For Saxophone Quartet. By Olivia Rodrigo. Arranged by Seb Skelly. Woodwind Ensemble. Pop. Softcover. Fentone Music #032946. Published by Fentone Music

Alto Sax

SKU: HL.374357

Alto Sax Play-Along. By Various. Instrumental Play-Along. Pop. Softcover Audio Online. 24 pages. Duration 255 seconds. Published by Hal Leonard (HL.374357).

ISBN 9781705150108. UPC: 196288016847. 9.0x12.0x0.107 inches.

A baker's dozen of hot hits are included in this collection perfect for new instrumentalists. It features online access to audio demonstration and backing tracks for download or streaming to help you hear how the song should sound then play along and sound like a pro! Songs include: Adore You (Harry Styles) * Bad Habits (Ed Sheeran) * Blinding Lights (The Weeknd) * drivers license (Olivia Rodrigo) * Kings and Queens (Ava Max) * Therefore I Am (Billie Eilish) * Willow (Taylor Swift) * and more.

By Olivia Rodrigo. Arranged by Mark A. Brymer. Pop Choral Series. Ballad, Pop, Show Choir. Octavo. 12 pages. Duration 160 seconds. Published by Hal Leonard

By Olivia Rodrigo. Arranged by Mark A. Brymer. Pop Choral Series. Ballad, Pop, Show Choir. Octavo. 12 pages. Duration 160 seconds. Published by Hal Leonard

Viola

SKU: HL.374363

Viola Play-Along. By Various. Instrumental Play-Along. Pop. Softcover Audio Online. 24 pages. Duration 255 seconds. Published by Hal Leonard (HL.374363).

ISBN 9781705150160. UPC: 196288016908. 9.0x12.0x0.093 inches.

A baker's dozen of hot hits are included in this collection perfect for new instrumentalists. It features online access to audio demonstration and backing tracks for download or streaming to help you hear how the song should sound then play along and sound like a pro! Songs include: Adore You (Harry Styles) * Bad Habits (Ed Sheeran) * Blinding Lights (The Weeknd) * drivers license (Olivia Rodrigo) * Kings and Queens (Ava Max) * Therefore I Am (Billie Eilish) * Willow (Taylor Swift) * and more.

Clarinet

SKU: HL.374356

Clarinet Play-Along. By Various. Instrumental Play-Along. Pop. Softcover Audio Online. 24 pages. Duration 255 seconds. Published by Hal Leonard (HL.374356).

ISBN 9781705150092. UPC: 196288016830. 9.0x12.0x0.102 inches.

A baker's dozen of hot hits are included in this collection perfect for new instrumentalists. It features online access to audio demonstration and backing tracks for download or streaming to help you hear how the song should sound then play along and sound like a pro! Songs include: Adore You (Harry Styles) * Bad Habits (Ed Sheeran) * Blinding Lights (The Weeknd) * drivers license (Olivia Rodrigo) * Kings and Queens (Ava Max) * Therefore I Am (Billie Eilish) * Willow (Taylor Swift) * and more.

Flute

SKU: HL.374355

Flute Play-Along. By Various. Instrumental Play-Along. Pop. Softcover Audio Online. 24 pages. Duration 255 seconds. Published by Hal Leonard (HL.374355).

ISBN 9781705150085. UPC: 196288016823. 9.0x12.0x0.1 inches.

A baker's dozen of hot hits are included in this collection perfect for new instrumentalists. It features online access to audio demonstration and backing tracks for download or streaming to help you hear how the song should sound then play along and sound like a pro! Songs include: Adore You (Harry Styles) • Bad Habits (Ed Sheeran) • Blinding Lights (The Weeknd) • drivers license (Olivia Rodrigo) • Kings and Queens (Ava Max) • Therefore I Am (Billie Eilish) • Willow (Taylor Swift) • and more.

Horn

SKU: HL.374360

Horn Play-Along. By Various. Instrumental Play-Along. Pop. Softcover Audio Online. 24 pages. Duration 255 seconds. Published by Hal Leonard (HL.374360).

ISBN 9781705150139. UPC: 196288016878. 9.0x12.0x0.098 inches.

A baker's dozen of hot hits are included in this collection perfect for new instrumentalists. It features online access to audio demonstration and backing tracks for download or streaming to help you hear how the song should sound then play along and sound like a pro! Songs include: Adore You (Harry Styles) • Bad Habits (Ed Sheeran) • Blinding Lights (The Weeknd) • drivers license (Olivia Rodrigo) • Kings and Queens (Ava Max) • Therefore I Am (Billie Eilish) • Willow (Taylor Swift) • and more.

(for percussion ensemble). By Jeffrey D. Grubbs. Arranged by Jeffrey D. Grubbs. 4. For Xylophone, chimes, snare drum, concert bass drum, four timpani (4 players). This edition: Percussion quartet. Concert Percussion Ensembles. Written for minimal instrumentation and maximum effect, Jeffrey D. Grubbs' Fanfare for Percussion Quartet provides an exciting curtain-raiser for small ensembles. Written in 5/4, the themes in this piece are inspired by percussively driven action-adventur. Medium-Easy. Folio parts on CD-Rom. 12 pages. Duration 2:15

Piano

SKU: HL.49046469

5 Virtuoso Pieces Piano. Composed by Melanie Spanswick. Piano. Classical. Softcover. 32 pages. Schott Music #ED23222. Published by Schott Music (HL.49046469).

UPC: 842819109839.

Simpl y Driven is a collection of five pieces for advanced to virtuoso level pianists. Each piece has a completely different character, whilst still reflecting minimalist influences.

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,” 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!

The Drummer's Guide to Musical Styles and the Legends Who Defined Them. By Rich Lackowski. For Drum Set. Percussion - Drum Set Method or Collection. Instructional Book and Examples CD. 244 pages. Published by Alfred Publishing.

By R.E.M.. For Guitar. This edition: Guitar TAB. Book; Guitar Personality; Guitar TAB. 166 pages. Published by Alfred Music Publishing

Orchestra String Orchestra - Grade 3

SKU: CF.CAS7

Composed by Doris Gazda. Edited by Amy Rosen. FS-SWs. Carl Fischer Concert String Orchestra Series. Score and Parts. With Standard notation. 20+24+24+6+15+15+15 pages. Carl Fischer Music #CAS7. Published by Carl Fischer Music (CF.CAS7).

ISBN 9780825847578. UPC: 798408047573. 8.5 X 11 inches. Key: D major.

When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody.A Red Rock RagA is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody.A Red Rock RagA is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista.The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color.Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.

Opera in 3 Acts for mixed voices (2[1.2/pic] 2 [1.2/Eh] 2 2- 4 2 2 1-tmp 2-hp, kbd- str) - Late Intermediate SKU: EC.8932 Composed by Craig Bohmler. Instrumental part. E.C. Schirmer Publishing #8932. Published by E.C. Schirmer Publishing

(Melody, Lyrics and Simplified Chords in the Key of C). Composed by Various. For C Instruments. Easy Fake Book. Softcover. Published by Hal Leonard

By Jim Casella. Percussion Ensemble. For glockenspiel, xylophone, vibraphone, marimba (4 octave), marimba (4.3 octave), 4 timpani, chimes, 4 cowbells, log drum, 2 china cymbals, 5 suspended cymbals, 2 brake drums, 3 woodblocks, 2 triangles, splash cymbal, hi hat, 4 toms, chinese opera gong, kick drum, tambourine, low conga, bongos. (9 players). Level: Advanced. Full score and CD-Rom (containing printable parts). Duration 5:00. Published by Tapspace Publications.

(Medium/Low Voice). By William Bolcom. For Medium/Low Voice, Piano Accompaniment. E.B. Marks. Softcover. 176 pages. Published by Edward B. Marks Music

by William Bay. For electric bass. solos. Easiest. Rock and Blues. Level: Beginning. Book. Size 8.75x11.75. 24 pages. Published by Mel Bay Publications, Inc.

Grade 4

SKU: CL.032-3799-01

Composed by Stanton. Jazz Ensemble. Audio recording available separately (item CL.991-2009-02). Extra full score. Composed 2009. Duration 4 minutes, 11 seconds. C.L. Barnhouse #032-3799-01. Published by C.L. Barnhouse (CL.032-3799-01).

And the prize goes to your rhythm section! They will absolutely love this half-time/double-time rock chart! The bell-ride cymbal work and eighth note bass line really drive this tune. Your sax section will shine on the true unison sax soli and then the brass section then kicks it into overdrive with a contrasting bridge section. This chart sounds harder than it really is. And all solos are optional as the chart cooks with just the great sax soli and brass kicks. A guitar performance helper part includes tablature for licks and chord shape suggestions. A sure winner!

SKU: HL.1138127

Lewitt Audio. Audio Interface Unit. Hal Leonard #CONNECT6. Published by Hal Leonard (HL.1138127).

ISBN 9781705183397. UPC: 847986002242. 8.5x11.0x3.0 inches.

CONNECT 6 is a Dual USB-C audio interface with game-changing flexibility for creators and musicians. It features extensive analog and digital connectivity, full iOS/Android device integration, and crystal-clear sounding studio-grade preamps. The onboard DSP effects provide fantastic sound for vocals and instruments with zero-latency. Auto Setup helps to find your optimal settings automatically. The included CONTROL CENTER software offers virtual channels, a mixer, loopback, and individual audio routing. You can set up workflows from basic to complex easily. Since your audio is processed via the hardware-based DSP, your setup is highly stable and independent of your computer's performance. Everything is conveniently managed on a single device–no more workarounds. Features: • Dual USB-C audio interface for creators and musicians • 2 Crystal-clear studio-grade preamps with 72 dB gain and low-noise performance of -133 dBV EIN • Auto Setup dials in optimal settings for your voice or instrument automatically • Powerful hardware-based DSP for routing, mixing, zero-latency FX (Compressor, 4-band EQ, Expander, Maximizer) and monitoring • 2 Independent headphone outputs powerful enough to drive any studio headphone (6.35 mm & 3.5 mm) • Full mobile device audio integration with charging via USB-C (Apple MFI certified - Made for iPhone, iPad / Android) • 2 Balanced speaker outputs (6.35 mm / 1/4 inch) • 1 Stereo speaker out (3.5 mm / 1/8 inch) • 1 Stereo aux input for additional audio devices (3.5 mm / 1/8 inch) • 3 Virtual stereo channels for custom audio routing • 1 Loopback channel to digitally record your computer's audio • 2 Independent master mixes with one-knob Maximizer • ASIO driver included • CONTROL CENTER for Mac and Windows • Licenses for Steinberg's Cubase LE, Cubasis LE included • 1 USB-C to USB-C and 1 USB-C to USB-A cable included.

For bass guitar and voice. Format: bass tablature songbook. With bass tablature, standard notation, vocal melody, lyrics, chord names and bass notation legend. Series: Hal Leonard Bass Recorded Versions. 200 pages. 9x12 inches.