Melody

A melody (from Greek μελῳδία - melōidía, "singing, chanting"), also tune, voice, or line, is a linear succession of musical tones that the listener perceives as a single entity. It also is an exponential succession of musical tones perceived as two entities. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively, the term can include successions of other musical elements such as tone color. It may be considered the foreground to the background accompaniment. A line or part need not be a foreground melody.
Melodies often consist of one or more musical phrases or motifs, and are usually repeated throughout a song or piece in various forms. Melodies may also be described by their melodic motion or the pitches or the intervals between pitches (predominantly conjunct or disjunct or with further restrictions), pitch range, tension and release, continuity and coherence, cadence, and shape.
Given the many and varied elements and styles of melody "many extant explanations [of melody] confine us to specific stylistic models, and they are too exclusive." Paul Narveson claimed in 1984 that more than three-quarters of melodic topics had not been explored thoroughly.
The melodies existing in most European music written before the 20th century, and popular music throughout the 20th century, featured "fixed and easily discernible frequency patterns", recurring "events, often periodic, at all structural levels" and "recurrence of durations and patterns of durations".
Melodies in the 20th century "utilized a greater variety of pitch resources than ha[d] been the custom in any other historical period of Western music." While the diatonic scale was still used, the chromatic scale became "widely employed." Composers also allotted a structural role to "the qualitative dimensions" that previously had been "almost exclusively reserved for pitch and rhythm". Kliewer states, "The essential elements of any melody are duration, pitch, and quality (timbre), texture, and loudness. Though the same melody may be recognizable when played with a wide variety of timbres and dynamics, the latter may still be an "element of linear ordering"
A part is the music played by an individual instrument or voice (or group of identical instruments or voices) within a larger work, such as a melody. It also refers to the printed copy of the music for each instrument, as distinct from the score, which holds the music for all instruments in an ensemble. For example in a string ensemble you would have separate parts for Violin 1, Violin 2, Viola and Cello, even though there might be several of each instrument (and therefore several copies of each part).
Parts may be an outer part, the two on the top and bottom, or inner part, those in between. Part-writing is the composition of parts in consideration of harmony and counterpoint. Melody can be distinguished from harmony from the fact that Melody can be described as "Notes Over Time" whereas Harmony can be described as "Notes At One Time".
A part in great Highland Bagpipe music is a musical sentence. Usually each part consists of four phrases, either one or two bars long. Several sentences combine to produce a paragraph or complete work or tune.
In a polyphonic context the term voice is used to denote a single melodic line or textural layer. The term is generic, and is not meant to imply that the line should necessarily be vocal in character, instead referring to instrumentation or simply to register.

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CLARINET

The clarinet is a type of woodwind instrument that has a single-reed mouthpiece, a straight cylindrical tube with an approximately cylindrical bore, and a flaring bell. A person who plays the clarinet is called a clarinetist or clarinettist.
The word clarinet may have entered the English language via the French clarinette (the feminine diminutive of Old French clarin or clarion), or from Provençal clarin, "oboe". It "is plainly a diminutive of clarino, the Italian for trumpet", and the Italian clarinetto is the source of the name in many other languages. According to Johann Gottfried Walther, writing in 1732, the reason for the name was that "it sounded from far off not unlike a trumpet". This may indicate its strident quality in the upper register, although in the low register it was "feeble and buzzing". The English form clarinet is found as early as 1733, and the now-archaic clarionet appears from 1784 until the early years of the 20th century.
There are many types of clarinets of differing sizes and pitches, comprising a large family of instruments. The unmodified word clarinet usually refers to the B♭ soprano clarinet, by far the most common type, which has a large range of nearly four octaves. The clarinet family is the largest woodwind family, with more than a dozen types, ranging from the (extremely rare) BBB♭ octo-contrabass to the A♭ piccolo clarinet. Of these, many are rare or obsolete (there is only one BBB♭ octo-contrabass clarinet in existence, for example), and music written for them is usually played on more common versions of the instrument.
Johann Christoph Denner invented the clarinet in Germany around the turn of the 18th century by adding a register key to the earlier chalumeau. Over time, additional keywork and airtight pads were added to improve tone and playability. Today, the clarinet is used in jazz and classical ensembles, in chamber groups, and as a solo instrument.

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EUPHONIUM

The euphonium (like the similar baritone horn; see below for differences) is pitched in concert B♭, meaning that when no valves are in use the instrument will produce partials of the B♭ harmonic series. It is generally orchestrated as a non-transposing instrument like the trombone, written at concert pitch in the bass clef with higher passages in the tenor clef. Treble clef euphonium parts transposing down a major ninth are included in much concert band music: in the British-style brass band tradition, euphonium music is always written this way. In continental European band music, parts for the euphonium may be written in the bass clef as a B♭ transposing instrument sounding a major second lower than written.
Professional models have three top-action valves, played with the first three fingers of the right hand, plus a "compensating" fourth valve, generally found midway down the right side of the instrument, played with the left index finger; such an instrument is shown in the above picture. Beginner models often have only the three top-action valves, while some intermediate "student" models may have a fourth top-action valve, played with the fourth finger of the right hand. Compensating systems are expensive to build, and there is in general a substantial difference in price between compensating and non-compensating models. For a thorough discussion of the valves and the compensation system, see the article on brass instruments
The euphonium has an extensive range, comfortably from E2 to about D5 for intermediate players (using scientific pitch notation). In professional hands this may extend from B0 to as high as B♭5. The lowest notes obtainable depend on the valve set-up of the instrument. All instruments are chromatic down to E2, but 4-valved instruments extend that down to at least C2. Non-compensating four-valved instruments suffer from intonation problems from E♭2 down to C2 and cannot produce the low B1; compensating instruments do not have such intonation problems and can play the low B-natural. From B♭1 down lies the "pedal range", i.e. the fundamentals of the instrument's harmonic series. They are easily produced on the euphonium as compared to other brass instruments, and the extent of the range depends on the make of the instrument in exactly the same way as just described. Thus, on a compensating four-valved instrument, the lowest note possible is B0, sometimes called double pedal B, which is six ledger lines below the bass clef.
As with the other conical-bore instruments, the cornet, flugelhorn, horn, and tuba, the euphonium's tubing gradually increases in diameter throughout its length, resulting in a softer, gentler tone compared to cylindrical-bore instruments such as the trumpet, trombone, sudrophone, and baritone horn. While a truly characteristic euphonium sound is rather hard to define precisely, most players would agree that an ideal sound is dark, rich, warm, and velvety, with virtually no hardness to it. On the other hand, the desired sound varies geographically; European players, especially British ones, generally use a faster, more constant vibrato and a more veiled tone, while Americans tend to prefer a more straightforward, open sound with slower and less frequent vibrato. This also has to do with the different models preferred by British and American players.
Though the euphonium's fingerings are no different from those of the trumpet or tuba, beginning euphoniumists will likely experience significant problems with intonation, response, and range compared to other beginning brass players. In addition, it is very difficult for students, even of high-school age, to develop the rich sound characteristic of the euphonium, due partly to the instrument models used in schools and partly to the lack of awareness of good euphonium sound models.

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DJEMBE

A djembe (pron.: /ˈdʒɛm.bɛ/ JEM-be) (also spelled djembé, jembe, jenbe, djimbe, jimbe, or dyinbe) is a rope-tuned skin-covered goblet drum played with bare hands. According to the Bamana people in Mali, the name of the djembe comes from the saying "Anke djé, anke bé" which translates to "everyone gather together in peace" and defines the drum's purpose. In the Bambara language, "djé" is the verb for "gather" and "bé" translates as "peace".
The djembe has a body (or shell) carved of hardwood and a drumhead made of untreated (not limed) rawhide, most commonly made from goatskin. Excluding rings, djembes have an exterior diameter of 30–38 cm (12–15 in) and a height of 58–63 cm (23–25 in). The majority have a diameter in the 13 to 14 inch range. The weight of a djembe ranges from 5 kg to 13 kg (11–29 lb) and depends on size and shell material. A medium-size djembe carved from one of the traditional woods (including skin, rings, and rope) weighs around 9 kg (20 lb).
The djembe can produce a wide variety of sounds, making it one of the most versatile drums. The drum is very loud, allowing it to be heard clearly as a solo instrument over a large percussion ensemble. The Malinké people say that a skilled drummer is one who "can make the djembe talk", meaning that the player can tell an emotional story. (The djembe was never used by the Malinké as a signaling drum to send messages.)
Traditionally, the djembe is played only by men, as are the dunun that always accompany the djembe. Conversely, other percussion instruments that are commonly played as part of an ensemble, such as the shekere (a hollowed-out gourd covered with a net of beads), karignan (a tubular bell), and kese kese (a woven basket rattle), are usually played by women. Even today, it is rare to see women play djembe or dunun in West Africa and African women express astonishment when they do see a female djembe player.

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GUITARRON MEXICANO

The guitarrón mexicano (literally "Mexican large guitar" in Spanish, the suffix "-ón" denoting "large") or Mexican guitarron, is a very large, deep-bodied Mexican 6-string acoustic bass played traditionally in mariachi groups. Although similar to the guitar, it is not a derivative of that instrument, but was independently developed from the sixteenth-century Spanish bajo de uña. It achieves audibility by its great size, and does not require electric amplification for performances in small venues. The guitarrón is fretless with heavy gauge strings, most commonly nylon for the high three and metal for the low three. The guitarrón is usually played by doubling notes at the octave, a practice facilitated by the standard guitarrón tuning A D G C E A, which uses the same between-strings intervals as a guitar but is a fifth lower overall. Sometimes the high A is lowered an octave putting it one octave above the low A.
The guitarrón was the inspiration behind Ernie Ball's development of the first modern acoustic bass guitar, released on the market in 1972.

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CELEMPUNG

The siter and celempung are plucked string instruments used in Javanese gamelan. They are related to the kacapi used in Sundanese gamelan.
The siter and celempung each have between 11 and 13 pairs of strings, strung on each side, between a box resonator. Typically the strings on one side tuned to pélog and the other to slendro. The siter is generally about a foot long and fits in a box (which it is set upon while played), while the celempung is about three feet long and sits on four legs, and is tuned one octave below the siter. They are used as one of the elaborating instruments (panerusan), that play cengkok (melodic patterns based on the balungan). Both the siter and celempung play at the same speed as the gambang (which is rapidly).
The name "siter" comes from the Dutch word "citer", which corresponds to the English word "zither". "Celempung" is related to the Sundanese musical form celempungan.
The strings of the siter are played with the thumbnails, while the fingers are used to dampen the strings when the next one is hit, as is typical with instruments in the gamelan. The fingers of both hands are used for the damping, with the right hand below the strings and the left hand above them.
Siters and celempung of various sizes are the characteristic instrument in Gamelan Siteran, although they are used in many other varieties of gamelan as well.

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GONG AGENG

The gong ageng (Kromo Javanese meaning large gong, ngoko is gong gedhe) is a musical instrument. It is the largest of the bronze gongs in the Javanese and Balinese gamelan orchestra and the only large gong that is called gong in Javanese. Unlike the more famous Chinese or Turkish tam-tams, Indonesian gongs have fixed, focused pitch, and are dissimilar to the familiar crash cymbal sound. It is circular, with a conical, tapering base of diameter smaller than gong face, with a protruding polished boss where it is struck by a padded mallet. Gongs with diameter as large as 135 centimeters (54 inches) have been created in the past, but gongs larger than about 80 centimeters (32 inches) are more common especially to suit the budget of educational institutions.
There is at least one large gong in each gamelan, but two are common and older gamelans may have three or more. The gong ageng usually has its own name, which may be bestow upon the entire set of instruments. The gong ageng is considered the most important instrument in a gamelan ensemble: the soul or spirit of the gamelan is said to live in it. Gong ageng are often proffered ritual offerings of flowers, food, and/or and incense before performances or each Thursday evening to appease spirits believed to live in and around it.
Commonly, less expensive iron gong ageng or a slit-type gong are made to fulfill the role of the bronze gong, though at the loss of sound quality- for poorer regions and villages. The cost of expertly pure cast & beaten bronze has seen a rise in bronze-plated and bronze-laminated iron gongs created for the undiscerning expatriate.

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