SKU: GI.G-7994INST

** GIA no longer publishes nor sponsors the work of Paul A. Tate. Pieces for which Tate served as an arranger remain on our website as the original work of the composer.

SKU: BO.B.3672

Written during the winter of 2007, this work is a metaphor of the three stages of a short but intense love story.

The first movement is called Poniente. This is the name of a rainy wind that comes from west. In this sense, west is not only the place where the sun sets, but where night begins. The first movement represents the beginning, the happiness and freshness of something new. The violin evokes freshness and spontaneity over the constant rhythm of the guitar, which plays the higher voice. While the violin signs happily, the guitar, instead of being just its accompaniment, plays the role of a counterpoint with its rhythmical and constant theme.

The second movement is called Largo-Balada-Largo and it's divided in two different parts. In the first one, guitar plays alone, reflexive and slow, representing the moments of loneliness of the one that waits for the lovers reunion. In the second movement, violin and guitar begin a dialogue where the violin plays a sweet yearning ballad, while the guitar answers as a baroque counterpoint. At the end, calm comes back, as in the first part of the second movement.

The third movement is called Danza ritual and it is the most violent of the three parts. It represents the lovers reunion, the resolution of all the controlled excitement. It's the flame that consumes quickly but intensely. At the end of this part, the violin reintroduces the main theme of the first movement, but with a variation, more intense and dramatic. This dramatic and intense quality is also due to the guitar ostinato, which ends in a hysteric trill. This leads us again to the first part, ending the third movement and this work in a sudden setback, as an interrogation tag.

SKU: HL.14028004

ISBN 9788759860984. 12.0x16.5x0.438 inches.

Full score for this work for Guitar and Small Ensemble. Ruders writes: The word has its origin in ancient Greek: Psalmoidia i.e. 'singing to the harp', and we find the word again in Psalter, derived from Psallein 'playing the strings with the fingers'. 'Psalmodies' written for and dedicated to David Starobin, has no specific religious content or aim; the collection of eleven pieces forms a concert-suite, displaying a wide range of emotions; from the jubilant to the dismal, the guitar playing the natural leading part 'inside' a chorus of woodwinds and strings. The title and each movement mirrors the variety of moods, from the secular feast of A Fanfare for All to the sacred introversion of A Prayer with Halo. 'Psalmodies' opens with a guitar-solo and closes down with one: the rejoicing Entrance for One and the hushed, melancholy Exit for One, thus exemplifying the emotional compass, which I, in an essay on my first symphony; 'Himmelhoch Jauchsend-zum Tode betrubt' entitle: Of Joy and Grief. Of Worship and Oblivion.

SKU: HL.438840

UPC: 852940000950. 4.75x7.0x2.75 inches.

When we look back to the glory days of rock guitar (mid 60s to mid 70s), some of the most popular amplifier set-ups were British Marshalls and Vox's... often with multi-speaker cabinets. Players like Tony Iommi, Ritchie Blackmore, and Brian May cared for their signature sounds on stage and in the studio with these rigs, and in order to deal with the overpowering bottom end, they made use of “The Treble Booster.” Treble Boosters add top end or higher frequencies to the guitar tone, and depending on how the amp is set up, some much desired overdrive. As much as companies like Dallas (Rangemaster) and Hornby Skewes (Treble Booster) were solving a bottom-end problem, they had also created a new sound pallette! Carl decided it was time to reintroduce the sound with the PlexiRanger! And leave it to Carl to add a gain channel along with the boost channel for a one-of-a-kind fx pedal!

SKU: HP.C5523C

UPC: 763628955236. By David Ruis. 2 Samuel 22:4, 1 Chronicles 16:25, Psalms 18:3, Psalms 48:1, Psalms 96:4, Psalms 145:3, Revelation 4:11, Revelation 5:12, Philippians 2:10, Psalms 63:1, Psalms 95:6, Isaiah 6:1-8, John 18:33-34, John 18:35-37.

Popular praise and worship son gby David Ruis This popular praise and worship song translates well into a blended worship anthem with an abundance of unison lines, gentle syncopations and a seamless segue into the hymn O Worship the King. Quickly learned by choirs large or small, it works equally well as an introit or general worship anthem, for SATB choir and keyboard with optional rhythm (parts for Piano, Electric Guitar, Electric Bass and Drum Kit).

SKU: GI.G-2645

UPC: 785147264507. Text by Lucia Welch.

This call for renewal has resonated with congregations for decades, with plaintive choral verses in the minor mode and assembly refrains in major. Bring a new level of personal introspection to your congregational song.

SKU: HL.14036215

ISBN 9788759875384. Danish.

Winternach was written in1976-78 and the title was taken from a poem by the Austrian poet Georg Trakl. The four movements, which are all very precise and dreamingly poetic, are almost classical in terms of clarity and discipline in orchestration and form: hence the dedication of the third movement to Igor Stravinsky. However, the music has a strong impressionistic quality as well: four introverted still lifes of the velvety, dark iceness of a silvery winter night (one can veritably sense the fairy-tale-like sleigh ride in the two outer movements). The second movement is dedicated to the eccentric lithographer M.C. Escher and the first and last movements are both dedicated to Georg Trakl. As in the well-known orchestral work, Stratifications, we can enjoy Amrahamsen's fiscination with having several events occur simultaneously: a thoughtful as well as playful multilayered quality mirrors the poetic and mysterious worlds of painting, literature, nature and most important of all: music.