Lyrics and Chords. Composed by Radiohead. This edition: Lyric and Chord Book. Artist/Personality; Book; Personality Book. Faber Edition. Rock. Leadsheet. Published by Faber Music

Performed by Radiohead. Songbook for voice, piano and guitar chords. 60 pages. Published by Alfred Publishing.

SKU: HL.1329342

Acoustic Correction Processor. IK Hardware. Studio & Rehearsal Support. IK Multimedia #IP-ARC-STUDIO-IN. Published by IK Multimedia (HL.1329342).

6.15x12.75x2.811 inches.

High-defini tion monitoring for all... There's a reason all of today's highest-end studio monitors are adding active room correction – it supercharges their performance and ensures mixes translate flawlessly. ARC Studio offers this same massive boost in performance and accuracy to every monitor in every studio. Dramactically improve your mixing accuracy Your room has a big impact on how you hear your music. The size, shape, materials, and furniture all work to distort the frequency and stereo balance of your monitors, degrading your sound. ARC Studio analyzes and corrects these issues in minutes. Your music snaps into focus, with more controlled low-end, tighter transients and pinpoint stereo imaging. It's like an instant upgrade to your monitors. And when you can trust what you hear, you'll mix faster and more confidently than ever. Installs in minutes ARC Studio combines the new ARC 4 measurement software, room analysis microphone and stand-alone correction processor. Plug the mic into your interface and you'll be guided through measuring acoustical spots within your listening position. IK's award-winning ARC technology uses this 3D snapshot to identify and completely correct all the problematic issues degrading your monitors' performance. This correction profile is loaded into the ARC Studio processor, sitting invisibly between your interface and monitors to apply all incoming signals. Acoustic issues disappear, unleashing your monitors' true performance. Correct every studio For pro studios, whether in-the-box or console-based, ARC Studio allows for a sonically transparent correction and custom-tuning for any monitoring setup from nearfields to mains, preserving the inherent system's sonic quality. And for DAW-based studios, ARC Studio frees you from the hassle of inserting plug-ins on the master bus of your work and preserves zero-latency monitoring setups, plus allows you to listen to your preferred streaming service with acoustically corrected monitoring without messing around with system drivers. You can create a profile for every configuration, listening position or even monitor pair. Whether you're in a makeshift studio or a world-class one, fine-tuning your monitoring to your taste has never been easier and has never sounded so good. Includes monitor emulations ARC Studio also includes a monitor emulations function that turns your monitor system into iconic studio monitors and popular hi-fi speakers and mobile devices, with breathtakingly true-to-life results by accurately reproducing the frequency and phase response of the originals. With over 20 profiles included, a single pair of monitors now lets you test your mix on different reference systems quickly, without ever having to head to your car! For Every Studio • Compact digital room correction processor • High-end audio conversion • Full-range correction for any ki.

Orchestra and Cobla

SKU: BO.B.3260

Composed by Josep Ma Ruera. Instrumental Sets. Duration 40:52. Published by Editorial de Musica Boileau (BO.B.3260).

ISBN 9788480207584.

Engl ish comments:
Empuries is the result of the interest Ruera showed throughout his life for the culture and music of ancient Greece. As he himself writes in the introduction to the composition: The motives behind this work were inspired by contemplating and analysing the melos of ancient Greece. The few melodies that have been discovered from those far-off times inspired the composer of Empuries to create this work, conceived with the Greek modal system in mind, and adapted to modern instruments and tastes. The tetrachord and pentachords of these forms are the very bases of this work. The descending drift of the cadence, the harmonic priority of the upper and lower notes of the tetrachords and the displacement of these chords to different acoustic levels, make it impossible to specify the classic concept of a set tonality which, within the improvised musical working of the piece, leads to a naturally intertonal or atonal piece of music. Empuries came to light in 1971, when it won group A of the Ciutat de Barcelona prize. But one must, in fact, go back to the 1930s to find its true origins. Ruera made his first foray into the theme of ancient Greece with the sardana, Empuries, la grega, with which he won first prize in the Jocs Florals in Girona, in 1931. Shortly afterwards, he wrote a piece of organ music entitled Bucolics, in the Greek modal style, which was destroyed during the Spanish civil war. Ruera continued to work on the theme and in 1936 he presented his work Tres moviments simfonics, for a big band, inspired by the ancient Greek modes, at the XIV International Festival of the ISCM held in Barcelona. The work was chosen to debut in the festival's opening concert on 19 April 1936 at Palacio de Bellas Artes in Barcelona. In 1959, Ruera won the Pau Casals Prize at the Jocs Florals de la Llengua Catalana, held at the Sorbonne in Paris, for his work, Empuries: poema per a cobla i orquestra, which would later become the fourth movement of Empuries. Nine years later, in 1968, Barcelona City Orchestra, conducted by Antoni Ros Marba, gave the first ever performance of the symphonic poem Pastoral, written to be the first movement of Empuries, in Granollers. The final step was when he finally completed the work, won the Ciutat de Barcelona prize, opened in Granollers on 2 May 1976 and recorded it for the Columbia de Barcelona label in 1977. Anna Maria Piera

Comentario s del Espanol:
La obra Empuries es fruto del interes que el maestro Ruera demostro a lo largo de su vida por la cultura y la musica de la antigua Grecia. Como el mismo escribe en la cabecera de la composicion: Los motivos generadores de esta obra estan inspirados en la contemplacion y en el analisis del melos de la antigua Grecia. Las pocas melodias que hasta el momento se han podido descubrir de aquellos tiempos remotos sugieren al autor de Empuries la realizacion de esta obra, concebida pensando en el sistema modal griego, adaptado a los instrumentos y gustos modernos. Los tetracordes y pentacordes de dichas modalidades son las celulas en las que se basa la obra. El sentido descendiente de la cadencia, la prioridad armonica de la notas extremas de los tetracordes y el desplazamiento de estos acordes a varias alturas acusticas, hacen que no sea posible precisar el clasico concepto de una tonalidad determinada y que lleven, dentro del funcionamiento contrapuntistico, a una musica naturalmente intertonal o atonal. Empuries vio la luz en el ano 1971, ganando el Premio Ciutat de Barcelona, grupo A, pero en realidad tenemos que retroceder hasta los anos 30 para encontrar sus verdaderos origenes. La primera incursion en el tema de la antigua Gracia la hizo con la sardana Empuries, la grega, con la que gano el primer premio en los Jocs Florals de Gerona del ano 1931. Poco despues escribio una pieza para organo titulada Bucolics, en el estilo modal griego, que fue destruida durante la Guerra Civil espanola. Ruera continuo trabajando en el tema y en el ano 1936 presento su obra Tres moviments simfonics, en version para gran banda, inspirada en las antiguas modalidades griegas, en el XIV Festival Internacional de la SIMC que se celebro en Barcelona. La obra fue escogida para ser estrenada en el concierto inaugural de dicho festival, el 19 de abril de 1936, en el Palacio de Bellas Artes de Barcelona. En el 1959, Ruera gano el Premio Pau Casals en los Jocs Florals de la Llengua Catalana celebrados en la Sorbona de Paris con la obra Empuries: poema per a cobla i orquestra, que sera con el paso del tiempo el cuarto movimiento de Empuries. Nueve anos mas tarde, en 1968, la Orquestra Ciutat de Barcelona, bajo la direccion de Antoni Ros Marba, interpreto en Granollers la primera audicion del poema sinfonico Pastoral, pensado como primer movimiento de Empuries. El ultimo eslabon fue terminar definitivamente la obra, ganar el Premio Ciutat de Barcelona, estrenarla en Granollers el 2 de mayo de 1976 y grabarla para la casa discografica Columbia de Barcelona, en 1977.

Percussion and 1 or more inst.

SKU: BR.KM-2542

Composed by Christian Mason. Solo instruments; Softbound. Kammermusik-Bibliothek (Chamber Music Library).

World premiere: Gwangju/Corea, November 24, 2016

Music post-1945; New music (post-2000). Full score. Composed 2015. 88 pages. Duration 13'. Breitkopf and Haertel #KM 2542. Published by Breitkopf and Haertel (BR.KM-2542).

ISBN 9790004504550. 9 x 12 inches.

Lahara - which literally means 'wave' - is a term used in Indian music to describe a repeating melodic phrase that accompanies table and pakhawaj solo. In such a traditional context the lahara would be played by a melodic instrument such as the sarangi, functioning as a background against which the flourishing virtuosity of the soloist could evolve. In my piece this function is also present in the form of a long line stated three times fully in the Thai gongs, however there is no virtuosic soloist. Instead, the musical evolution (if it is that) takes the form of a resonant ceremony enacted on bell plates and steel pans, situated not only on-stage but in four locations around the audience. If you want to look for it, the idea of waves can also be seen in other aspects of the piece: the slow wave of the gradual progression of players from the back of the hall to the front, which defines the form of the piece; the waves of tam-tam crescendi at the end of each statement of the lahara; maybe even in the way that the foreground melodic figurations progressively increase in density over the course of the piece until they completely dominate our perception, before suddenly disappearing… And on a more concrete note every sound is, after all, a wave. (Christian Mason, 2016)

World premiere: Gwangju/Korea, The Asian Arts Theatre, November 24, 2016.

Percussion and 1 or more inst.

SKU: BR.KM-2543

Composed by Christian Mason. Solo instruments; Folder. Kammermusik-Bibliothek (Chamber Music Library).

World premiere: Gwangju/Corea, November 24, 2016

Music post-1945; New music (post-2000). Set of parts. Composed 2015. 130 pages. Duration 13'. Breitkopf and Haertel #KM 2543. Published by Breitkopf and Haertel (BR.KM-2543).

ISBN 9790004504567. 9 x 12 inches.

Lahara - which literally means 'wave' - is a term used in Indian music to describe a repeating melodic phrase that accompanies table and pakhawaj solo. In such a traditional context the lahara would be played by a melodic instrument such as the sarangi, functioning as a background against which the flourishing virtuosity of the soloist could evolve. In my piece this function is also present in the form of a long line stated three times fully in the Thai gongs, however there is no virtuosic soloist. Instead, the musical evolution (if it is that) takes the form of a resonant ceremony enacted on bell plates and steel pans, situated not only on-stage but in four locations around the audience. If you want to look for it, the idea of waves can also be seen in other aspects of the piece: the slow wave of the gradual progression of players from the back of the hall to the front, which defines the form of the piece; the waves of tam-tam crescendi at the end of each statement of the lahara; maybe even in the way that the foreground melodic figurations progressively increase in density over the course of the piece until they completely dominate our perception, before suddenly disappearing… And on a more concrete note every sound is, after all, a wave. (Christian Mason, 2016)

World premiere: Gwangju/Korea, The Asian Arts Theatre, November 24, 2016.