| Let's Have Some Music Choral Durand
Piano/Vocal Score Choral SKU: HL.50564949 Composed by Darius Milhaud. Edi...(+)
Piano/Vocal Score Choral SKU: HL.50564949 Composed by Darius Milhaud. Editions Durand. Classical. 34 pages. Editions Durand #DF1564400. Published by Editions Durand (HL.50564949). ISBN 9781423478249. UPC: 884088398286. 7.25x10.5 inches. Darius Milhaud, with English Text by Jeremy Drake. Composed by French master Darius Milhaud in 1932, this collection of humorous children's songs is now available for the first time with English lyrics. At the time they were composed, radio and phonograph technology were causing the primary musical leisure activity to shift from actual music making to listening. Milhaud believed that if amateurs were provided with accessible music, they would be encouraged to continue playing music for recreation, thus reversing the trend. These delightful songs are excellent for young treble choirs in school and community and include: A Little Test, Skipping Song, Reading Lesson, The Luck of the Draw, Miss Spectacles, Mea Culpa, The Monitor Alexander, Deserved Praise, The Argument, The Orchestra of the Obedient Students, The Orchestra of the Mischievous Students, Final Chorus: In Praise of Computers. $16.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Le Rossiniane Op. 120, 121, 122, 123, 124 Guitar Durand
Guitar SKU: HL.50566004 For Solo Guitar critical edition and notes for...(+)
Guitar SKU: HL.50566004 For Solo Guitar critical edition and notes for the interpretation. Composed by Mauro Giuliani. Arranged by Fré, dé, and ric Zigante. Editions Durand. Classical. Softcover. 176 pages. Editions Durand #DF01669600. Published by Editions Durand (HL.50566004). ISBN 9781705150580. UPC: 196288017639. 9.0x12.0x0.48 inches. Mauro Giuliani's Rossiniane, published between 1821 and 1828, are a series of six musical potpourris entirely based on the music of Gioachino Rossini. The potpourri was one of the most popular instrumental genres of the early 1800s, an assembly of musical themes with different origins combined into a single composition. In the absence of the modern means of reproducing music, they had a very important function: of bringing music, most often created for the theatre, into the home. Some important points can be deduced from Giuliani's epistolary exchanges: the first is that the Rossiniane were part of his own concert repertoire: the second is that Rossini was not only aware of the project which would bear his name, but also collaborated with Giuliani in some ways, providing him with some themes expressly composed for his works. The third is that Giuliani was well aware that these pieces represented a new development for his own compositions and for the musical panorama of the time, “a hitherto-unknown style.†This edition of the Rossiniane is based on the contemporary musical sources that have come down to us. It is enhanced by some remarks on interpretation that should help towards making an accurate and coherent reading of this distinctive and original musical text. $32.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| We Three Kings Choral SSAATTBB Subito Music
SSAATTBB Chorus, Oboe & Harp SKU: SU.80400260 For SSAATTBB Chorus, Obo...(+)
SSAATTBB Chorus, Oboe & Harp SKU: SU.80400260 For SSAATTBB Chorus, Oboe & Harp. Composed by Stephen Paulus. Vocal/Choral, Sacred Choral, Woodwinds, Oboe/English Horn, Harp, Harp with Other Instruments. Accompanied by harp, Christmas. Choral Octavo. Subito Music Corporation #80400260. Published by Subito Music Corporation (SU.80400260). SSAATTBB Chorus, Oboe & HarpDuration: 5:00 Dedication: For The Dale Warland Singers Premiered by: Dale Warland Singers, Dale Warland, conductor Copyright 1983 Text author: John H. Hopkins Published by: Paulus Publications (SP315) Minimum order quantity: 8 copies. To order quantities fewer than 8. $2.25 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Menuet pour Casals Cello, Piano Durand
SKU: HL.50561870 Cello and Piano. Composed by Gé and rard He...(+)
SKU: HL.50561870 Cello and Piano. Composed by Gé and rard Hekking. Editions Durand. Classical. Editions Durand #DF1229400. Published by Editions Durand (HL.50561870). 6.75x10.5 inches. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Menuet De L'infant Vlc/piano Cello Durand
Cello or 2 Celli and Piano (Cello) SKU: HL.50574552 Composed by Gerard He...(+)
Cello or 2 Celli and Piano (Cello) SKU: HL.50574552 Composed by Gerard Hekking. Editions Durand. Score Only. Composed 2001. Editions Durand #DF12301. Published by Editions Durand (HL.50574552). $8.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Danse Pour Sakharoff Vlc/piano Cello Durand
Cello or 2 Celli and Piano (Cello) SKU: HL.50574561 Composed by Gerard He...(+)
Cello or 2 Celli and Piano (Cello) SKU: HL.50574561 Composed by Gerard Hekking. Editions Durand. Score Only. Composed 2001. Editions Durand #DF12313. Published by Editions Durand (HL.50574561). $10.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Danse Campagnarde Vlc/piano Cello Durand
Cello or 2 Celli and Piano (Cello) SKU: HL.50574556 Composed by Gerard He...(+)
Cello or 2 Celli and Piano (Cello) SKU: HL.50574556 Composed by Gerard Hekking. Editions Durand. Score Only. Composed 2001. Editions Durand #DF12307. Published by Editions Durand (HL.50574556). $10.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Danse Macabre Vl Seul Violin Durand
Violin (Violin) SKU: HL.50573173 Composed by Camille Saint-Saens. Edition...(+)
Violin (Violin) SKU: HL.50573173 Composed by Camille Saint-Saens. Editions Durand. Score Only. Composed 2001. Editions Durand #DF6486. Published by Editions Durand (HL.50573173). Saint-Saens' groundbreaking piece for solo Violin or Mandolin, about the appearance of Death each year at midnight on Halloween, summoning the dead with his violin. $4.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Valses Nobles et Sentimentales Piano solo Durand
Piano SKU: HL.50566021 For Piano. Composed by Maurice Ravel. Editi...(+)
Piano SKU: HL.50566021 For Piano. Composed by Maurice Ravel. Editions Durand. Classical. Softcover. Editions Durand #DR01676600. Published by Editions Durand (HL.50566021). ISBN 9781705190364. UPC: 196288126133. Maurice Ravel seems to have been particularly attracted to the musical atmosphere of Vienna. Between embarking on a work in 1906 which was to be called Wien, and completing it in 1920 as La Valse, in 1911 he wrote the Valses nobles et sentimentales for piano. He then orchestrated the Valses in 1912, which at the same time became a ballet with the title of Adelaide ou le langage des fleurs. $19.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Joujou Mecanique Vlc/piano 2 Cellos, Piano Durand
Cello or 2 Celli and Piano SKU: HL.50565381 Composed by Hekking. MGB. Sco...(+)
Cello or 2 Celli and Piano SKU: HL.50565381 Composed by Hekking. MGB. Score Only. Composed 2001. Editions Durand #DF12293. Published by Editions Durand (HL.50565381). $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Charango Method [Sheet music + Audio access] - Beginner Mel Bay
Metodo de Charango. Composed by Horacio Duran and Italo Pedrotti. Perfect...(+)
Metodo de Charango. Composed by Horacio Duran and Italo Pedrotti. Perfect binding. Book and online audio. Published by Mel Bay Publications, Inc (MB.20325M).
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Songs of Latin America for Accordion Accordion Mel Bay
Accordion (keyboard) - Beginning-Intermediate SKU: MB.97069 Composed by H...(+)
Accordion (keyboard) - Beginning-Intermediate SKU: MB.97069 Composed by Herman Troppe. Saddle-stitched, Piano Accordion, Style. Archive Edition. Latin American. Book. 24 pages. Mel Bay Publications, Inc #97069. Published by Mel Bay Publications, Inc (MB.97069). ISBN 9780786635252. UPC: 796279049689. 8.75 x 11.75 inches. Sixteen solos for keyboard accordion on folk songs from Venezuela, Haiti, Brazil, Chile, Colombia, Costa Rica, the Dominican Republic, Honduras, Panama, Paraguay, and Peru. $9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| GUITAR PICKING TUNES - CLASSICAL GEMS Guitar notes and tablatures [Sheet music + Audio access] Mel Bay
Saddle-stitched. Tunes. Book and online audio. Mel Bay Publications, Inc #30...(+)
Saddle-stitched. Tunes. Book
and online audio. Mel Bay
Publications, Inc #30872M.
Published by Mel Bay
Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Granger Collection Guitar [Sheet music + Audio access] - Intermediate Mel Bay
Old Time, Wire bound. Vocal. Book and online audio. 248 pages. Mel Bay Publica...(+)
Old Time, Wire bound. Vocal.
Book and online audio. 248
pages. Mel Bay Publications,
Inc #31104M. Published by Mel
Bay Publications, Inc
$45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Fiddler's Fakebook
Violin [Fake Book] Oak Publications
Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
Edited by David Brody. For violin. Format: fake book. With lead melody, chord names, instructional text and performance notes. Folk, americana and british. 302 pages. 9x12 inches. Published by Oak Publications.
(7)$29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Ryan's Mammoth Collection of Fiddle Tunes Violin [Sheet music] Mel Bay
Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Son...(+)
Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Eastern European Music for Violin Duet 2 Violins (duet) [Sheet music + CD] Mel Bay
by Mary Ann Harbar. Level: Beginning-Intermediate. Book/CD Set. Size 8.75x11.75....(+)
by Mary Ann Harbar. Level: Beginning-Intermediate. Book/CD Set. Size 8.75x11.75. 144 pages. Published by Mel Bay Pub., Inc.
(6)$27.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 5th Avenue Rock - Beginner Carl Fischer
Orchestra Cello, Contrabass, Drum Set, Piano, Viola, Violin 1, Violin 2 - Grade ...(+)
Orchestra Cello, Contrabass, Drum Set, Piano, Viola, Violin 1, Violin 2 - Grade 0.5 SKU: CF.BAS85 Composed by Kathryn Griesinger. Carl Fischer Beginning String Orchestra Series. Set of Score and Parts. 8+8+5+5+5+1+1+8 pages. Carl Fischer Music #BAS85. Published by Carl Fischer Music (CF.BAS85). ISBN 9781491160381. UPC: 680160918973. This rocking piece for Beginning Strings is based on the interval of a perfect fifth - thus the title! Beginning students can practice easy string crossings utilizing open strings, while the mostly unison rhythms consist of only quarter-and eighth-note durations. The stepwise finger patterns of the melody strengthen note-reading and intonation. With violin 2 doubling viola and cello doubling bass, each section of the orchestra is given the opportunity to play the melody. The provided piano part fills in during rests and can support students in maintaining a steady beat, particularly in pizzicato sections. An optional drum set part completes this upbeat first concert selection. This rocking piece for beginning strings is based on the interval of a perfect fifth - thus the title! Beginning students can practice easy string crossings utilizing open strings, while the mostly unison rhythms consist of only quarter-and eighth-note durations. The stepwise finger patterns of the melody strengthen note-reading and intonation. With violin 2 doubling viola and cello doubling bass, each section of the orchestra is given the opportunity to play the melody. The provided piano part fills in during rests and can support students in maintaining a steady beat, particularly in pizzicato sections. An optional drum set part completes this upbeat first concert selection. This rocking piece for beginning strings is based on the interval of a perfect fifth – thus the title! Beginning students can practice easy string crossings utilizing open strings, while the mostly unison rhythms consist of only quarter-and eighth-note durations. The stepwise finger patterns of the melody strengthen note-reading and intonation. With violin 2 doubling viola and cello doubling bass, each section of the orchestra is given the opportunity to play the melody. The provided piano part fills in during rests and can support students in maintaining a steady beat, particularly in pizzicato sections. An optional drum set part completes this upbeat first concert selection. About Carl Fischer Beginning String Orchestra Series This series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by: - Limited parts (often 2nd violin and viola are the same part, cello and bass are same part)
- Limited keys and rhythms - only simple 8th note patterns
- Limited independence of parts
- Playable after limited study time
- First position and natural bowings
- Piano for rehearsal and reinforcement
$50.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Abbey Road to Ziggy Stardust [Book + DVD] Alfred Publishing
(Off the Record with The Beatles, Bowie, Elton and So Much More). By Ken Scott a...(+)
(Off the Record with The Beatles, Bowie, Elton and So Much More). By Ken Scott and Bobby Owsinski. Book; DVD; Reference Textbooks; Textbook - General. 448 pages. Published by Alfred Music Publishing
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Caminemos con Jesús - Music Collection GIA Publications
Choir or voice with piano or guitar SKU: GI.G-10075 Composed by Tony Alon...(+)
Choir or voice with piano or guitar SKU: GI.G-10075 Composed by Tony Alonso S.J. Sacred. Collection. GIA Publications #10075. Published by GIA Publications (GI.G-10075). UPC: 785147007531. Caminemos con JesuÌs es una celebracioÌn lituÌrgica de la belleza, pasioÌn y vitalidad de la muÌsica cubana. Fusionando melodiÌas liÌricas latinas y ritmos africanos complejos en una forma distintiva de llamada y respuesta, en este novedoso proyecto Tony Alonso imagina creativamente y fielmente los ritos, tiempos y textos lituÌrgicos a traveÌs del prisma de su propia herencia cubana. Ya sea acompañado simplemente por el piano o la guitarra, o por un conjunto maÌs elaborado, estas piezas encontraraÌn un hogar alegre en comunidades hispanoparlantes, angloparlantes y bilingües que buscan acompañarse en su caminar con JesuÌs durante el año lituÌrgico. Caminemos con JesuÌs is a liturgical celebration of the beauty, passion, and vitality of Cuban music. Fusing lyrical Spanish melodies and complex African rhythms in a distinctive call-and-response form, in this groundbreaking project, Tony Alonso creatively and faithfully imagines the liturgical rites, seasons, and texts through the prism of his own Cuban heritage. Whether accompanied simply on piano or guitar, or by a more elaborate ensemble, these pieces will find a joyful home in Spanish, English, and bilingual communities seeking to accompany one another in their walk with Jesus throughout the liturgical year. $24.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 5th Avenue Rock - Beginner Carl Fischer
Orchestra Cello, Contrabass, Drum Set, Piano, Viola, Violin 1, Violin 2 - Grade ...(+)
Orchestra Cello, Contrabass, Drum Set, Piano, Viola, Violin 1, Violin 2 - Grade 0.5 SKU: CF.BAS85F Composed by Kathryn Griesinger. Carl Fischer Beginning String Orchestra Series. Full score. 8 pages. Carl Fischer Music #BAS85F. Published by Carl Fischer Music (CF.BAS85F). ISBN 9781491160640. UPC: 680160919239. This rocking piece for beginning strings is based on the interval of a perfect fifth - thus the title! Beginning students can practice easy string crossings utilizing open strings, while the mostly unison rhythms consist of only quarter-and eighth-note durations. The stepwise finger patterns of the melody strengthen note-reading and intonation. With violin 2 doubling viola and cello doubling bass, each section of the orchestra is given the opportunity to play the melody. The provided piano part fills in during rests and can support students in maintaining a steady beat, particularly in pizzicato sections. An optional drum set part completes this upbeat first concert selection. This rocking piece for beginning strings is based on the interval of a perfect fifth – thus the title! Beginning students can practice easy string crossings utilizing open strings, while the mostly unison rhythms consist of only quarter-and eighth-note durations. The stepwise finger patterns of the melody strengthen note-reading and intonation. With violin 2 doubling viola and cello doubling bass, each section of the orchestra is given the opportunity to play the melody. The provided piano part fills in during rests and can support students in maintaining a steady beat, particularly in pizzicato sections. An optional drum set part completes this upbeat first concert selection. About Carl Fischer Beginning String Orchestra Series This series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by: - Limited parts (often 2nd violin and viola are the same part, cello and bass are same part)
- Limited keys and rhythms - only simple 8th note patterns
- Limited independence of parts
- Playable after limited study time
- First position and natural bowings
- Piano for rehearsal and reinforcement
$6.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Vegan Cow Drum Rug Hal Leonard
6' X 5.25' Clara Black/White SKU: HL.428642 6' X 5.25' “Claraâ...(+)
6' X 5.25' Clara Black/White SKU: HL.428642 6' X 5.25' “Clara†Black/White. DrumNBase Rugs. General Merchandise. Hal Leonard #VGN CBLW. Published by Hal Leonard (HL.428642). UPC: 196288064138. 4.5x67.0x4.5 inches. The DRUMnBASE Vegan Cow Drum/Stage Mats are heavy duty rugs with a very durable road proof anti-slip rubber backing. The top of 4mm thick is made of polyamide velours, giving grip and durability. Furthermore the top is easy to clean from drumstick wood chips and UV and waterproof. So cleaning with water and soap is no problem. • Made in Belgium, with long history of superior textile manufacturing, unlike most competitor products • Rigid, high-quality construction • 1.5 mm thick anti-slip rubber backing • Rug lies flat and stays flat, no curling up (not even at the corners!) • Reduces vibration • 4mm strong & durable velour top (easy to clean) • Waterproof • Classic design and look with eye-pleasing colors • Perfect for use with any instrument: keyboard; guitar; bass; pedalboard setups; amps; drums; wind instruments; vocals. Looks great in all practice spaces, studios and stage setups • 6-foot x 5.25-foot: Good for larger spaces, fits full drumset with two floor toms and drum throne • 5.5mm thick • 5.5 kg. (12.1 lbs.). $149.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Vintage Persian Style Drum Mat 6' X 5.25' Hal Leonard
SKU: HL.1215365 Amber Bonzo. DrumNBase Rugs. General Merchandise. ...(+)
SKU: HL.1215365 Amber Bonzo. DrumNBase Rugs. General Merchandise. Hal Leonard #VP185-BNZII. Published by Hal Leonard (HL.1215365). UPC: 196288139850. 4.5x67.0x4.5 inches. The DRUMnBASE Vintage Persion Drum/Stage Mats are heavy duty rugs with a very durable road proof anti-slip rubber backing. The 4mm thick top is made of polyamide velours, giving grip and durability. Furthermore, the top is easy to clean from drumstick wood chips and UV and waterproof. So cleaning with water and soap is no problem. • Made in Belgium, with long history of superior textile manufacturing, unlike most competitor products • Rigid, high-quality construction • 2.5 mm thick anti-slip rubber backing • Rug lies flat and stays flat, no curling up (not even at the corners!) • Reduces vibration • 4mm strong and durable velour top (easy to clean) • Waterproof • Classic design and look with eye-pleasing colors • Perfect for use with any instrument: keyboard; guitar; bass; pedalboard setups; amps; drums; wind instruments; vocals. Looks great in all practice spaces, studios and stage setups • 6-foot x 5.25-foot: Good for larger spaces, fits full drumset with two floor toms and drum throne • 5.5mm thick • 5.5 kg. (12.1 lbs.). $149.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Vintage Persian Style Stage Rug Hal Leonard
SKU: HL.428629 Original Red 4.26' X 3'. DrumNBase Rugs. General Me...(+)
SKU: HL.428629 Original Red 4.26' X 3'. DrumNBase Rugs. General Merchandise. Hal Leonard #VP130-ORD. Published by Hal Leonard (HL.428629). UPC: 196288064008. 3.5x35.0x3.5 inches. The DRUMnBASE Vintage Persion Drum/Stage Mats are heavy duty rugs with a very durable road proof anti-slip rubber backing. The 4mm thick top is made of polyamide velours, giving grip and durability. Furthermore the top is easy to clean and UV and waterproof. So cleaning with water and soap is no problem. • Made in Belgium, with long history of superior textile manufacturing, unlike most competitor products • Rigid, high-quality construction • 1.5 mm thick anti-slip rubber backing • Rug lies flat and stays flat, no curling up (not even at the corners!) • Reduces vibration • 4mm strong & durable velour top (easy to clean) • Waterproof • Classic design and look with eye-pleasing colors • Perfect for use with any instrument: keyboard; guitar; bass; pedalboard setups; amps; drums; wind instruments; vocals. Looks great in all practice spaces, studios and stage setups • Nice compact size (4.26-feet x 3-feet) for a guitar/amp setup, small percussion setup, compact electronic drumset or accent for any room • 5.5mm thick • 2.8 kg. (6.1 lbs.). $74.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Vintage Persian Style Stage Rug Hal Leonard
SKU: HL.428640 Back in Black 6' x 5.25'. DrumNBase Rugs. General M...(+)
SKU: HL.428640 Back in Black 6' x 5.25'. DrumNBase Rugs. General Merchandise. Hal Leonard #WVN-BBL. Published by Hal Leonard (HL.428640). UPC: 196288064114. 4.5x67.0x4.5 inches. The DRUMnBASE Vintage Persion Drum/Stage Mats are heavy duty rugs with a very durable road proof anti-slip rubber backing. The 4mm thick top is made of polyamide velours, giving grip and durability. Furthermore, the top is easy to clean from drumstick wood chips and UV and waterproof. So cleaning with water and soap is no problem. • Made in Belgium, with long history of superior textile manufacturing, unlike most competitor products • Rigid, high-quality construction • 1.5 mm thick anti-slip rubber backing • Rug lies flat and stays flat, no curling up (not even at the corners!) • Reduces vibration • 4mm strong & durable velour top (easy to clean) • Waterproof • Classic design and look with eye-pleasing colors • Perfect for use with any instrument: keyboard; guitar; bass; pedalboard setups; amps; drums; wind instruments; vocals. Looks great in all practice spaces, studios and stage setups • 6-foot x 5.25-foot: Good for larger spaces, fits full drumset with two floor toms and drum throne • 5.5mm thick • 5.5 kg. (12.1 lbs.). $149.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Vintage Persian Style Stage Rug Hal Leonard
SKU: HL.428636 Black Red 6' x 5.25'. DrumNBase Rugs. General Merch...(+)
SKU: HL.428636 Black Red 6' x 5.25'. DrumNBase Rugs. General Merchandise. Hal Leonard #VP185-BLR. Published by Hal Leonard (HL.428636). UPC: 196288064077. 4.5x67.0x4.5 inches. The DRUMnBASE Vintage Persion Drum/Stage Mats are heavy duty rugs with a very durable road proof anti-slip rubber backing. The 4mm thick top is made of polyamide velours, giving grip and durability. Furthermore, the top is easy to clean from drumstick wood chips and UV and waterproof. So cleaning with water and soap is no problem. • Made in Belgium, with long history of superior textile manufacturing, unlike most competitor products • Rigid, high-quality construction • 2.5 mm thick anti-slip rubber backing • Rug lies flat and stays flat, no curling up (not even at the corners!) • Reduces vibration • 4mm strong & durable velour top (easy to clean) • Waterproof • Classic design and look with eye-pleasing colors • Perfect for use with any instrument: keyboard; guitar; bass; pedalboard setups; amps; drums; wind instruments; vocals. Looks great in all practice spaces, studios and stage setups • 6-foot x 5.25-foot: Good for larger spaces, fits full drumset with two floor toms and drum throne • 5.5mm thick • 5.5 kg. (12.1 lbs.). $149.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Vintage Persian Style Stage Rug Hal Leonard
SKU: HL.428630 Green 4.26' X 3'. DrumNBase Rugs. General Merchandi...(+)
SKU: HL.428630 Green 4.26' X 3'. DrumNBase Rugs. General Merchandise. Hal Leonard #VP130-GRN. Published by Hal Leonard (HL.428630). UPC: 196288064015. 3.5x35.0x3.5 inches. The DRUMnBASE Vintage Persion Drum/Stage Mats are heavy duty rugs with a very durable road proof anti-slip rubber backing. The 4mm thick top is made of polyamide velours, giving grip and durability. Furthermore the top is easy to clean and UV and waterproof. So cleaning with water and soap is no problem. • Made in Belgium, with long history of superior textile manufacturing, unlike most competitor products • Rigid, high-quality construction • 1.5 mm thick anti-slip rubber backing • Rug lies flat and stays flat, no curling up (not even at the corners!) • Reduces vibration • 4mm strong & durable velour top (easy to clean) • Waterproof • Classic design and look with eye-pleasing colors • Perfect for use with any instrument: keyboard; guitar; bass; pedalboard setups; amps; drums; wind instruments; vocals. Looks great in all practice spaces, studios and stage setups • Nice compact size (4.26-feet x 3-feet) for a guitar/amp setup, small percussion setup, compact electronic drumset or accent for any room • 5.5mm thick • 2.8 kg. (6.1 lbs.). $74.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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