SKU: HL.117070 Guitar. Guitar Reference. Hardcover. 136 pages. Published ...(+)
SKU: HL.117070
Guitar. Guitar Reference.
Hardcover. 136 pages.
Published by Centerstream
Publications (HL.117070).
ISBN 9781574242898.
UPC: 884088885441.
8.5x11.0x0.556
inches.
The term
“burst†has
been used to describe a
specific Gibson Les Paul
guitar manufactured from
1958 to 1960. The impact
of this guitar has and
continues to shake the
music world. For dozens
of guitar idols who've
played it – and
those fortunate enough to
have owned one or more
– the Gibson Les
Paul Sunburst possesses a
mystique and magic not
found in any other
electric guitar. With its
unique sound, spectacular
beauty and playability,
the burst has shaped the
landscape of the
blues/rock genre as we
know it today. The Burst
Believers in this book
– Joe Bonamassa,
Jimmy Page, Billy
Gibbons, Kirk Hammett,
Rick Nielsen, Waddy
Wachtel, Slash, Steve
Lukather, the Burst
Brothers and many more
– have been kind
enough to share their
experiences and stories
that you will enjoy
reading. These
recollections, plus
hundreds of fantastic
color photographs and a
serial number index, make
this book a
“must†for
players and collectors
everywhere. “These
guitars are the holy
grail.†–
Joe Bonamassa “The
burst has helped to
create and establish the
rock sound loved by
generations.â€
– Jimmy Page
“A modern-day
Stradivarius.â€
– Kirk Hammett
“I cannot imagine a
guitar more perfectly
suited to my eyes, ears,
hands and musical
inclinations.â€
– Billy
Squier.
((No. 2 from Three Madrigals after Dowland) Yale Glee Club New Classic Choral Se...(+)
((No. 2 from Three
Madrigals after Dowland)
Yale Glee Club New
Classic Choral Series).
For Choral (SATB and Solo
A Cappella). Yale Glee
Club New Classics. 12
pages. Boosey and Hawkes
#M051481293. Published by
Boosey and Hawkes
Choral SATB Choir and Piano SKU: CF.CM9740 Composed by Mark Burrows. 16 p...(+)
Choral SATB Choir and
Piano
SKU:
CF.CM9740
Composed by
Mark Burrows. 16 pages.
Duration 4 minutes, 22
seconds. Carl Fischer
Music #CM9740. Published
by Carl Fischer Music
(CF.CM9740).
ISBN
9781491161203. UPC:
680160919789. Key: Bb
major. English. Siegfried
Sasson.
Everyone
suddenly burst out
singing; And I was filled
with such delight As
prisoned birds must find
in freedom... These
opening lines to Everyone
Sang by the British war
poet Siegfried Sassoon
feel as relevant today as
they did when the poem
was first published in
1919. It was after the
end of World War I and
these words capture so
much of the collective
exhilaration, relief, and
pure joy about the Great
War finally coming to an
end. And yet Sassoon
himself felt none of that
when he wrote this poem.
In his own words, he was
feeling dull-minded and
depressed. Perhaps his
time in the trenches was
still too recent. One of
the reasons the creative
arts are so powerful is
that a poet like Sassoon
(or a painter like Van
Gogh or a composer like
Mahler) can take their
own feelings of deep
sadness or pain and
transform them into
something beautiful, even
uplifting. Everyone Sang
is a celebration of the
promise that things can
get better, that there
are things worth looking
forward to. The
poem itself has so much
rhythm and musicality.
The appearance of
suddenly in the first
line of each verse gives
those verses a rush of
energy. Attention to the
crescendo in measure 7,
and again in measure 37,
from mf to f will help
the listener experience
that rush. There are
expressive opportunities
with so many of the
poet's bold choices of
action words - burst,
winging, and shaken. Then
there's alliteration - a
poetic device that can be
overdone, but Sassoon
strikes a wonderful
balance. Suddenly/singing
(measures 6-7 and 10-11)
Find/freedom (measure
21-22) Winging/wildly
(measure 23) Setting/sun
(measures 47-49)
Was/wordless (measures
65-75) Give these
alliterations just a hint
of emphasis (without
overdoing) to bring out
the natural rhythm of the
text. And just as
O is set apart in the
poem by punctuation, I
wanted the musical
setting - in measure 57 -
to honor that feeling of
wonder - ...O, but
Everyone Was a bird; and
the song was wordless;
the singing will Never be
done. Friends, there is
so much good ahead, so
much to be excited about.
May the singing never be
done. Everyone
suddenly burst out
singingAnd I was filled
with such delightAs
prisoned birds must find
in freedom…These
opening lines to Everyone
Sang by the British war
poet Siegfried Sassoon
feel as relevant today as
they did when the poem
was first published in
1919. It was after the
end of World War I and
these words capture so
much of the collective
exhilaration, relief, and
pure joy about the
“Great Warâ€
finally coming to an end.
And yet Sassoon himself
felt none of that when he
wrote this poem. In his
own words, he “was
feeling dull-minded and
depressed.†Perhaps
his time in the trenches
was still too recent.One
of the reasons the
creative arts are so
powerful is that a poet
like Sassoon (or a
painter like Van Gogh or
a composer like Mahler)
can take their own
feelings of deep sadness
or pain and transform
them into something
beautiful, even
uplifting. Everyone Sang
is a celebration of the
promise that things can
get better, that there
are things worth looking
forward to. The poem
itself has so much rhythm
and musicality.The
appearance of
“suddenly†in
the first line of each
verse gives those verses
a rush of energy.
Attention to the
crescendo in measure 7,
and again in measure 37,
from mf to f will help
the listener experience
that rush.There are
expressive opportunities
with so many of the
poet’s bold
choices of action words
– burst, winging,
and shaken.Then
there’s
alliteration - a poetic
device that can be
overdone, but Sassoon
strikes a wonderful
balance.Suddenly/singing
(measures 6-7 and
10-11)Find/freedom
(measure
21-22)Winging/wildly
(measure 23)Setting/sun
(measures
47-49)Was/wordless
(measures 65-75)Give
these alliterations just
a hint of emphasis
(without overdoing) to
bring out the natural
rhythm of the
text. And just as
“O†is set
apart in the poem by
punctuation, I wanted the
musical setting –
in measure 57 - to honor
that feeling of wonder
–…O, but
EveryoneWas a bird; and
the song was wordless;
the singing willNever be
done. Friends, there
is so much good ahead, so
much to be excited
about.May the singing
never be done.
Afterburn Orchestre à Cordes [Conducteur et Parties séparées] - Facile Grand Mesa Music
Composed by Randall Standridge. Edited by J. Cameron Law. For string orchestra. ...(+)
Composed by Randall
Standridge. Edited by J.
Cameron Law. For string
orchestra. Grade 2 .
Score and parts. Duration
3 minutes, 19 seconds.
Published by Grand Mesa
Music
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.
Cheer Bursts Fanfare - Facile Arrangers' Publishing Company
Arranged by Tom Wallace. For Marching Band (Score & Parts). Arrangers' Publ Marc...(+)
Arranged by Tom Wallace.
For Marching Band (Score
& Parts). Arrangers' Publ
Marching Band. Grade 2.5.
Arrangers' Publishing
Company #M415. Published
by Arrangers' Publishing
Company .
Composed by Collin Bay. For Bass Guitar, Mandolin, Tenor Banjo, Classical Guitar...(+)
Composed by Collin Bay.
For Bass Guitar,
Mandolin, Tenor Banjo,
Classical Guitar.
Saddle-stitched. Learn to
Burn. Technique/Theory.
Advanced. Book. 12 pages.
Published by Mel Bay
Publications, Inc
Axe
Heaven Guitars. Gift
Item. Axe Heaven
#GG-120CP. Published by
Axe Heaven (HL.355827).
UPC: 840126943627.
4.5x11.75x1.367
inches.
This
miniature replica model
honors the Holy Grail of
electric guitars. The
cherry sunburst stain on
this handcrafted
collectible is an amazing
reproduction of the
classic original solid
body instruement. Each
Axe Heaven® miniature
replica guitar is 1:4
scale and is individually
handcrafted from solid
wood, with metal tuning
keys. Each guitar model
is approximately
10″ in length and
comes complete with a
high-quality miniature
adjustable A-fram stand
and a gold foil stamped
Gibson by Axe Heaven®
guitar case box. Axe
Heaven® Miniature
Replicas look great, but
are not playable.
Outburst Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Hal Leonard
Score and Parts Concert Band (Score & Parts) - Grade 6 SKU: HL.4008987 (+)
Score and Parts Concert
Band (Score & Parts) -
Grade 6
SKU:
HL.4008987
Concert
Band, Grdae 6 3:08 Score
and Parts. Composed
by Georges Sadeler.
Symphonic Dimensions.
Concert, Concert Band.
Softcover. Duration 188
seconds. Hal Leonard
#SDP285-24-02. Published
by Hal Leonard
(HL.4008987).
UPC:
196288283812.
“Ou
tburst” is a
spectacular opening for
any concert. The entire
orchestra can showcase
its impressive skills for
over three minutes. The
initial fanfare is
abruptly interrupted by a
pulsating, faster tempo,
driven by powerful drum
beats and orchestral
rhythms. Following this,
the first four notes of
the fanfare resound in
various variations. Each
instrument section has
its glorious moment and
contributes collectively
to the impressive
finale.
Arranged by Carol Matz. For Piano. In Tune Withandseries. Contents include: The ...(+)
Arranged by Carol Matz.
For Piano. In Tune
Withandseries. Contents
include: The Easy
Winners; Cleanin' Up in
Georgia; Original Rags;
Maple Leaf Rag; The
Entertainer; Bohemia;
Echoes from the Snowball
Club; Evergreen Rag; Doc
Brown's Cake Walk; Elite
Syncopations; Funny
Folks; Sunburst Rag; One
o' Them Tings!; Meteor
Rag; syncopation
exercises, historical
information and more.
Ragtime. Level: Early
Intermediate/Intermediate
. Book. Published by The
FJH Music Company, Inc.
Axe
Heaven Guitars. Gift
Item. Duration 240
seconds. Axe Heaven
#GO-850. Published by Axe
Heaven (HL.910685).
UPC: 661239452604.
4.0x6.5x1.0
inches.
This
miniature replica model
honors the Holy Grail of
electric guitars. The
cherry sunburst stain on
this handcrafted
collectible is an amazing
reproduction of the
classic original solid
body instrument.