| Ampero Hal Leonard
SKU: HL.293808 Amp Modeler/Effects Processor. Hotone Pedals. Guita...(+)
SKU: HL.293808 Amp Modeler/Effects Processor. Hotone Pedals. Guitar Pedal. Hal Leonard #MP-100. Published by Hal Leonard (HL.293808). UPC: 888506050022. 10.0x16.0x2.75 inches. The Hotone Ampero Amp Modeler / Effects Processor is a game changer! It's heart pounding amp modeling and uber quality effects are powered by the new-gen, dual-DSP CDCM HD (Comprehensive Dynamic Circuit Modeling High Definition) & F.I.R.E. (Field Impulse Response Enhancement) system. Packaged in a lightweight case with a 4″ hi-def color touch screen, Ampero delivers all the real sounds of rock... past and present. Built on Hotone's powerful XTOMP, acclaimed Binary Series, and breakthrough VStomp Amp virtual plugin, the CDCM HD & F.I.R.E. system showcases Hotone's new high-shelf circuit modeling methods. Unlike the static state circuitry of most mainstream modeling, CDCM HD & F.I.R.E. technology “rebuilds†the entire circuitry using modeled electronic components, resulting in a tone that is vivid, accurate and expressive. CDCM HD & F.I.R.E. provides Ampero with 64 amplifier models, 60 cabinet models, 100+ legendary pedal models, and mic type/position simulations. In addition, Ampero shares the same 244 effects as the ever-growing XTOMP library, as well as 50+ new Hotone original effects and so much more. Ampero can handle up to nine effect modules simultaneously, and even includes a user custom IR loader with 3rd party IR support. Ampero is incredibly easy to set up and program. A straight-forward user interface features a 4″ 800 x 480 touch screen with dynamic color display and three quick access knobs for hands-on parameter tweaking. Its four assignable footswitches with halo LEDs and built-in expression pedal only add to Ampero's overwhelming benefits to electric instrumentalists, acoustic players and keyboardists alike. $399.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Bastien Piano For Adults - Book 1 (CD Only) Piano solo [CD] Kjos Music Company
By Lisa Bastien. Edited by Lori Bastien, Jane Bastien. Bastien Piano. Level: Boo...(+)
By Lisa Bastien. Edited by Lori Bastien, Jane Bastien. Bastien Piano. Level: Book A,1. Music Recording. Published by Neil A. Kjos Music Company.
(2)$15.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The First Step Of The Young Cellist Leduc, Alphonse
SKU: HL.48186495 Composed by Sebastien Lee. Leduc. Classical. Softcover. ...(+)
SKU: HL.48186495 Composed by Sebastien Lee. Leduc. Classical. Softcover. 12 pages. Alphonse Leduc #AL3311. Published by Alphonse Leduc (HL.48186495). UPC: 888680871130. 9.5x12.5 inches. “German cellist, Sebastian Lée (1805-1887) was prominent as a performer and pedagogue in both Germany and France. His methods have been published many times in various countries and continue to be used to this day, The First Step of the Young Cellist being no exception. Lée enjoyed a successful career as a soloist with the Paris Opéra and as a Cello teacher at the Paris Conservatoire. His teaching styles displayed a variety of German and French influences. The First Step of the Young Cellist contains fifty short, easy and progressive pieces with the accompaniment of a second Cello (the teacher). Beginning with semibreve studies, Lée's study book progresses to triplet exercises. The First Step of the Young Cellist is essential to the progression of all aspiring beginners of the instrument.&rdquo. $37.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Al DiMeola Presents The Ultimate First Guitar Book Guitar Hal Leonard
Written by Al DiMeola. For guitar. Format: instructional book. With instructiona...(+)
Written by Al DiMeola. For guitar. Format: instructional book. With instructional text, chord names, guitar chord diagrams and instructional photos. Learn to play and note reading. 48 pages. 9x12 inches. Published by Hal Leonard.
$9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Cello Time Runners (Second Edition) Cello [Sheet music + Audio access] Oxford University Press
Cello, String Methods A second book of easy pieces for cello. Composed by D...(+)
Cello, String Methods
A second book of easy pieces
for cello. Composed by David
Blackwell and Kathy Blackwell.
Cello Time. 32 pages. Oxford
University Press
#9780193566088. Published by
Oxford University Press
$17.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Big Book Of Childrens Songs For Little Guitar Pickers Guitar notes and tablatures Santorella Publications
The Big Book of Childrens Songs for Little Guitar Pickers composed by Tony Santo...(+)
The Big Book of Childrens Songs for Little Guitar Pickers composed by Tony Santorella. For guitar and voice. This edition: Paperback. Collection. Little Picker series. Childrens. Book. Text Language: English; Tablature, chords and lyrics. 180 pages. Published by Santorella Publications
$17.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| First Lessons Violin Duets Violin [Sheet music + Audio access] - Beginner Mel Bay
Violin - Beginning SKU: MB.30932M Duets and Ensemble, Saddle-stitched. Ke...(+)
Violin - Beginning SKU: MB.30932M Duets and Ensemble, Saddle-stitched. Keyboard Accompaniment. Book/insert/online audio. 72 pages. Mel Bay Publications, Inc #30932M. Published by Mel Bay Publications, Inc (MB.30932M). ISBN 9781513466255. 8.75x11.75 inches. First Lessons Violin Duets contains 47 violin duets for beginning through easy level performance. Duet violin parts and a piano accompaniment part for all the tunes presented in Mel Bay?s First Lessons Violin are included. This versatile duet book works hand in hand with First Lessons Violin, Suzuki and other violin methods. It is useful for violin classes, ensembles, recitals, and performances.This book has accompanying online audio of the duets. The two violin parts are split right and left so that the violinist may perform either part with the recording by changing the stereo balance. Includes access to online audio. $17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Fun with the Ocarina Ocarina [Sheet music] Mel Bay
Ocarina - Beginning SKU: MB.94147 Composed by William Bay. Saddle-stitche...(+)
Ocarina - Beginning SKU: MB.94147 Composed by William Bay. Saddle-stitched, Methods. Fun With. Folk. Book. Published by Mel Bay Publications, Inc (MB.94147). ISBN 9780871664532. UPC: 796279006651. 8 x 5.5 inches. The ocarina is a pocket-sized wind instrument that anyone can learn. Easy fingering charts are pictured on each page. Ideal for classroom use. For 4 and 5 hole ocarinas. (2)$6.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Easiest Piano Course Easiest Musicals Piano solo - Beginner Willis Music
15 really easy arrangements for beginner pianists!. Composed by Various. Piano a...(+)
15 really easy arrangements for beginner pianists!. Composed by Various. Piano and Keyboard, Instructional, Methods. John Thompson's Easiest Piano Course. Easiest Piano Course - Easiest Musicals. Softcover Book. 32 pages. Willis Music #355320. Published by Willis Music (
$14.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Playing the Bass, Book One Double Bass - Beginner C. Harvey Publications | | |
| Playing the Cello, Book One Cello - Beginner C. Harvey Publications | | |
| 10 Melodic Pieces for Piano and MIDI File Piano solo Ut Orpheus
Piano; Methods and Music for Children SKU: UT.DM-20 Composed by Francesco...(+)
Piano; Methods and Music for Children SKU: UT.DM-20 Composed by Francesco De Santis. Saddle stitching. Classical. Ut Orpheus #DM 20. Published by Ut Orpheus (UT.DM-20). ISBN 9790215302488. 9 x 12 inches. This set of easy pieces for piano and MIDI file proposes to get young students used to ensemble music, by playing with the accompaniment of a small midi orchestra, for both didactic and recreational purposes. Naturally, a piano solo performance of the same pieces will also be enjoyable for young players, to whom this volume is dedicated. $13.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Des oreilles magiques Flute - Easy Lemoine, Henry
Flute - Easy SKU: LM.29576 Score. 51 pages. Editions Henry Lemoine #29576...(+)
Flute - Easy SKU: LM.29576 Score. 51 pages. Editions Henry Lemoine #29576. Published by Editions Henry Lemoine (LM.29576). ISBN 9790230995764. 230x310 inches. Francais. Methods & Tutors. $35.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| The Joy of Singing [Sheet music + CD] Faber Music Limited
(20 inspirational songs for schools and communities). By Brenda Rattray. For cho...(+)
(20 inspirational songs for schools and communities). By Brenda Rattray. For choir and piano. Book; CD; Classroom/Pre-School; General Music and Classroom Publications; Other Classroom. Faber Edition. Book and 2 CDs. Published by Faber Music
$41.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Quick Keyboard Picture Chords Piano solo Creative Concepts
By Holley Gene Leffer. Creative Concepts Publishing. Size 9x12 inches. 80 pages....(+)
By Holley Gene Leffer. Creative Concepts Publishing. Size 9x12 inches. 80 pages. Published by Creative Concepts.
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Learning the Violin, Viola, Cello, and Bass Book One, Score and Piano Accompaniment Piano Accompaniment C. Harvey Publications
Composed by Myanna Harvey, Cassia Harvey. 127 pages. Published by C. Harvey P...(+)
Composed by Myanna Harvey,
Cassia Harvey. 127 pages.
Published by C. Harvey
Publications
$20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Kammermusikschule für Streicher I Leichte Trios a Piano and Orchestra EMB (Editio Musica Budapest)
String Orchestra and Piano SKU: BT.EMBZ13548 Leichte Trios aus vier Ja...(+)
String Orchestra and Piano SKU: BT.EMBZ13548 Leichte Trios aus vier Jahrhunderten. By Arpad Pejtsik. Educational Tool. Book Only. Composed 1993. 248 pages. Editio Musica Budapest #EMBZ13548. Published by Editio Musica Budapest (BT.EMBZ13548). At first sight, this publication appears to merely be a collection of pieces due to the lack of drier technical studies that are characteristic of tutors. Yet the selection of the works, their order according to the development of ensemble playing, and the advice towards technical realization included after the foreword - these all make this publication a tutor. The works form a cross-section of a longer period of the history of chamber music and offer an insight into the different methods of composition.Volume I contains easy chamber music from the Renaissance to Viennese Classicism for two violins and cello, in the first position. (In some works the 2nd violin part or others thecello part, respectively, can also be played on the viola.) The easier pieces can be played after two years of active instrumental study. $57.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Playing the Violin, Viola, Cello, and Bass Book One Score and Piano Accompaniment Piano solo C. Harvey Publications
Composed by Judith Harvey, Cassia Harvey. 114 pages. Published by C. Harvey Publ...(+)
Composed by Judith Harvey, Cassia Harvey. 114 pages. Published by C. Harvey Publications (CH.CHP302).
$20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 7 Daily Exercises, Op. 5
Flute [Solo Part] Carl Fischer | | |
| Easiest Piano Course Easiest Smash Hits Piano solo Willis Music
15 really easy arrangements for beginner pianists!. Piano and Keyboard, Instruct...(+)
15 really easy arrangements for beginner pianists!. Piano and Keyboard, Instructional, Methods. John Thompson's Easiest Piano Course. Easiest Piano Course - Easiest Smash Hits. Softcover Book. 32 pages. Willis Music #354471. Published by Willis Music (
$14.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Twelve short organ works without opus numbers Organ Carus Verlag
Organ SKU: CA.5027300 Composed by Josef Gabriel Rheinberger. Edited by Ma...(+)
Organ SKU: CA.5027300 Composed by Josef Gabriel Rheinberger. Edited by Martin Weyer. Carus digital: Extra digital products. Full Score. Carus Verlag #5027300. Published by Carus Verlag (CA.5027300). ISBN 9790007298456. As well as 20 organ sonatas and seven collections of stand-alone organ pieces with opus numbers, Rheinberger composed a whole range of smaller works for organ methods or organ collections for his favorite instrument, mainly at the request of colleagues and friends. They are ideally suited for mass and organ lessons.
This organ volume brings together twelve compositions Rheinberger wrote for different occasions and at various points during his career. Included in the collection are seven short pieces in different keys that date from the early 1860s. Rheinberger wrote these at the request of his teacher Herzog and others for several organ collections of “easy, performable†pieces – and they are rewarding pieces for liturgical use. The works without opus numbers (WoO 10, 37, 56, 70) can no longer be regarded as early works. The Fugue in F minor WoO 10 of 1867, with its tendency to translate counterpoint into expressive chordal writing, already displays many characteristics of the late Rheinberger, the Canzonetta WoO 77 is a late work from autumn 1899, whereas the Romanze WoO 70 is a second version of no. 1 of the Miscellaneen op. 174 in the easier to play key of C major.
Separate edition from Supplementary Volume 3 of the Rheinberger Complete Edition. $25.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Exploring Jazz Drums Drums [Sheet music + CD] Schott
(An Introduction to Jazz Styles, Technique and Improvisation). For Drums. Percus...(+)
(An Introduction to Jazz Styles, Technique and Improvisation). For Drums. Percussion. Softcover with CD. 120 pages. Schott Music #ED13233. Published by Schott Music
$37.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Folk Guitar For Beginners (book) Guitar [Sheet music] - Beginner Alfred Publishing | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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