3.5. This is where your One Line Summary will show up!. December 1, 2012.
Musical Example 5.3: Measures 1–4 from Ney Rosauro’s Prelude and Blues, I. Log Cabin Blues (George Hamilton Green). Ney Rosauro in Concert. To view this video download Flash Player.
by Robert P. Here’s where your summary shows up. You can talk about things you like about it, things you don’t, what your expectations were, what you had heard from other people, or whatever you’d like! Hitting the return button after a sentence a couple of times will move your text down to the next line like this, so you can make paragraphs that are easier for people to read.
If you want your photo next to your review, just visit and use the same email address here!
ABSTRACT AN INTRODUCTORY GUIDE TO VIBRAPHONE: FOUR IDIOMATIC PRACTICES AND A SURVEY OF PEDAGOGICAL MATERIAL AND SOLO LITERATURE by Brian Scott Cheesman May 2012 The Vibraphone is the most recent ad dition to the mallet percussion family. In the last sixty to seventy years, the vibraphone has emerged as a legitimate jazz, concert, and solo percussion instrument. The wealth of literature, both solo and pedagogical, is a testament to the instrument’s gain in popularity whether in a solo or ensemble setting.
Since its creation in the early 19 20s, composers, performers, and pedagogues within the jazz, classical, and percussion genres have contributed to the instrument’s rapid gain in popularity. The physical characteristics unique to the vibraphone require the performer to use techniques often not applicable to other m allet percussion instruments.
![Blues Blues](http://realtexhome.com/wp-content/uploads/2016/05/REF.-SC-013-SOBRECAMA-ALGODON-FULL-ITEM-NO.-J116.jpg)
A certain level of proficiency with four-mallet chord voicings, mallet dampening, pedaling, and extended techniques is essential for success on the instrument. However, these techniques have certainly contributed to the vibraphones limited accessibility to high school students, band directors, young undergraduate students, and even some college professors.
The purpose of this study is to introduce four idiomatic practices of vibraphone performance, provide an adequate sampling of the wealth of solo literature and a review of selected, current pedagogical material, and finally to present information about other miscellaneous aspects associated with the instrument to students and teache rs alike with little or no experience on vibraphone. From this study, an individual should gain a.