| Carl Martin Octa-Switch the Strip Hal Leonard
SKU: HL.438867 EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0229. Pu...(+)
SKU: HL.438867
EAST SOUND RESEARCH.
Guitar Pedal. Hal Leonard
#CM0229. Published by Hal
Leonard (HL.438867).
UPC: 852940000943.
5.0x25.0x2.75
inches. The Carl
Martin Octaswitch,
already a legend in the
guitar effect switching
world, is on it's third
evolution since the
original. These all
analog units have
received rave reviews
throughout the guitar
world and awards from
companies like Premier
Guitar. The fourth
version, named 'The
Strip' is the smallest
and most advanced, taking
all the technology used
in the first three and
adding some amazing
features that make the
'Octaswitch The Strip'
the most versatile and
simplest all-analog
switching pedal on the
market! At first glance,
the 'Octaswitch The
Strip' (designed once
again and refined by
Thomas Guldman), has all
the same features as
before. There are 8 fx
Loops that can be
programmed into 8 Banks.
The Loops are all
True-Bypass, impedance
free gold relays so you
can run all your pedals
(old and new) without
issue. The Main Input can
be True Bypass, or it can
be switched to Buffered
for large stages or long
cable runs. There are 8
blue LED's that indicate
which of the 8 Loops is
being used, and 8 green
LED's that indicate which
Bank is being used. This
is where the technology
changes... $549.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ampster Tube Guitar Amp-Speaker Sim DI Hal Leonard
SKU: HL.911071 EAST SOUND RESEARCH. Guitar Pedal. Duration 240 seconds. H...(+)
SKU: HL.911071
EAST SOUND RESEARCH.
Guitar Pedal. Duration
240 seconds. Hal Leonard
#CM0230. Published by Hal
Leonard (HL.911071).
UPC: 852940000981.
10.0x5.5x3.0
inches. The world
of music has changed and
the world of guitar
playing has changed along
with it. It is becoming
normal to not see the
full guitar rigs of the
'70s, '80s, and '90s, and
instead just see guitar
players with minimal
systems to achieve their
signature sounds.
Introducing the Carl
Martin Ampster ... from
the company that has
shone the single analog
light down that deep
digital tunnel. The
Ampster, a single tube
driven amp/speaker
simulator that can either
supplement your amp, or
replace it. A fully
analog unit with controls
that are the same as your
amplifier with the
addition of a mute
switch, a speaker
selection switch and a
voicing switch. What's
more important, the
Ampster reacts to your
playing in the same way
your full size amp does,
giving you the same
organic feel with zero
latency! The Ampster is
housed in a solid metal
box with the standard EQ
(Bass Middle Treble), pre
and post volume/gain
controls (Master &
Gain) plus a Presence
Control. There is a Mute
Switch for obvious
reasons and a Cabinet
Switch with an LED
Indicator light ( Red for
a 2x12 Open Backed Cab,
and Green for a 4x12
Closed Back Cab). On the
back of the pedal you
will find a Ground Lift
and a Voicing Switch (a
subtle low end cap
controlled voicing
adjustment). Input, Link
(output to your amp or
powered speaker) Balanced
DI (XLR output to go to a
mixing or recording
console), a Send and
Return for those specific
effects that shouldn't be
in front of the amp, a
Remote Input for use with
digital or analog effect
controllers like the Carl
Martin Octaswitch
“The Strip,â€
and your standard 9v 1A
power input. It couldn't
be simpler! Plug your
guitar straight in, or
plug your pedal board
into the input jack,
choose your output and
open your ears to a
surprisingly big round
clean sound, or by
adjusting the Gain, that
decidedly British
Overdrive sound for which
Carl Martin has become so
well known. Our test
players have fallen in
love, telling us the
Ampster reacts just like
their standard amps,
organic and responsive to
your playing style or
attack. In fact, the
Ampster sounds just like
a full size amp, but it
fits on your pedalboard.
Take a look at the videos
... we are certain you
will want to take the
Ampster for a test
drive! $310.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Remote Control Orchestre à Cordes [Conducteur et Parties séparées] - Facile Alfred Publishing
By Richard Meyer. Orchestra. String Orchestra. Highland String Orchestra. Light ...(+)
By Richard Meyer.
Orchestra. String
Orchestra. Highland
String Orchestra. Light
Concert; Novelty. Grade
2.5. Conductor Score and
Parts. 128 pages.
Published by Alfred Music
Publishing
$49.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Great Smoky Mountains [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Contest Solos For The Young Percussionist [Partie seule] - Débutant Kendor Music Inc.
By Murray Houllif. For mixed percussion solo. Mixed Percussion Solo. Grade 1-2. ...(+)
By Murray Houllif. For
mixed percussion solo.
Mixed Percussion Solo.
Grade 1-2. Solo part.
Published by Kendor Music
Inc
$11.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Total Beginning Guitarist Guitare notes et tablatures [Partition + CD] - Débutant Alfred Publishing
(A Fun and Comprehensive Beginning Method Featuring Rock, Blues, and Jazz Styles...(+)
(A Fun and Comprehensive
Beginning Method
Featuring Rock, Blues,
and Jazz Styles). By Rich
Hinman and Amanda Monaco.
For Guitar. Book; CD;
Guitar Method or
Supplement;
Method/Instruction. The
Total Guitarist.
Beginner. 128 pages.
Published by Alfred Music
Publishing
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Keyboard Cousins Piano seul [Conducteur] Subito Music
Piano SKU: SU.95010680 For Piano. Composed by Judith Lang Zaimont....(+)
Piano SKU:
SU.95010680 For
Piano. Composed by
Judith Lang Zaimont.
Score. Subito Music
Corporation #95010680.
Published by Subito Music
Corporation
(SU.95010680).
Throughout our
wonderful spectrum of
sounds every instrument
speaks in its own unique
voice - in a special
manner, with a special
accent. Keyboard Cousins
asks the developing
pianist to adopt a few of
these other voices using
controlled varieties of
touch. —Judith
Lang Zaimont The
Harpsichord A
Harpsichord's sounds are
short and a bit brittle.
So use a detached touch,
and no pedal. The Guitar
A Guitar's tones linger,
and the instrument
responds to flexing
tempos. Watch for the
detached, moving inner
line, shared from hand to
hand, while the top and
bottom anchor points
sustain. And note the
given direction for
certain arpeggios, and
where the tempo loosens
(especially a long ending
ritard). The Harp A
Harp's exuberance
flourishes across its
wide range. Its
arabesques build up
resonance over time, so
watch how the pedaling
matches the phrasing.
Though the meter twice
switches from triple to
duple, there are the same
steady 2 beats in every
bar.Keyboard Cousins is
included in Piano
Premieres, Volume 1
(Cat.# 96010590), New
music for developing
pianists. Piano Duration:
ca. 5' Composed: 2020
Published by: Subito
Music Publishing. $10.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Wooden Soldier Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1115249-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 2 SKU:
BT.DHP-1115249-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2012. 32
pages. De Haske
Publications #DHP
1115249-140. Published by
De Haske Publications
(BT.DHP-1115249-140).
9x12 inches.
English-German-French-Dut
ch. The Wooden
Soldier is a short
and simple piece
commissioned by the
Singapore Ministry of
Education. It was
originally intended as a
compulsory piece for the
2012 Singapore Youth
Festival. Because many
school bands in Singapore
are incomplete, the
composer was specifically
asked to create a work
that could equally be
played by a limited
ensemble—which
explains various doubled
andoptional parts.The
wooden toy soldier that
inspires the work
initially marches in a
fictitious parade before
gliding into a swift
waltz. Both sections are
based on the same melodic
material: the brisk
triple-time passage is in
fact a variation on the
parade theme. Switching
between majorand minor
keys—together with
a number of surprising
twists—makes an
enthralling work despite
the restrictions imposed.
The Wooden
Soldier is een kort
en eenvoudig werkje dat
is geschreven in opdracht
van het Singaporese
ministerie van Onderwijs.
Het was aanvankelijk
bedoeld als verplicht
werk voor het Singapore
Youth Festival 2012.
Omdat veelschoolorkesten
in Singapore een
onvolledige bezetting
hebben, kreeg de
componist het
nadrukkelijke verzoek om
het werk zo vorm te geven
dat het ook met een
beperkt ensemble
uitgevoerd kan worden:
dat verklaart een aantal
verdubbelingenen
instrumenten ad
libitum.Het houten
speelgoedsoldaatje dat
als inspiratiebron
diende, stapt eerst in
een fictieve parade en
strekt daarna de benen
tijdens een vlotte wals.
Beide passages zijn
gebaseerd op hetzelfde
melodischemateriaal: de
snelle driekwartsmaat is
dus als het ware een
variant op het
paradethema. De
afwisseling tussen grote-
en kleinetertstoonaarden
en hier en daar een
verrassende wending
zorgen ervoor dat dit
werkje met zijn enethema
blijft boeien, ondanks de
vele opgelegde
beperkingen.
Th
e Wooden Soldier ist
ein kurzes, einfaches
Werk, das im Auftrag des
Bildungsministeriums von
Singapur geschrieben
wurde. Es war zunächst
als Pflichtstück
für das Singapurer
Jugendfestival 2012
gedacht. Da viele
Schulblasorchester in
Singapur unvollständig
besetzt sind, bat man den
Komponisten
ausdrücklich, das
Werk so zu gestalten,
dass es auch mit einem
begrenzten Ensemble
gespielt werden könne:
Dies erklärt einige
Verdopplungen und
optionale Instrumente.Der
hölzerne
Spielzeugsoldat, der als
Quelle der Inspiration
diente, marschiert
zunächst in einer
fiktiven Parade, um
danach das Tanzbein zu
einem flotten Walzer zu
schwingen.
BeideAbschnitte basieren
auf demselben melodischen
Material: Der schnelle
Dreivierteltakt ist also
im Grunde eine Variation
auf das Parade-Thema. Der
Wechsel zwischen Dur- und
Moll-Tonarten sowie
eingestreute
überraschende
Wendungen sorgen
dafür, dass dieses
Stück mit seinem
einen Thema trotz der
zahlreichen auferlegten
Beschränkungen stets
spannend bleibt.
The Wooden
Soldier (Le soldat de
bois) est une pièce
courte et simple
commandée par le
Ministère singapourien
de l’Education.
Cette oeuvre a été
initialement écrite
comme pièce imposée
pour le Festival de la
Jeunesse se déroulant
Singapour en 2012. Comme
de nombreuses formations
scolaires présentent
quelques lacunes au
niveau de certains
pupitres, Jan van der
Roost a été
sollicité afin de
composer une oeuvre qui
pourrait également
être jouée par une
formation incomplète -
ce qui explique le
doublement de certaines
parties et les voix
optionnelles.Le petit
soldat de bois qui anime
cette composition
musicale, marche tout
d’abord au coeur
d’une parade
fictive
avantd’exécuter
quelques pas d’une
valse rapide. On
retrouvera la même
trame musicale dans les
deux parties de
l’oeuvre : les
vivifiantes mesures
ternaires de la valse
sont en fait une
variation du thème de
la parade. Une alternance
entre mode majeur et
mineur ainsi qu’un
certain nombre de
rebondissements
inattendus, font de cette
pièce une oeuvre
captivante, malgré les
restrictions imposées.
Commissionato
come brano
d’obbligo dal
Ministero
dell’Educazione
per il Singapore Youth
Festival 2012, The
Wooden Soldier è
stato arrangiato per
poter essere eseguito da
una formazione ad
organico ridotto. Il
pezzo include varie parti
raddoppiate e opzionali.
Il brano inizia in uno
stile simile a una marcia
da parata per poi
scivolare verso un rapido
valzer, basandosi,
seppure in stili diversi,
sul medesimo materiale
melodico. I passaggi tra
tonalit maggiori e
minori, come anche
sorprendenti colpi di
scena, fanno di questo
brano una valida aggiunta
al programma da
concerto. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Duo Flûte traversière et Piano Theodore Presser Co.
Chamber Music flute, piano SKU: PR.114422710 Composed by Charles Gibb. Se...(+)
Chamber Music flute,
piano SKU:
PR.114422710 Composed
by Charles Gibb. Set of
Score and Parts. 44+8
pages. Duration 24
minutes. Theodore Presser
Company #114-42271.
Published by Theodore
Presser Company
(PR.114422710). ISBN
9781491136072. UPC:
680160688227. DUOâ
€™s succinct movement
titles (I. Here, II.
Open, III. Stark, IV.
Ardent) tease at
revealing the grand and
heartfelt inspiration for
exuberant romanticism in
this sonata-like work of
symphonic proportions and
depth. Charles Gibb is
both an accomplished
pianist and an
award-winning flutist,
who has written of this
compelling major addition
to the literature:
“This work is a
journey. What journey and
whose journey does not
matter. It is my journey,
it is your journey. It is
the journey of those who
came before us, and of
those who will come after
us. I wrote this hoping
that we can find each
other along the road, so
we can realize that we
don’t need to go
on the journey
alone.â€
Gibb’s DUO is sure
to become a favorite
major work for flute
recitalists. This work
is a journey. What
journey and whose journey
does not matter. It is my
journey, it is your
journey. It is the
journey of those who came
before us, and of those
who will come after us. I
wrote this hoping that we
can find each other along
the road, so we can
realize that we
don’t need to go
on the journey
alone.“Hereâ€
begins with three notes
that shape the rhythmic
and harmonic content of
the entire work. Melodies
and harmonies including
the tonic, dominant, and
leading tone can be found
in each of the four
movements. The first
moments of this movement
introduce the melody,
offering itself
unencumbered and
uninhibited. It shows
itself as it is. The
melodies soar, the
harmonies become voiced
more intricately, and the
opening theme repeats in
full grandeur. The
momentum slows down, and
the movement ends with a
sense of completion, yet
remains unbalanced.A
striking piano gesture
launches
“Open,†the
idea of instability
reflected with the
flowing flute trills and
unclear meter patterns in
the piano. The sensation
of an unsteady grace in
5/8 time arrives with a
piano ostinato. The
melody is expressive, yet
insecure and unbalanced
due to changing meters.
After a grand pause, the
movement transitions to
4/4 time with the flute
switching between duplet
and triplet flourishes.
After a rapid descent in
the flute, the opening
gesture returns, changed
and abruptly
interrupted.The third
movement,
“Stark,†is
very static, beginning
plainly but markedly. The
falling fifth calls out
continually throughout
the movement, searching,
lost. Melodies appear in
pieces, some smooth and
flowing, others rather
disjunct. The piece
climaxes with a line of
mournfulness, yet
revealing a deeper
strength through intense
projection of tone in the
high register. However,
the static harmonies
return, this time
unsteady all the way to
its foundation. This
destabilization repeats,
and then quietly
recedes.“Ardentâ
is the longest of the
movements and spans a
wide range of musical
emotion. Part of the
movement is fast paced,
energetic, and balances
order and disarray.
However, once the chaos
dies down, a gentle,
expressive theme comes
in. The theme itself is
very resolute; it is
order appearing from the
pandemonium. Conflict
returns, and order and
chaos become less
distinguishable from one
another, and soon fuse
together. However, order
returns with new meaning,
synthesized with previous
musical content, creating
a truer, deeper sense of
awareness or
understanding. A moment
of ambiguity arises, but
the flute persists,
supported by the
sensitive but firm
figuration in the piano,
and resoundingly comes to
a close, unburdened and
at ease. $29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| A Choral Fantasy on “Soon I Will Be Done” Chorale SATB SATB divisi Gentry Publications
SATB Divisi and Piano, with Opt. Drum Set and Bass Choral (SATB DIVISI) SKU: ...(+)
SATB Divisi and Piano,
with Opt. Drum Set and
Bass Choral (SATB DIVISI)
SKU: HL.1197758
The Jason Max
Ferdinand Choral
Series. Arranged by
John Stoddart. Gentry
Publications. Spiritual.
Octavo. 20 pages. Gentry
Publications #JG2663.
Published by Gentry
Publications
(HL.1197758). UPC:
196288134886.
6.75x10.5x0.045
inches. Here's a
choral fantasy on the
traditional African
American spiritual,
“Soon I Will Be
Done.†The grave
Wagnerian opening sets
the stage for the fiery
main theme of the
piece–a triplet
feeling motif in the
lower piano that
continues under each
chorus statement of the
melody. The choir
re-enters in the role of
the
“orchestraâ€
in the second chorus with
a haunting legato counter
melody that leads up to
the first verse. Each
verse should have a
Gospel/Stride feel with
the choir, particularly
the upper voices,
switching to a more
Gospel sound and rhythmic
feel. The A sections
should be performed with
aggression and angst to
contrast the calm legato
middle section. That
middle section is our
musical prayer of hope
that, like the sentiment
of this Spiritual, will
continue to live in our
hearts despite the
sometimes difficult
realities of life. $4.35 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Killer Technique: Classical Guitar Guitare notes et tablatures Guitare classique [Livre] Mel Bay
Composed by Gohar Vardanyan. For Guitar: Classic Guitar and Lute. Killer Techniq...(+)
Composed by Gohar
Vardanyan. For Guitar:
Classic Guitar and Lute.
Killer Technique.
Technique, Methods.
Intermediate-Advanced.
Book. 20 pages. Published
by Mel Bay Publications,
Inc
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ampero II Stage Amp Modeler/Effects Processor Hal Leonard
SKU: HL.1334486 Hotone Pedals. Guitar Pedal. Hal Leonard #MP-380. Publish...(+)
SKU: HL.1334486
Hotone Pedals. Guitar
Pedal. Hal Leonard
#MP-380. Published by Hal
Leonard (HL.1334486).
Ampero II
Stage, the latest gem in
the Ampero series, is
here to revolutionize
your live performances.
With its cutting-edge
triple-core digital
platform and premium
ESS® Sabre® series
independent AD/DA
converters, Ampero II
Stage delivers
unparalleled sonic
excellence. Whether
you're rocking a massive
music festival stage or a
cozy livehouse venue,
Ampero II Stage is your
ticket to an
unforgettable sonic
journey. Crafted
specifically for stage
performances, it empowers
you to shine with its
eight footswitches,
intuitive operation
logic, and a fresh UI
design. With the added
convenience of Bluetooth
connectivity and
atmospheric LED
indicators, Ampero II
Stage is your ultimate
stage companion. $699.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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