SKU: P2.30094

Mark My Words, originally for tuba (but just as fun to play on clarinet), was composed by James Grant in February of 2007 as a heartfelt gift to his great friend and staunch musical ally, tubist Mark Nelson, in celebration of their first collaboration fourteen years earlier (Three Furies for solo tuba). Grant writes, When I began composing Mark My Words, I told Mark to be prepared for something fun that sounded like Charlie Brown doing a funky bossa nova (think jazz pianist/composer Vince Guaraldi's Linus and Lucy). I did not tell him that the middle section of Mark My Words would make overt references to all of the principal shapes, motives and themes from the Three Furies - my way of thanking Mark Nelson, specifically, for opening wide the door of composing for tuba and euphonium those many years ago and for so enthusiastically escorting me over that threshold. I am but one of many grateful composers whom Mark has supported over the years by commissioning, then recording their music. Mark My Words is my humble attempts at giving back to this devoted educator, consummate musician, fervent promoter of new music for tuba, and - yes - kickass player..

SKU: HL.49018091

ISBN 9790001170338. UPC: 884088520069. 9.0x12.0x0.115 inches.

The title hidden tracks is ambiguous. First of all, the piece is almost throughout imagined as 'multi-track', with layers (in the sense of sound tracks) that partly overlay each other, partly suddenly appear from the background. The composition deals with 'hidden' lines, sounds at the perception threshold, with side effects of the accordion sound which -observed, so to speak, under a compositional 'microscope' - develop a special allure: that is the vertical component. The title has also a horizontal meaning: a 'hidden track' is a piece on a record without a track number that is not mentioned on the cover either. In most cases, a 'hidden track' follows after a longer break after the (presumably) last piece on the record; often this track contains strange sounds, noise or other surprising elements. 'Hidden tracks' are surrounded by a nimbus of the mysterious and subversive. This effect is being used rather often throughout the piece: again and again, it seems to have ended but continues after a pause. The expectation of the listener and the attentiveness also for the tiniest events rises; the performance receives an almost scenic character. hidden tracks was partly composed in August 2008 during a stay at the Kunstlerhaus Lukas in Ahrenshoop at the shores of the Baltic Sea. The work was accompanied by many walks on the beach - again and again, I caught a sight on tracks in the sand that became overlaid by other tracks, wiped out by the wind and the waves... Benjamin Schweitzer.

SKU: P2.80087

Grant writes, When I began composing Mark My Words, I told Mark to be prepared for something fun that sounded like Charlie Brown doing a funky bossa nova (think jazz pianist/composer Vince Guaraldi's Linus and Lucy). I did not tell him that the middle section of Mark My Words would make overt references to all of the principal shapes, motives and themes from the Three Furies - my way of thanking Mark Nelson, specifically, for opening wide the door of composing for tuba and euphonium those many years ago and for so enthusiastically escorting me over that threshold. I am but one of many grateful composers whom Mark has supported over the years by commissioning, then recording their music. Mark My Words is my humble attempts at giving back to this devoted educator, consummate musician, fervent promoter of new music for tuba, and - yes - kickass player..

SKU: P2.W0001

Grant writes, When I began composing Mark My Words, I told Mark to be prepared for something fun that sounded like Charlie Brown doing a funky bossa nova (think jazz pianist/composer Vince Guaraldi's Linus and Lucy). I did not tell him that the middle section of Mark My Words would make overt references to all of the principal shapes, motives and themes from the Three Furies - my way of thanking Mark Nelson, specifically, for opening wide the door of composing for tuba and euphonium those many years ago and for so enthusiastically escorting me over that threshold. I am but one of many grateful composers whom Mark has supported over the years by commissioning, then recording their music. Mark My Words is my humble attempts at giving back to this devoted educator, consummate musician, fervent promoter of new music for tuba, and - yes - kickass player..

SKU: HL.49001770

ISBN 9790001021197. UPC: 073999293562. 9.25x12.0x0.07 inches.

Though A.E. Brachvogel's portrayal of the failed genius in his biography about W.F. Bach drew an impressive picture of the inner turmoil of the eldest Bach son's personality, it is rather unproductive for the understanding of his music. However, legends often or mostly contain a core of truth: There is no doubt that the highly gifted musician failed because of the overwhelming example of his father (as composer) particularly since he was on the threshold from one epoch to another.In the adagio, both flute parts rising above the string orchestra are assigned a quality of expression that can already be related to the sentimental age whereas the second movement, a more or less strict string fugue, is rooted in the tradition-conscious baroque period.

SKU: BT.WH31324

ISBN 9788759822555. English.

Improvised Music - Essays And Interviews by Jakob Thorkild Overgaard.

From the preface:

This book is the child of my extensive personal experience
as performerof musical improvisation. I have
a large number of concerts, recordings and bands in
my baggage, and throughout my career as performer
I have reflected much on the music as such, its origins,
and its effects onperformer and listener alike.
In addition to this, my M.A. in Music from Copenhagen
University provided me with a theoretical foundation
which has sharpened my reflections on music
and fostered an interestinthe spoken word.
As its point of departure, this book will attempt a discussion
of improvised music after 1968, as a concept
and as an actual performing art. I shall use the terms
‘freeimpr ovisation’ or ’ freely improvised music’ – as I
think that they are the best, although I am of course
fully aware that there may be several other adequate
terms for this music...

. ..There are sections solely based on my views and analyses as well as sections taking their starting point in the views of other writers and artists.

Besides, the book containsinterviews and communications with prominent performers of improvised music and theorists such as, inter alia, Danish Peter Ole Jørgensen, Swedish Raymond Strid, Danish Vagn E. Olsson and Torben Sangild, Postdoc at theDepartment of Arts and Cultural Studies, Copenhagen University.

SKU: GI.G-9602

SKU: GI.G-9605

SKU: GI.G-9601

SKU: GI.G-9603

SKU: GI.G-9604

SKU: HL.731522

UPC: 852940000974. 3.25x5.5x2.75 inches.

Carl started years back with the Compressor Limiter...that big black hand-made-in-Denmark compressor that brought studio comps to the pedal board. The word got out that it was just too big for modern pedal boards, so Carl redesigned that pedal into a much smaller format, preset (or fixed) the Threshold and Response leaving just two knobs for Comp and Level. The feedback we got was overwhelming...players were telling us the Comp Limiter had the same sonic clarity, the same headroom and the same quietness that the big studio comps had but was so quick and easy to use. Carl could have left it there, but that's not Carl! Welcome to the Honey Comp, and it's as sweet as ... well, you know ... honey. This pedal is the same as the Comp Limiter in every way... same Gray anodized finish, same footprint and the same simplicity of use with one compression control and one level control. It is pretty much the perfect compressor, so what could Carl possible upgrade? Easy! Carl added a Dry volume which allows you parallel processing with three knobs! Parallel Processing is a studio technique which takes a heavily compressed signal (which through compression loses some dynamics if not all) and allows you to add a clean (Dry) signal on top replacing those dynamics giving your guitar three-dimensionality and allowing the guitar to cut through the mix. For those of you used to studio work, this is a very well-known technique, but usually too complex for a pedal board! The three knobs allow you to balance the Compressed signal with the Dry signal quickly and efficiently for a very pro sound! The Carl Martin Honey Comp incorporates the special CM developed DC/DC converter circuitry. This enables us to run the pedal with +-12V internally, which is necessary, in order to maintain the same sonic quality and headroom as on the “old” Compressor/Limiter, using a regular 9V DC 200mA external power supply.

SKU: KN.42873S

UPC: 822795428735.

Doug Doug Beach has given us many great Latin charts over the years, and this one is no exception. Fashioned after the music of Horace Silver, this driving Latin tune features a wonderful combination of melodic and rhythmic ideas. An expandable solo section (written or ad lib solo sheets for all are included) and a full-band shout rounds this chart out beautifully. Rhythm section parts partially notated. Duration 4:15. Available in SmartMusic.

SKU: FG.042-08465-6

ISBN 979-0-042-08465-6.

In Poseidon, commissioned by the National Symphony Orchestra of Washington and Mstislav Rostropovich, Bergman turns to the Greek god of the sea and lord of the earthquake as a symbol for primaeval power and the wellspring of creativity. In the ocean depths - the subconscious - power stirs and rises to the threshold of consciousness. It projects itself into the second movement's eruption of energy, after which follows recovery and calm. Composed in 1992.

SKU: KN.42638S

UPC: 822795426380.

With a haunting melody and lush ensemble voicings, this beautiful ballad will be the perfect showcase for your trumpet, alto sax, tenor sax or trombone soloist. Written solo lines are provided for players lacking improvisation experience, and in his score notes Doug specifies the section parts that may be omitted to cover the solo part if your personnel is limited. Rhythm section parts are notated. Duration 2:30.

SKU: KN.42811

UPC: 822795428117.

A driving rock groove, solid melody and zesty Latin overtones make this original a winner. The main solo section may be opened up as desired (written solos provided for all instruments), and at the coda the drummer kicks things up several notches by trading solos with the band. Plenty of ensemble writing throughout inspires confidence in young players.

SKU: HL.1753724

UPC: 850035900178. 7.25x9.5x3.5 inches.

Every Royer R-10 delivers the sonic excellence, flexibility and durability that recording and FOH engineers know they can expect from Royer, but at an easier-to-handle price point than most expect! The R-10 is a passive, mono ribbon microphone designed for use in the studio and on live stages. Hand-built in our Burbank, California factory, the R-10 is exceptionally rugged, handling SPLs of up to 160 dB @ 1 kHz (!), and its compact size and mounting system allow for flexible, unobtrusive positioning. The R-10's 2.5-micron aluminum ribbon element (same as in the legendary R-121) is formed with our patented direct-corrugation process, and is extremely well-protected by a 3-layer windscreen system and internally shock-mounted ribbon transducer. The R-10's built-in windscreen provides superior protection from air blasts and plosives, while also reducing proximity effect (bass buildup from close micing) so guitar cabinets and acoustic instruments can be more easily close-miced. The internally shock-mounted ribbon transducer isolates the ribbon element from unwanted vibrations, decreasing rumble and increasing the ribbon element's durability. The transducer is even wired for humbucking to better reject electromagnetically induced noise! The R-10 utilizes a David Royer custom-designed transformer for high overload threshold, minimizing saturation at even extremely high sound pressure levels. You'll never overload an R-10! The mic's open grill design minimizes standing waves and associated comb-filtering effects and its smooth frequency response, phase linearity and lack of self-distortion make it ideal for all digital recording and live sound formats. The R-10 is truly an excellent tool for recording almost any sound source you can think of!

SKU: KN.TDB2303

12 x 9 inches.

Doug Beach Music is thrilled to welcome master composer Dave Rivello to the catalog. His new composition Blueprint features a beautiful melody set over a medium straight eighth note groove. Dave’s wonderful scoring keeps all of the musicians involved throughout the chart making this a piece that offers many teaching opportunities. This one will be a welcome addition to any program.

SKU: KN.42833

UPC: 822795428339.

Looki ng for a great opener or closer for your next gig? This medium level chart is a spirited shuffle that is guaranteed to get the band and the audience grooving. Lots of catchy figures, powerful ensemble sections, and an engaging groove give this chart a lot of energy without extreme demands on the players. And with a solo section over standard F blues, you can open it up to feature anyone (written or ad lib). Duration 3:10.

SKU: KN.TDB2303FS

12 x 9 inches.

Doug Beach Music is thrilled to welcome master composer Dave Rivello to the catalog. His new composition Blueprint features a beautiful melody set over a medium straight eighth note groove. Dave’s wonderful scoring keeps all of the musicians involved throughout the chart making this a piece that offers many teaching opportunities. This one will be a welcome addition to any program.

SKU: KN.42832S

UPC: 822795428322.

Writt en in the style of Slide Hampton's Slide's Derangement (recorded by Maynard Ferguson on Message From Newport), this medium-uptempo blues captures the spirit of Slide's chart in a fresh, accessible original. Alternating between G minor and Bb major, it includes written lines for two open solo sections for all instruments. The chart closes out strong with drums soloing over held chords. Rhythm section parts are notated with chords cued. Duration 4:40.

SKU: KN.42833S

UPC: 822795428339.

Looki ng for a great opener or closer for your next gig? This medium level chart is a spirited shuffle that is guaranteed to get the band and the audience grooving. Lots of catchy figures, powerful ensemble sections, and an engaging groove give this chart a lot of energy without extreme demands on the players. And with a solo section over standard F blues, you can open it up to feature anyone (written or ad lib). Duration 3:10.