Along with a computer an audio interface provides the all-important hardware foundation for computer-based recording. This book helps musicians choose apply and get the maximum performance from all types of audio interfaces. Written in a clear practical non-intimidating style topics include: - The significance of different types of analog and digital connections and how you would use them - Interconnection protocols (USB FireWire Thunderbolt PCIe) for Windows and Mac computers - Product options from portable mobile units up to sophisticated mixers that can also serve as audio interfaces - The special requirements involved in recording guitar - The function of driversand accessory programs (like software mixers for signal routing) - Ways to minimize delays that occur when using audio interfaces with computers - How and why to choose particular sample rates and resolutions - The high-resolution audio controversy - Microphone preamps - Using multiple interfaces - Expanding existing interfaces for more inputs - Understanding specifications - Various special features unique to particular interfaces and more Loaded with illustrations and featuring the judicious use of sidebars to give details on selected topics for those who want to know why as well as how How to Choose and Use Audio Interfaces is essential reading about one of the most important elements needed for a high-quality computer-based home or project studio.

Impressions On Beethoven's Harp Quartet. Par AMANTI LUCIO. When Cuarteto Casals approached me with the idea of illuminating Beethoven´s quartets anew, you can imagine the many thoughts and feelings that where going through my mind: what a joy, what a great honor… What an intriguing head-scratcher! How can you possibly shine a new light on something that is already perfect? Weeks, months went by in search of a common ground between the Master and myself until I finally found it in the realization that a word lays “hidden” in the St. John’s hymn that gave musical notes their original name: ‘Re, Sol, Ut, Io’ (D, G, C, B in English music notation) Perfect! “Resolutio” in Latin means both the resolution of a problem and the re-solution: a re-blend of many elements that will eventually coagulate to make something new. There was finally the melodic and a rhythmical canvas for my piece. On this canvas I wrote the story of a funny little contest, played on a sunny Mediterranean square, between street musicians and Cuarteto Casals just minutes before they are about to go on stage to perform Beethoven´s “Harp Quartet”. After all the characters, each in his own way, had the chance to tell their story, a gentle rain starts to fall, dissolving (Re-solving) again the music sheet to eventually leave us with just a white piece of paper for somebody else to continue the Work. (Lucio Franco Amanti) / Niveau : Avancé / Répertoire / 2 Violons, Alto et Violoncelle

This anthem sets lines from Psalm 139 1 Thessalonians and 1 John moving from an unsettled tonality at the beginning through anguished false relations and wistful expressivity to find triumphant resolution in a blazing A major at the end. Like all of McDowall's music it is well crafted and singable.

'Making Music' features two of the most creative musicians in contemporary music. Victor and Carter have known each other since childhood however Victor's Yin-Ying album was the first project that they had ever done together. Hudson music filmed two days of these incredible sessions. you will get an inside look as two great songs Zynergy and Resolution are introduced developed and recorded. Also featred is material from an additional shoot in a NYC studio. Over the course of this session they discuss their approaches to both songs and isolate the bass and drum parts for each. They also cover such topics as playing odd time signatures styles musicianship turnarounds andmore.

For a piece with such a strong electronic component 'It Goes Without Saying' is surprisingly organic. While the electronics include chillier metallic noises—samples ranging from a kitchen whisk to a unique set of tiny bells—most prominent are the warm woody sounds of a harmonium and of clicking clarinet-keys sounds that share a certain sonic DNA with the live components of the performance.The piece also develops according to organic principles. Over the initial drone of the harmonium the rhythm track and the clarinets build the material of the piece up from small replicating cells into a lively and elaborate texture. The minutely wrought surface isstretched over the simplest possible formal contour the drone undergirding the piece progressing from C to F and back again. When the slowly building dissonance of the underlying harmonium chord finally reaches its tipping point the resolution corresponds to a dramatic timbral shock: a shocking burst of industrial noise dominating rather than complementing its acoustic surroundings. Finally the machine noises die away and the harmonies return home the texture warms once again—now leavened by the gentle sound of the celesta. – Program Notes © 2007 Daniel Johnson Performance Notes: The clarinet should be placed in the center of the stage. If amplification is used (which is not necessary but can help solve certain balance issues) it is recommended that there be one microphone traditionally placed and another close to the side of the instrument gently amplifying the natural sound of the keys clicking. Download the pre-recorded element  HERE . If you encounter any problems please email promotion@musicsales.co.uk .

Ron Kean has masterfully interweaved the communion spiritual Let Us Break Bread Together into his best-selling Kyrie. Voiced for SAB choir each individual choral line is equally interesting and creates beautiful suspension and resolution.

Par BALAZS ARPAD. With its energetic impetus and imposing instrumentation, Concertino is certainly outstanding in the oeuvre of Árpád Balázs. Among his compositions for concert band, it is by far the most engaging and exacting work. Passing away and a will to live are simultaneously present in Concertino, which Árpád Balázs composed in memory of his beloved father. Its structure brings Liszt's Hungarian Rhapsodies to mind: its solemn opening, which returns at the end,is followed by a slow and a fast movement. The funereal music of the slow movement evolves from a motif of Bach's St. Matthew Passion with enormous intensification equal to the lament in Grieg's Peer Gynt. It is difficult to imagine a dramatic incandescence with a higher degree of heat. The heartbeat-imitating timpani features significantly at the beginning and the end of the funereal music. The fast movement represents resolution, resignation and regainedgaiety. This part, pulsating like a waltz and echoing the modulation technique of Richard Strauss, is followed by the solemn return of the opening chords.Whether playing or listenting to this tremendously soul-stirring music, you will all encounter a dramatic experience./ Répertoire / Concert Band

With her sensitive approach to voice leading and passion for tension/resolution Audrey Snyder has created a choral masterpiece with her setting of the Latin text Kyrie Eleison. Program with her Festival Gloria for anawe-inspiring set. Available separately: SATB 3-Part Mixed. SSA. Duration: 2:00.

John McLaughlin and the Mahavishnu Orchestra was the most influential band of the 1970s fusion jazz movement. Fresh from turning the jazz world upside down on Miles Davis' immortal In a Silent Way, John McLaughlin teamed with Jan Hammer, Rick Laird, Billy Cobham, and Jerry Goodman to form the Mahavishnu Orchestra, an amazing fusion of jazz, blues, rock and Indian music. This book contains John's own miniature scores to 28 classic Mahavishnu songs. Titles: A Lotus on Irish Streams * Awakening * Be Happy * Birds of Fire * Celestial Terrestrial * Commuters * Dawn * Dream * Earth Ship * Eternity's Breath * Faith * Hope * If I Could See * Lila's Dance * Meeting of the Spirits * Miles Beyond * Noonward Race * On the Way Home to Earth * One Word * Open Country Joy * Opus I * Pastoral * Resolution * Sanctuary * Sapphire Bullets of Pure Love * The Dance of Maya * Thousand Island Park * Vital Transformation * You Know, You Know.

In memory of Christopher Rowland. Originally a concerto for Cello and chamber orchestra now for Cello with a Piano reduction of the orchestral part.The concerto is in four movements which are played without a break: Meditation Intermezzo Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes two horns timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively and introduces core melodic material which is continuously developed throughout theconcerto. Gradually the strings enter then wind and timpani and build a pyramid twelve-note chord at the peak of which there is a dramatic climax. The music then subsides (solo cello again) but links to the two faster middle movements. The second movement Intermezzo has an ABA structure and in its middle section quotes the opening of Shostakovich's Third String Quartet (written in the same year as Christopher Rowland was born!). Indeed the ghost of Shostakovich looms large throughout the concerto in more ways than one. The Toccata-Scherzo is energetic and rhythmically-charged again using an ABA structure. Here the writing for solo cello is quite virtuosic but not I hope in a shallow sense. The music builds inexorably towards a powerful climax underpinned by the opening twelve-note chord's re-appearance together with a violent outburst from the timpani at which point a tonal resolution (on G) arrives through a pianissimo held chord on strings which leads directly to the final movement - Song. And so the music arrives at its emotional heart through a simple melody (present in other forms throughout the work) announced by solo cello at the very top of its register against a quiet backdrop of horns and strings. A solo oboe enters with cello in canonic reply and all the time the music builds in texture and

The Barenreiter Facsimile seal is used exclusively for facsimile publications that meet the highest technical and scholarly demands. The distinguishing features include A facsimile in high resolution full-colour printing reflecting the original Specially selected paper Decorative binding in keeping with the historic theme Individually trimmed pages as far as the edition allows A commentary by internationally renowned scholarsFacsimile of the autograph in the Royal College of Music LondonWith an introduction by Jonathan Del Marand a preface by Stephen Isserlis (English/German)

Beginning with an unresolved emotion and motive, 'Finding a Way' travels through many emotions looking for a way to find resolution and comfort, conveying an uplifting and hopeful spirit that ultimately finds peace. When healing has had a chance to occur, sadness and sorrow can become replaced with delight and excitement of our memories. The piece concludes with a restatement of the opening, questioning motive, but this time with the question answered. (4:15) / Concert Band