Re: [Finale] Perc. Sounds (OT)
Dean M. Estabrook wrote: For your collective wisdom ... I'm writing a piece for Wind Ensemble involving several short movements, one of which is an arrangement of I Ride an Old Paint. Essentially it's an oboe solo with chords below in the lower w.w. and light brass insts. I'm thinking it might be effective to have a clip-clop sound in the perc., but I wonder if that would be viable since it's in slow, lazy, triple time. Like, do horses amble in three-four ..it's been a long time since I've ridden? And if it might be workable, what perc. inst might best suit the purpose ... woodblocks in a couple of sizes or temple blocks? If anyone cares to check it out, I'll gladly attach the file to an e mail. Dennis has given one reply. I'd counter his reply (although I certainly won't claim that his points are invalid) by pointing out that the Light Cavalry Overture is very evocative of horses (certainly for those of us who don't ride horses) in it's 6/8 section which has this rhythm: 2 16th-note pickup into a measure built of 8th-note/8th-rest/2-16th-notes/8th-note/8th-rest/2-16th-notes/ which is repeated over and over. The 2 16th pickups and the final 2 16ths (pickups into the next measure) are a rising melodic line while the 2 16th-notes at the end of the first group are repeated on the same pitch. So it might be possible to work out an arrangement with the melody being played in 3/4 and an underlying 6/8 accompaniment. But how realistic this would be to actual horse gaits I would be the last person to try to discuss. :-) -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Perc. Sounds (OT)
At 06:21 AM 11/6/06 -0500, dhbailey wrote: the Light Cavalry Overture is very evocative of horses (certainly for those of us who don't ride horses) in it's 6/8 section which has this rhythm: 2 16th-note pickup into a measure built of 8th-note/8th-rest/2-16th-notes/8th-note/8th-rest/2-16th-notes/ which is repeated over and over. The 2 16th pickups and the final 2 16ths (pickups into the next measure) are a rising melodic line while the 2 16th-notes at the end of the first group are repeated on the same pitch. Yes, that's the gallop rhythm, which is a clustered group of four sounding footfalls closely associated as three to the ear in the rhythm you illustrate. At a moderate gallop it sounds like 6/8. I'd guess it's the most familiar horse imitation (aside from the walk in Grand Canyon Suite) and gets done with inverted paper cups at family dinner tables. :) The article on horse gaits (Introduction to Gait Analysis) is on line: http://cvm.msu.edu/Dressage/Upload/Clayton%20archives%20for%20WWW/USDF_Dec01.pdf The reference to rhythms and beats is to the arrangement of footfalls, and the diagrams show how it works. The gallop is not part of dressage, so it's only briefly mentioned in the article ... as a 4-beat rhythm. None of this is really helpful to the original question, though, which has to do with the layperson's perception of a horsey sound. (One of my other hats is very, very occasionally writing dressage music -- not about horse gaits, but for them. Most riders like to pull from established tunes, so http://equestrianmusic.com/ gets very few customers. It's a pain to write for canter, but walk and trot aren't hard. The nasty stuff is the piaffe and passage, which is a real test of rhythm in the horse-ride combination.) Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Perc. Sounds (OT)
At 5:53 PM -0800 11/5/06, Dean M. Estabrook wrote: For your collective wisdom ... I'm writing a piece for Wind Ensemble involving several short movements, one of which is an arrangement of I Ride an Old Paint. Essentially it's an oboe solo with chords below in the lower w.w. and light brass insts. I'm thinking it might be effective to have a clip-clop sound in the perc., but I wonder if that would be viable since it's in slow, lazy, triple time. Like, do horses amble in three-four ..it's been a long time since I've ridden? And if it might be workable, what perc. inst might best suit the purpose ... woodblocks in a couple of sizes or temple blocks? What, horses can't waltz?! The Lippezaners (sp?) certainly can! I don't see the meter as a problem, as long as you alternate two sounds in the 3-beat, or even a 2-against-3 for an even lazier walking pace. Low temple blocks are the usual choice; wood blocks are possible, but generally too high pitched. I believe that the old sound effects guys back in the days of radio drama used something like a coconut cut in half, so each half could give a dual sound--sort of a flam or ka-Bump. But of course all their tricks were designed for close miking, not for live performance in a hall. Appeal to authority: I just checked Russ Girsberger, A Practical Guide to Percussion Terminology. Horse hooves: Coconut shells or wooden blocks, split in half and hollowed out. They are struck on a hard surface to imitate the sound of horse hoof beats. QED John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Perc. Sounds (OT)
Interesting John ... I hadn't thought of the 2 against 3 idea. Thanks, Dean On Nov 6, 2006, at 8:53 AM, John Howell wrote: At 5:53 PM -0800 11/5/06, Dean M. Estabrook wrote: For your collective wisdom ... I'm writing a piece for Wind Ensemble involving several short movements, one of which is an arrangement of I Ride an Old Paint. Essentially it's an oboe solo with chords below in the lower w.w. and light brass insts. I'm thinking it might be effective to have a clip-clop sound in the perc., but I wonder if that would be viable since it's in slow, lazy, triple time. Like, do horses amble in three- four ..it's been a long time since I've ridden? And if it might be workable, what perc. inst might best suit the purpose ... woodblocks in a couple of sizes or temple blocks? What, horses can't waltz?! The Lippezaners (sp?) certainly can! I don't see the meter as a problem, as long as you alternate two sounds in the 3-beat, or even a 2-against-3 for an even lazier walking pace. Low temple blocks are the usual choice; wood blocks are possible, but generally too high pitched. I believe that the old sound effects guys back in the days of radio drama used something like a coconut cut in half, so each half could give a dual sound--sort of a flam or ka-Bump. But of course all their tricks were designed for close miking, not for live performance in a hall. Appeal to authority: I just checked Russ Girsberger, A Practical Guide to Percussion Terminology. Horse hooves: Coconut shells or wooden blocks, split in half and hollowed out. They are struck on a hard surface to imitate the sound of horse hoof beats. QED John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Dean M. Estabrook [EMAIL PROTECTED] Have you ever heard of an eleven or thirteen step program? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Perc. Sounds (OT)
At 8:23 PM -0800 11/5/06, Dean M. Estabrook wrote: Hey folks thanks for all the good info. I think I've decided to go with four multi-pitched temple blocks using a dotted eighth/16 pattern on every beat ... kind of that Happy Trails sound, if you know what I mean. Although I do think of horse's gaits to be more triplet rather than the sharper rhythm of the dotted figure. But whatever works for you. Now, any suggestions as to which sort of mallets would be best? The tempo and feel is marked, Languidly. The quarter note is getting about 54. Now THAT is a question best left to your percussionist! Giving a mood indication is a great help, and would probably suggest yarn mallets, but there are infinite gradations of those. And BTW, Dennis ... I think you are correct ... the canter does feel as if it's in 3 to me. I'm not sure what gait cowboys would have used riding around a herd at night, but I'm not going to worry about it. Hey, the dance steps to the Elizabethan galliard (or sinkapace--5-step) are 5 weight changes in 6 beats. If it was good enough for Liz, it should have been good enough for her horse! John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Perc. Sounds (OT)
Yes ... I think the Lt.Cav. sound would suit a lively tempo much better than the quarter = 54 about which I'm talking. My vision is that of cowboys lazily riding along side the herd ... at least that's what the text of the song implies to me ...Ride around little dogies, ride 'round and slow ... etc. I'm still not sure which would be the best mallets for my temple blocks though (hard xylophone, timp mallets, or what). Thanks for the great discussion ... Dean Dennis has given one reply. I'd counter his reply (although I certainly won't claim that his points are invalid) by pointing out that the Light Cavalry Overture is very evocative of horses (certainly for those of us who don't ride horses) in it's 6/8 section which has this rhythm: 2 16th-note pickup into a measure built of 8th-note/8th-rest/2-16th-notes/8th-note/8th-rest/2-16th- notes/ which is repeated over and over. The 2 16th pickups and the final 2 16ths (pickups into the next measure) are a rising melodic line while the 2 16th-notes at the end of the first group are repeated on the same pitch. So it might be possible to work out an arrangement with the melody being played in 3/4 and an underlying 6/8 accompaniment. But how realistic this would be to actual horse gaits I would be the last person to try to discuss. :-) -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Dean M. Estabrook [EMAIL PROTECTED] Have you ever heard of an eleven or thirteen step program? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Perc. Sounds (OT)
Whoh (no pun intended) ... this is taking me into a most fascinating territory ... one which was totally unexpected. Thanks, Dean On Nov 6, 2006, at 5:46 AM, Dennis Bathory-Kitsz wrote: Yes, that's the gallop rhythm, which is a clustered group of four sounding footfalls closely associated as three to the ear in the rhythm you illustrate. At a moderate gallop it sounds like 6/8. I'd guess it's the most familiar horse imitation (aside from the walk in Grand Canyon Suite) and gets done with inverted paper cups at family dinner tables. :) The article on horse gaits (Introduction to Gait Analysis) is on line: http://cvm.msu.edu/Dressage/Upload/Clayton%20archives%20for%20WWW/ USDF_Dec01.pdf The reference to rhythms and beats is to the arrangement of footfalls, and the diagrams show how it works. The gallop is not part of dressage, so it's only briefly mentioned in the article ... as a 4-beat rhythm. None of this is really helpful to the original question, though, which has to do with the layperson's perception of a horsey sound. (One of my other hats is very, very occasionally writing dressage music -- not about horse gaits, but for them. Most riders like to pull from established tunes, so http://equestrianmusic.com/ gets very few customers. It's a pain to write for canter, but walk and trot aren't hard. The nasty stuff is the piaffe and passage, which is a real test of rhythm in the horse-ride combination.) Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Dean M. Estabrook [EMAIL PROTECTED] Have you ever heard of an eleven or thirteen step program? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Perc. Sounds (OT)
Why do you need to be that specific, down to mallet choices? Is your horse on grass, hard dirt, pavement, or rock? The choices are almost endless. Why not let the percussionist decide what sounds best with the instruments he/she has available? One brand of temple blocks may sound correct with rubber mallets while another might be correct with hard yarn mallets. On the other hand Tocca blocks (often used in place of the more expensive and less versatile temple blocks) may sound better with felt mallets. Instinctively I think I would lean toward a medium-hard rubber xylophone mallet, so as to not get too much articulation (more of a clop-clop than a clip-clip), but the choice would vary considerably depending on the specific block(s), the ensemble, the acoustics of the venue, etc. Chuck May Percussionist Gettysburg PA [EMAIL PROTECTED] 717-339-0209 717-512-7979 (cell) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Dean M. Estabrook Sent: Sunday, November 05, 2006 11:24 PM To: finale@shsu.edu Subject: Re: [Finale] Perc. Sounds (OT) Hey folks thanks for all the good info. I think I've decided to go with four multi-pitched temple blocks using a dotted eighth/16 pattern on every beat ... kind of that Happy Trails sound, if you know what I mean. Now, any suggestions as to which sort of mallets would be best? The tempo and feel is marked, Languidly. The quarter note is getting about 54. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Perc. Sounds (OT)
Again, a very good idea. Even as I thought of the dotted 8th/16th pattern, something bothered me about it. I do think the triplet figure would soften up the thing and help achieve the lazy sound I'm after. Thanks again ... Dean On Nov 6, 2006, at 9:05 AM, John Howell wrote: At 8:23 PM -0800 11/5/06, Dean M. Estabrook wrote: Hey folks thanks for all the good info. I think I've decided to go with four multi-pitched temple blocks using a dotted eighth/ 16 pattern on every beat ... kind of that Happy Trails sound, if you know what I mean. Although I do think of horse's gaits to be more triplet rather than the sharper rhythm of the dotted figure. But whatever works for you. Now, any suggestions as to which sort of mallets would be best? The tempo and feel is marked, Languidly. The quarter note is getting about 54. Now THAT is a question best left to your percussionist! Giving a mood indication is a great help, and would probably suggest yarn mallets, but there are infinite gradations of those. And BTW, Dennis ... I think you are correct ... the canter does feel as if it's in 3 to me. I'm not sure what gait cowboys would have used riding around a herd at night, but I'm not going to worry about it. Hey, the dance steps to the Elizabethan galliard (or sinkapace--5-step) are 5 weight changes in 6 beats. If it was good enough for Liz, it should have been good enough for her horse! John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Dean M. Estabrook [EMAIL PROTECTED] Have you ever heard of an eleven or thirteen step program? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Perc. Sounds (OT)
Grofe's On the Trail movement from _Grand Canyon Suite_ splits the difference rhythmically, with the woodwinds in 6/8 while the 4 temple blocks play duplets. I suppose loping would describe the horse effect achieved. For a look at a sound effects guy in action using the coconut halves, PBS showed the Prairie Home Companion 30th Anniversary Show last night, which included a faux cowboy skit and song with same, being played softly in a cardboard box filled with gravel. Perhaps the show will play later in the week in your area. Raymond Horton - Original Message - From: John Howell [EMAIL PROTECTED] Date: Monday, November 6, 2006 11:58 Subject: Re: [Finale] Perc. Sounds (OT) To: finale@shsu.edu At 5:53 PM -0800 11/5/06, Dean M. Estabrook wrote: For your collective wisdom ... I'm writing a piece for Wind Ensemble involving several short movements, one of which is an arrangement of I Ride an Old Paint. Essentially it's an oboe solo with chords below in the lower w.w. and light brass insts. I'm thinking it might be effective to have a clip-clop sound in the perc., but I wonder if that would be viable since it's in slow, lazy, triple time. Like, do horses amble in three-four ..it's been a long time since I've ridden? And if it might be workable, what perc. inst might best suit the purpose ... woodblocks in a couple of sizes or temple blocks? What, horses can't waltz?! The Lippezaners (sp?) certainly can! I don't see the meter as a problem, as long as you alternate two sounds in the 3-beat, or even a 2-against-3 for an even lazier walking pace. Low temple blocks are the usual choice; wood blocks are possible, but generally too high pitched. I believe that the old sound effects guys back in the days of radio drama used something like a coconut cut in half, so each half could give a dual sound--sort of a flam or ka-Bump. But of course all their tricks were designed for close miking, not for live performance in a hall. Appeal to authority: I just checked Russ Girsberger, A Practical Guide to Percussion Terminology. Horse hooves: Coconut shells or wooden blocks, split in half and hollowed out. They are struck on a hard surface to imitate the sound of horse hoof beats. QED John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Perc. Sounds (OT)
Cool ... thanks for the tip. Dean On Nov 6, 2006, at 9:36 AM, [EMAIL PROTECTED] wrote: Grofe's On the Trail movement from _Grand Canyon Suite_ splits the difference rhythmically, with the woodwinds in 6/8 while the 4 temple blocks play duplets. I suppose loping would describe the horse effect achieved. For a look at a sound effects guy in action using the coconut halves, PBS showed the Prairie Home Companion 30th Anniversary Show last night, which included a faux cowboy skit and song with same, being played softly in a cardboard box filled with gravel. Perhaps the show will play later in the week in your area. Raymond Horton - Original Message - From: John Howell [EMAIL PROTECTED] Date: Monday, November 6, 2006 11:58 Subject: Re: [Finale] Perc. Sounds (OT) To: finale@shsu.edu At 5:53 PM -0800 11/5/06, Dean M. Estabrook wrote: For your collective wisdom ... I'm writing a piece for Wind Ensemble involving several short movements, one of which is an arrangement of I Ride an Old Paint. Essentially it's an oboe solo with chords below in the lower w.w. and light brass insts. I'm thinking it might be effective to have a clip-clop sound in the perc., but I wonder if that would be viable since it's in slow, lazy, triple time. Like, do horses amble in three-four ..it's been a long time since I've ridden? And if it might be workable, what perc. inst might best suit the purpose ... woodblocks in a couple of sizes or temple blocks? What, horses can't waltz?! The Lippezaners (sp?) certainly can! I don't see the meter as a problem, as long as you alternate two sounds in the 3-beat, or even a 2-against-3 for an even lazier walking pace. Low temple blocks are the usual choice; wood blocks are possible, but generally too high pitched. I believe that the old sound effects guys back in the days of radio drama used something like a coconut cut in half, so each half could give a dual sound--sort of a flam or ka-Bump. But of course all their tricks were designed for close miking, not for live performance in a hall. Appeal to authority: I just checked Russ Girsberger, A Practical Guide to Percussion Terminology. Horse hooves: Coconut shells or wooden blocks, split in half and hollowed out. They are struck on a hard surface to imitate the sound of horse hoof beats. QED John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Dean M. Estabrook [EMAIL PROTECTED] Have you ever heard of an eleven or thirteen step program? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Perc. Sounds (OT)
Good info again. I thank you. Yeah, I suffer from the premise that the composer has to micromanage too many times. I found that to be true of a lot of string writing also... mostly they just want the notes and they take care of the rest. Dean On Nov 6, 2006, at 9:16 AM, Chuck May wrote: Why do you need to be that specific, down to mallet choices? Is your horse on grass, hard dirt, pavement, or rock? The choices are almost endless. Why not let the percussionist decide what sounds best with the instruments he/she has available? One brand of temple blocks may sound correct with rubber mallets while another might be correct with hard yarn mallets. On the other hand Tocca blocks (often used in place of the more expensive and less versatile temple blocks) may sound better with felt mallets. Instinctively I think I would lean toward a medium-hard rubber xylophone mallet, so as to not get too much articulation (more of a clop-clop than a clip-clip), but the choice would vary considerably depending on the specific block(s), the ensemble, the acoustics of the venue, etc. Chuck May Percussionist Gettysburg PA [EMAIL PROTECTED] 717-339-0209 717-512-7979 (cell) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Dean M. Estabrook Sent: Sunday, November 05, 2006 11:24 PM To: finale@shsu.edu Subject: Re: [Finale] Perc. Sounds (OT) Hey folks thanks for all the good info. I think I've decided to go with four multi-pitched temple blocks using a dotted eighth/16 pattern on every beat ... kind of that Happy Trails sound, if you know what I mean. Now, any suggestions as to which sort of mallets would be best? The tempo and feel is marked, Languidly. The quarter note is getting about 54. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Dean M. Estabrook [EMAIL PROTECTED] Have you ever heard of an eleven or thirteen step program? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Perc. Sounds (OT)
At 05:53 PM 11/5/06 -0800, Dean M. Estabrook wrote: do horses amble in three-four ..it's been a long time since I've ridden? The canter is considered a three-beat stride. From 'Introduction to Gait Analysis': The three beats of the canter are closely spaced in time, but the third beat is followed by a longer interval that includes the airborne phase before the first beat of the next stride. Horse people always call it three beats, and my equestrienne wife and I always get into a you-anal-compulsive/you-non-musician argument about it. :) Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Perc. Sounds (OT)
Dean M. Estabrook wrote: I'm thinking it might be effective to have a clip-clop sound in the perc., but I wonder if that would be viable since it's in slow, lazy, triple time. Like, do horses amble in three-four ..it's been a long time since I've ridden? At slow speeds, I'd think it would be a more duple time clip clop, but to me, with an weak clip on beat three, and a strong clop on beat one, it sounds like a faster gait. Seems to me a band director told me that the traditional sound for horses hooves was an instrument made from coconut shells. Been so long ago, though, that even if I'm right, they may have been supplanted by something else. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Perc. Sounds (OT)
Think of the rhythm in Light Cavalry -- du-dl-LUM DA DUM, du-dl-LUM DA DUM. I would think if you wrote two 16th notes as a pick-up, and a downbeat, on each of your slow beats it would come out OK. As far as instruments, the classic is coconut shells on a board, but it would most commonly be played on wood block or temple blocks. It wouldn't need to be multi-toned. Chuck May Percussionist Gettysburg PA [EMAIL PROTECTED] http://www.may-engineering.com -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Dennis Bathory-Kitsz Sent: Sunday, November 05, 2006 9:23 PM To: finale@shsu.edu Subject: Re: [Finale] Perc. Sounds (OT) At 05:53 PM 11/5/06 -0800, Dean M. Estabrook wrote: do horses amble in three-four ..it's been a long time since I've ridden? The canter is considered a three-beat stride. From 'Introduction to Gait Analysis': The three beats of the canter are closely spaced in time, but the third beat is followed by a longer interval that includes the airborne phase before the first beat of the next stride. Horse people always call it three beats, and my equestrienne wife and I always get into a you-anal-compulsive/you-non-musician argument about it. :) Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Perc. Sounds (OT)
Hey folks thanks for all the good info. I think I've decided to go with four multi-pitched temple blocks using a dotted eighth/16 pattern on every beat ... kind of that Happy Trails sound, if you know what I mean. Now, any suggestions as to which sort of mallets would be best? The tempo and feel is marked, Languidly. The quarter note is getting about 54. And BTW, Dennis ... I think you are correct ... the canter does feel as if it's in 3 to me. I'm not sure what gait cowboys would have used riding around a herd at night, but I'm not going to worry about it. Thanks again ... Dean On Nov 5, 2006, at 6:22 PM, Dennis Bathory-Kitsz wrote: At 05:53 PM 11/5/06 -0800, Dean M. Estabrook wrote: do horses amble in three-four ..it's been a long time since I've ridden? The canter is considered a three-beat stride. From 'Introduction to Gait Analysis': The three beats of the canter are closely spaced in time, but the third beat is followed by a longer interval that includes the airborne phase before the first beat of the next stride. Horse people always call it three beats, and my equestrienne wife and I always get into a you-anal-compulsive/you-non-musician argument about it. :) Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Dean M. Estabrook [EMAIL PROTECTED] Have you ever heard of an eleven or thirteen step program? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
