound system when you could be relaxing instead.
Well you’re in luck! Installing Yamaha outdoor speakersis faster and easier than you think. Just follow these simple step-by-step instructions and before you know it, you’ll be enjoying your favorite tunes in the sun!
Getting Started
1. Pick an installation spot.
2. Run your speaker wire to the installation spot.
Preparing
1. Make sure you have all the parts you need. You should have:
• 2 speakers
• 2 brackets
• 4 knobs
• 8 mounting screws (not included)
Installing the Mounting Bracket
1. Hold the bracket up to the installation spot, and verify that it’s level. There are useful bubble level apps available for your smartphone.
Installing the Mounting Bracket - (continued)
2. Mark four screw holes with a pencil.
Installing the Mounting Bracket (continued)
3. Use appropriate mounting screws to attach the bracket securely to the wall/ceiling.
Connecting to Your Amplifier/Receiver
1. Make sure your amplifier/receiver is powered off.
2. Remove about 3/8" of the insulation from the end of the wire.
3. Loosen the terminal knob, and insert one exposed wire into the hole on each side of the terminal.
4. Observe the speaker polarity. Red is positive (+), and black is negative (-).
5. Tighten the terminal knob to secure the wire.
Mounting the Speaker
1. Place the speaker in the bracket and use the two knobs provided to secure it.
Mounting the Speaker (continued)
2. Put the finishing touch on your speaker by rotating the Yamaha emblem so that it’s parallel to the bottom edge of the speaker.
Voila! Now you can enjoy those balmy days even more with your favorite tunes playing in the background.
The history of the piano is a history of technological change and innovation, starting over 300 years ago with the escapement action of Bartolomeo Cristofori and continuing with knee levers, pedals, action modifications, cast iron frame, and so much more. This dynamic history has been the result of the passionate interaction between keyboard players, composers, and instrument makers.
In the 1970s, solenoid-based player systems were added to pianos for the first time. In 1987, Yamaha took that concept to a new level of quality and ease of use by introducing the Disklavier reproducing piano to North America.
The term Disklavier is a clever combination of the words disk (as in floppy disk) and Klavier, the German word for keyboard. At the time that the Disklavier was introduced, recordings were stored on 3½ inch floppy disks.
The Disklavier is fundamentally a traditional, acoustic piano with a built-in record-and-playback system. The record-and-playback system and its related features have changed substantially over the years, but one aspect of the Disklavier has remained constant: The Disklavier system has always been offered as a factory-installed system – never as a retrofit for existing pianos.
MX100A and MX100B (1987)
The first model Disklavier was the MX100A, which was available in a studio model upright called the U1. The control unit was built into the cabinet.
The MX100A featured a remarkably sophisticated recording system for its day, a system that included hammer sensors — an innovation that was not available on most player piano systems from other companies at that time. Pedal sensors on these early instruments, however, were limited to recording only two values: on and off (or fully down and fully up).
This early Disklavier model included fundamental features that have been included on every Disklavier since - such as tempo control, transposition, and connectivity with external MIDI devices.
In a short period of time, the MX100A was superseded by the MX100B. The most noticeable difference was the color of the LED display on the control unit, which was changed from red to green.
Both the MX100A and the MX100B pre-dated the industry-standard song file format known as Standard MIDI Files (SMF), which is the format used today. For this reason, these early Disklaviers recorded in the proprietary MIDI format from Yamaha known as E-SEQ. Although modern Disklaviers do not record in E-SEQ format, they will read this older type of song file and even convert E-SEQ to SMF. E-SEQ song files were stored on double-density (DD) 3½ inch floppy disks.
Wagon Grand
Starting in 1989, Yamaha began marketing the Disklavier system in the various grand piano models that were available at the time. The control unit had a rather substantial power supply that required it to be housed in a 30" cabinet on wheels that was often referred to as a wagon. Lacking a more formal model designation, these instruments became informally known as Wagon Grand Disklaviers.
Like the MX100A and MX100B, the Wagon Grand provided hammer sensors. It also featured 16 increments of pedal recording — an important step forward in the evolution of the instrument. Like the MX100A and MX100B, the Wagon Grand recorded on DD floppy disks in E-SEQ format.
Mark II and Mark IIXG (1992)
A number of consumer and standard models of Disklavier were introduced in the early-to-mid 1990s. Most noteworthy were the Mark II and Mark IIXG systems. These were available in the studio model and U1 upright, as well as in most sizes of grand pianos.
The first of these was the Mark II, which made its debut in 1990. In the case of the upright version, the control unit was built into the cabinet, as it was in the case of the MX100A and MX100B. The Mark II control unit, however, was much more sophisticated, offering many more options for copying song files, MIDI configuration, and so forth. The instrument recorded on DD floppy disks in E-SEQ format, but was able to play song files in the SMF format known as Type 0.
The Mark II control unit for grand pianos did not have a wagon control unit. Instead, a relatively small control unit was devised for this instrument and mounted under the keys.
The Mark IIXG followed the Mark II in 1992. Its control unit was a bit smaller but was packed with many new features, including:
– Built-in tone generator with 128 General MIDI (GM) voices and drum kit, as well as the Yamaha extended GM voice set known as XG.
– Multitrack recording.
– Recording in SMF Type 0 format.
– Playback of both SMF Type 0 and Type 1 song files.
– Support for both DD and HD (high density) floppy disks.
– Conversion of song files between E-SEQ and SMF.
– Built-in memory for storing song files.
– More features for song file management.
– Improved support for MIDI interaction with computers.
– Support for future firmware upgrades.
During the 1990s, it was possible to obtain a kit that would upgrade a Mark II to a Mark IIXG.
Disklaviers with Silent Systems
During the era of the Mark II and the Mark IIXG, a number of upright (U1) versions of the Disklavier were introduced that were equipped with a Silent system. This system provided a mute rail that, when engaged, would allow a full keystroke but prevent the hammer from hitting the string. This made it possible for a pianist to play the instrument with headphones on, listening to an advanced digital piano sample.
The Silent system was not available in grand piano models until the Disklavier PRO was released.
Want to continue learning about the History of Disklavier? Check out the next chapter (second of four) available here.
You can also keep up with the latest at our dedicated site for Yamaha Disklavier.
If you’re a neat freak (it’s OK to admit it), the humble banana plug is your friend. So named for its resemblance to a favorite source of potassium and pratfalls, the banana plug is used to finish off the exposed ends of speaker wire and make them easier to plug into your receiver or speakers. Although it takes a little time to install them, they make things easier if you plan to connect and disconnect your speaker wires often. They also make for a much cleaner and more professional look than the exposed end of a speaker wire hanging out of the back of your receiver.
Installing banana plugs is simple. Here’s what you’ll need:
- Speaker wire (enough to go from your receiver to your speakers)
- Banana plugs (two for each end of each wire)
- Wire stripper
Before you begin, be sure to power off your receiver.
1. Use the wire strippers to strip off 1/4" of the speaker wire insulation.
2. Twist the ends of the exposed copper wire so that the strands stay together.
3. Unscrew the bottom of the banana plug so that the hole is open.
There are different types of banana plugs, but they all basically have a hole into which you insert the wire and a screw that you tighten to hold the wire in place.
Let’s talk about convention for a minute. Some speaker wire pairs consist of a black wire and a red wire. In other speaker wires, if you look closely, you’ll see that one wire of each pair has writing on it. The red wire or the wire with writing on it is the positive wire. There are other methods of indicating the positive wire. The important thing is to connect the positive wire to the red terminals on your receiver and the red terminals on your speakers.
4. Insert the twisted wire into the hole.
5. Screw the bottom of the banana plug in so that it holds the wire tightly.
6. Insert the red banana plug into the appropriate red jack on the receiver.
7. Repeat this process for the negative (black) speaker wire, inserting it into the black jack on the receiver.
8. To connect the speaker wire to your speakers, insert the red banana into the red binding post on your speaker and the black banana into the black binding post.
Now you’re ready to power on your receiver and adjust the settings - and you won’t have to cringe when you look behind it!
The relationship between the music directors and principal is key. At Fishers, we have more than 900 students in our music program with six band classes, five orchestras and six choirs during the day as well as many extracurricular ensembles. So it is absolutely vital to share the progress and happenings of our program with the principal. A regular stop by the office builds trust and rapport and opens the door for clear communication with administration.
Many schools have a booster organization for the entire performing arts program; others have separate parent groups for band, orchestra and choir. Whatever the case, make sure your program establishes an organization that is student-focused and holds monthly meetings to keep parents connected regarding ensemble happenings.
