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The glockenspiel is limited to the upper register and typically covers between 2 + 1 ⁄ 2 and 3 octaves, though certain professional models may reach up to 3 + 1 ⁄ 2 octaves. [4] The glockenspiel is often a transposing instrument and sounds two octaves above the written pitch, though this is sometimes remedied by using an octave clef. [5]
From the mid/late-1980s on, Peart utilized MIDI trigger pads to trigger sounds sampled from various pieces of acoustic percussion that would otherwise consume far too much stage area, such as a marimba, harp, temple blocks, triangles, glockenspiel, orchestra bells, tubular bells, timpani and vibra-slap as well as other, more esoteric percussion ...
Church bells were revolutionized by Deagan through his design of tubular bells, and the NBC chimes were Deagan's creation. [1] Railroad passengers were summoned to the dining car with "G-E-C" played on a Deagan chime. [2] The brand name ultimately was acquired by Yamaha, in 1984, and they distribute and sell products with the Deagan name.
The glockenspiel is the mallet percussion instrument most often used as a part of the battery. The tradition of marching the glockenspiel as part of the battery is common in many countries, such as in the Filipino drum and lyre corps.
They sound one octave down from the glockenspiel, or one octave above concert pitch and generally have a range of 2 + 1 ⁄ 2 octaves. Song bells have been made by various makers at different times but were first introduced by J. C. Deagan, Inc. in 1918 and manufactured by the company until 1924. [2] [3]
Some can be as small a range as 2 + 1 ⁄ 2 octaves but concert xylophones are typically 3 + 1 ⁄ 2 or 4 octaves. Like the glockenspiel, the xylophone is a transposing instrument: its parts are written one octave below the sounding notes. [5] Concert xylophones have tube resonators below the bars to enhance the tone and sustain. Frames are ...
This page was last edited on 11 February 2005, at 13:45 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
In tubular bells, modes 4, 5, and 6 appear to determine the strike tone and have frequencies in the ratios 9 2:11 2:13 2, or 81:121:169, "which are close enough to the ratios 2:3:4 for the ear to consider them nearly harmonic and to use them as a basis for establishing a virtual pitch". [3]
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