| Blue Horizons - Avancé Carl Fischer
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,
English Horn, Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Piccolo, Trumpet
1, Trumpet 2, Trumpet 3,
alto Saxophone 1 and
more. - Grade 5 SKU:
CF.SPS85 Composed by
Jeremy Martin. Folio.
Sps. Set of Score and
Parts.
4+28+28+14+14+4+14+14+7+2
4+28+28+8+4+8+8+14+8+9+12
+12+8+8+8+8+12+12+9+12+8+
16+4+3+2+6+6+6+7+44
pages. Duration 7
minutes, 8 seconds. Carl
Fischer Music #SPS85.
Published by Carl Fischer
Music (CF.SPS85). ISBN
9781491156421. UPC:
680160914968. 9 x 12
inches. Blue
Horizons is a spirited
tribute to the musical
heritage of the United
States Air Force. The
main theme is a variation
of the U.S. Air Force
Song (Off We Go), with a
secondary theme based on
A Toast to the Host (the
bridge of The Air Force
Song). Throughout the
work, fragments of other
Air Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying Machines.
The original request for
this work was a daunting
task: I was asked to
create an Air Force
companion piece to Robert
Jager's Esprit de Corps
that would mirror the
style and spirit of that
landmark work. The goal
was to use elements of
our various Air Force
tunes in the same way
that Jager incorporated
The Marine's Hymn into
his work - that is, to
weave a musical tapestry
of the Air Force's
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few Jager-isms into the
music, including one
direct quote from Esprit
de Corps. Although Blue
Horizons was conceived as
a dedication to the Air
Force's musical legacy,
it is also a personal
homage to my teacher and
friend, Robert Jager.
Performance Notes * If
only two flutists are
available, omit the
piccolo part and have
them play Flute 1 and 2;
in this case, Flute 1
should switch over to
piccolo (still playing
from the Flute 1 part) at
m. 81 and back to regular
flute at m. 114. If only
covering the Flute 1 and
2 parts, Flute 2 should
ignore indications to
switch to piccolo and
just play the entire work
on regular flute. * Oboe
1 and 2 parts should be
covered before adding the
English Horn part. * The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts. * The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out. * From mm.
89-95, be sure the wind
players with static
eighth notes do not cover
up the players with
moving lines. * There is
a strong tendency to rush
m. 121. * During the oboe
solo from mm. 157-168,
ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo. * In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
line from mm. 251-260.) *
In this same scherzo
section, care should be
taken to not play too
loud and save a little
strength for the climax
fanfare at m. 279. * If
you have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too
heavy. Blue Horizons
is a spirited tribute to
the musical heritage of
the United States Air
Force. The main theme is
a variation of the U.S.
Air Force Song (Off We
Go), with a secondary
theme based on A Toast to
the Host (the bridge of
The Air Force Song).
Throughout the work,
fragments of other Air
Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying
Machines.The original
request for this work was
a daunting task: I was
asked to create an Air
Force “companion
piece†to Robert
Jager’s Esprit de
Corps that would mirror
the style and spirit of
that landmark work. The
goal was to use elements
of our various Air Force
tunes in the same way
that Jager incorporated
The Marine’s Hymn
into his work –
that is, to weave
amusical tapestry of the
Air Force’s
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few
“Jager-ismsâ€
into the music, including
one direct quote from
Esprit de Corps. Although
Blue Horizons was
conceived asa dedication
to the Air Force’s
musical legacy, it is
also a personal homage to
my teacher and friend,
Robert Jager.Performance
Notes• If only two
flutists are available,
omit the piccolo part and
have them play Flute 1
and 2; in this case,
Flute 1 should switch
over to piccolo (still
playing from the Flute 1
part) at m. 81 and back
to regular flute at m.
114. If only covering the
Flute 1 and 2 parts,
Flute 2 should ignore
indications to switch to
piccolo and just play the
entire work on regular
flute.• Oboe 1 and
2 parts should be covered
before adding the English
Horn part.• The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts.• The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out.• From
mm. 89-95, be sure the
wind players with static
eighth notes do not cover
up the players with
moving lines.•
There is a strong
tendency to rush m.
121.• During the
oboe solo from mm.
157-168, ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo.• In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
linefrom mm.
251-260.)• In this
same scherzo section,
care should be taken to
not play too loud and
save a little strength
for the climax fanfare at
m. 279.• If you
have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too heavy. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Blue Horizons - Avancé Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Chimes, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Crash Cymbals,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Glockenspiel,
Harp, Horn 1, Horn 2,
Horn 3 and more. - Grade
5 SKU: CF.SPS85F
Composed by Jeremy
Martin. Sws. Sps. Full
score. 44 pages. Duration
7 minutes, 8 seconds.
Carl Fischer Music
#SPS85F. Published by
Carl Fischer Music
(CF.SPS85F). ISBN
9781491156438. UPC:
680160914975. 9 x 12
inches. Blue
Horizons is a spirited
tribute to the musical
heritage of the United
States Air Force. The
main theme is a variation
of the U.S. Air Force
Song (Off We Go), with a
secondary theme based on
A Toast to the Host (the
bridge of The Air Force
Song). Throughout the
work, fragments of other
Air Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying Machines.
The original request for
this work was a daunting
task: I was asked to
create an Air Force
companion piece to Robert
Jager's Esprit de Corps
that would mirror the
style and spirit of that
landmark work. The goal
was to use elements of
our various Air Force
tunes in the same way
that Jager incorporated
The Marine's Hymn into
his work - that is, to
weave a musical tapestry
of the Air Force's
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few Jager-isms into the
music, including one
direct quote from Esprit
de Corps. Although Blue
Horizons was conceived as
a dedication to the Air
Force's musical legacy,
it is also a personal
homage to my teacher and
friend, Robert Jager.
Performance Notes * If
only two flutists are
available, omit the
piccolo part and have
them play Flute 1 and 2;
in this case, Flute 1
should switch over to
piccolo (still playing
from the Flute 1 part) at
m. 81 and back to regular
flute at m. 114. If only
covering the Flute 1 and
2 parts, Flute 2 should
ignore indications to
switch to piccolo and
just play the entire work
on regular flute. * Oboe
1 and 2 parts should be
covered before adding the
English Horn part. * The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts. * The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out. * From mm.
89-95, be sure the wind
players with static
eighth notes do not cover
up the players with
moving lines. * There is
a strong tendency to rush
m. 121. * During the oboe
solo from mm. 157-168,
ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo. * In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
line from mm. 251-260.) *
In this same scherzo
section, care should be
taken to not play too
loud and save a little
strength for the climax
fanfare at m. 279. * If
you have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too
heavy. Blue Horizons
is a spirited tribute to
the musical heritage of
the United States Air
Force. The main theme is
a variation of the U.S.
Air Force Song (Off We
Go), with a secondary
theme based on A Toast to
the Host (the bridge of
The Air Force Song).
Throughout the work,
fragments of other Air
Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying
Machines.The original
request for this work was
a daunting task: I was
asked to create an Air
Force “companion
piece†to Robert
Jager’s Esprit de
Corps that would mirror
the style and spirit of
that landmark work. The
goal was to use elements
of our various Air Force
tunes in the same way
that Jager incorporated
The Marine’s Hymn
into his work –
that is, to weave
amusical tapestry of the
Air Force’s
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few
“Jager-ismsâ€
into the music, including
one direct quote from
Esprit de Corps. Although
Blue Horizons was
conceived asa dedication
to the Air Force’s
musical legacy, it is
also a personal homage to
my teacher and friend,
Robert Jager.Performance
Notes• If only two
flutists are available,
omit the piccolo part and
have them play Flute 1
and 2; in this case,
Flute 1 should switch
over to piccolo (still
playing from the Flute 1
part) at m. 81 and back
to regular flute at m.
114. If only covering the
Flute 1 and 2 parts,
Flute 2 should ignore
indications to switch to
piccolo and just play the
entire work on regular
flute.• Oboe 1 and
2 parts should be covered
before adding the English
Horn part.• The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts.• The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out.• From
mm. 89-95, be sure the
wind players with static
eighth notes do not cover
up the players with
moving lines.•
There is a strong
tendency to rush m.
121.• During the
oboe solo from mm.
157-168, ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo.• In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
linefrom mm.
251-260.)• In this
same scherzo section,
care should be taken to
not play too loud and
save a little strength
for the climax fanfare at
m. 279.• If you
have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too heavy. $18.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Carl Martin Octa-Switch MK3 Pedal Hal Leonard
SKU: HL.438861 EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0222. Pu...(+)
SKU: HL.438861
EAST SOUND RESEARCH.
Guitar Pedal. Hal Leonard
#CM0222. Published by Hal
Leonard (HL.438861).
UPC: 852940000622.
6.25x15.75x3.5
inches. Ok, so you
have eight effects pedals
which you use regularly.
You use various
combinations of these
pedals in various songs,
but you are not good at
tap dancing...or you are
just clumsy and have
(once or twice) stepped
on the ultra tricked
out-metalized-distortion
pedal for the lead in
your one ABBA cover. You
have seen the digital
effects controllers they
use on the big stages,
and have secretly yearned
for one... even though
you may never make the
big stage. Enter Thomas
Guldmann's Octa-switch
II. Your eight effects
plug into the eight
effects-loops on the back
of this unit (all
true-bypass, impedance
free, gold relays so you
can run any of your
pedals, new and old
without problem), and
then by turning on or off
the numbered switches in
each of eight DIP Bank
switches, you determine
which effects you wish to
use simultaneously in
each Bank. There is a
blue LED for every
effects loop used and for
each Bank (so once you
are programmed, when you
step on Bank 6 you will
see the lights of all the
effects you have assigned
to Bank 6 and the Bank 6
LED). The Octa-switch II
has incorporated a couple
new features as well! The
ninth switch on the left
side of the case is a
BYPASS Switch...this
allows you to completely
bypass all eight pedals
and enjoy only the
unaffected sound of your
amplifier. There are also
two External Switching
jacks which allow you to
use two amplifiers and/or
switch channels on those
amps. Once you have all
the Banks programmed, we
recommend placing a piece
of scotch or electrical
tape over each DIP
(...just to protect the
switch from accidental
switching, damage or
floods...like beer).
There is a buffered (or
not...switchable) Mono
input and a stereo
Output, and the unit is
powered by dual 9v
batteries, or by a
regulated power
supply...like the Big
John or the Pro Power
(both by Carl
Martin). $429.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Jazz Sonorities Calabrese Brothers Music, LLC
Clarinet & Drumset SKU: SU.21000213 For Clarinet & Drumset. Compos...(+)
Clarinet & Drumset
SKU: SU.21000213
For Clarinet &
Drumset. Composed by
Patrick Hardish.
Woodwinds, Clarinet,
Percussion, Percussion.
Accompanied by
percussion, Drum Set.
Performance Score.
Calabrese Brothers Music,
LLC #21000213. Published
by Calabrese Brothers
Music, LLC (SU.21000213).
UPC:
820821003284. Jazz
Sonorities (2002) was
composed for Esther
Lamneck at her request
and premiered by her and
Barbara Allen on drums at
the Loewe Theater of New
York University on May
30, 2002. Ms. Lamneck
asked me to compose a
piece for either solo
clarinet or clarinet and
piano. I decided on the
former to continue my
Sonorities series of
works for solo
instruments which
eventually resulted in
Sonorities VII for solo
b-flat clarinet
(2003-04). However,
shortly after getting
started with my
Sonorities VII I kept
hearing the swinging
sounds of a jazz clarinet
backed up by a jazz drum
set. Part of the reason I
kept hearing these sounds
is that I grew up
listening to the big
swing bands of such
clarinet leaders as Benny
Goodman, Artie Shaw,
Woody Herman, and Jimmy
Dorsey. These musicians
were my first exposure to
the clarinet. So I
decided to first compose
a piece for clarinet with
a jazz quality and a
swinging partly ad lib
part for the drums and to
put my solo clarinet
piece for Esther on hold
for a year. There was
also a personal reason to
use the drums in the
piece. My first ambition
in music was to be a jazz
drummer and indeed I
studied drums with a jazz
drummer and played drums
professionally in dance
bands for several years.
Ms. Lamneck's part in
this piece is almost
entiirely written out
except for a few measures
of improvisation around
the middle of the piece.
The jazz quality of her
part comes mostly in the
prasing and using bluesy
like pitch bends, slides,
and microtones. The jazz
quality of the drum set
part is in the swinging
beat that is used
throughout most of the
piece. The influence of
the famous recording of
Sing Sing Sing, with a
swing by Benny Goodman &
his orchestra in 1937
featuring Gene Krupa on
drums is heard in the
middle section when the
drummer switches to a
beat on the floor tom and
high tom for several
measures. Also, the Afro
Cuban section toward the
end of the piece was
influenced by the many
recordings of Stan Kenton
& his orchestra
particularly the 1950
Pete Rugolo arrangement
of Cole Porter's Love for
Sale. In the drum solo of
the Afro Cuban section
which is near the end can
use optional claves
and/or maracas (1-2
additional players). At
the premiere the composer
joined in this section on
maracas. The drum set
calls for a bass drum,
floor tom, snare drum,
high tom, ride cymbal,
sizzle cymbal, and
hi-hat. --Patrick
Hardish. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Carl Martin 2Wah Pedal Hal Leonard
SKU: HL.438850 EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0205. Pu...(+)
SKU: HL.438850
EAST SOUND RESEARCH.
Guitar Pedal. Hal Leonard
#CM0205. Published by Hal
Leonard (HL.438850).
UPC: 196288079422.
4.75x11.75x3.333
inches. Have you
ever wanted two
distinctly different
vintage 'wah' sounds at
your feet? Perhaps you
wished for a brighter wah
for rhythm work and a
deeper, darker wah for
leads; and the ability to
switch back and forth
quickly? Well, Carl
Martin has been busy
creating your wish; the 2
Wah. This familiar
looking, retro-styled
pedal, has an all-metal
casing with a non-slip
foot pad. It can be
powered by 9v battery,
but we always recommend
using a regulated power
supply (like the Carl
Martin Big John Power
Supply) for maximum
headroom and effect.
Input is on the right and
output on the left
(remember your Wah should
be the first pedal in
your chain), and the
standard effect on-off by
stepping on the front of
the rocker to engage the
true bypass on-off
switch. There are two
three-way mode switches
on the front of the 2 Wah
marked Low (red LED) and
High (green LED). These
are connected to an
on-off switch at the back
of the pedal (step on
back of rocker to engage
this switch). The three
low and the three high
settings are recreations
of six of the most
popular vintage wah
sounds since the
beginning of wah. The
Attack knob allows you to
fine-tune exactly how you
want the rocker to
modulate your guitar
signal. Six different wah
sounds, from Hendrix to
Trower to Earth Wind
& Fire and beyond,
all in one pedal. So why
didn't we call it the 6
Wah? Well you would have
to ask Carl... $209.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Carl Martin Dual Injection Pedal Hal Leonard
SKU: HL.438860 EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0221. Pu...(+)
SKU: HL.438860
EAST SOUND RESEARCH.
Guitar Pedal. Hal Leonard
#CM0221. Published by Hal
Leonard (HL.438860).
UPC: 852940000615.
4.75x7.0x2.75
inches. As guitar
players, we all have that
moment where we think,
'How can I do this and
still remain analogue?'
Once we have achieved the
'ultimate tone, how can
we boost that same tone
without changing the
quality? What if we want
to boost the signal
before your drive effect
in order to increase
sustain, or have a boost
in front of your gain
channel and another after
the pre-amp in the
effects loop?' Well, Carl
thought about this for
quite a while and is now
happy to introduce the
super cool...'Dual
Injection'! Carl took the
high quality, transparent
boost from the Hot
Drive'n Boost, and put
two of them into one
pedal. Each has it's own
level control and 'True
Bypass' switch, plus
there is another toggle
which switches the Dual
Injection between Serial
and Parallel modes. In
Serial mode, you use the
Input/Output 1 on the
back of the pedal and
place the boost wherever
you want in the signal
chain. In Parallel mode,
connect the Output 1
before your Drive or
Preamp, and then use the
Input/Output 2 on the
side of the pedal to
connect to your effects
loop on the amp. So, what
does all this do for you?
Well, the Dual Injenction
gives you 4 different
Boost settings... 1)Your
normal set up either
clean or with effects
2)Boost 1 engaged to a
desired setting 3)Boost 2
engaged to a different
setting than Boost 1 4)
Both Boost 1 and Boost 2
engaged at the same time!
The Dual Injection is a
high quality effect that
can be powered by 9v
battery or with the
correct power transformer
(we always recommend that
you use a regulated power
supply like the Carl
Martin Pro Power). The
effect is housed in our
diecast case with custom
paint, True Bypass
Switching, large easy to
use knobs and bright LED
indicators for Boost 1 or
2. $139.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The ABC's of Bass Book 2 - Piano Accompaniment [Reduction] Carl Fischer
(Easy Piano Accompaniment, Features 1/2, I, II, Ii1/2, III, Iii1/2, IV, V, V1/2 ...(+)
(Easy Piano
Accompaniment, Features
1/2, I, II, Ii1/2, III,
Iii1/2, IV, V, V1/2 and
VI Positions). By Johann
Sebastian Bach Woody
Guthrie. Arranged by
Janice Tucker Rhoda. For
Piano, Contrabass. This
edition: Book 2. EASY.
Solo part with piano
reduction. Standard
notation. 64 pages
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 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 | | |
| OMNIS-DUO Portable All-in-One DJ System Hal Leonard
SKU: HL.1418386 AlphaTheta. DJ Gear. Duration 195 seconds. Hal Leonard #O...(+)
SKU: HL.1418386
AlphaTheta. DJ Gear.
Duration 195 seconds. Hal
Leonard #OMNIS-DUO.
Published by Hal Leonard
(HL.1418386). UPC:
841300102441.
17.5x24.5x6.5
inches. Portability
and playability: turn any
location into a party
venue instantly! Easily
slide the OMNIS-DUO into
a good-sized backpack and
carry it anywhere thanks
to the compact size,
modest weight, and
rounded corners of the
unit. The system's 2-deck
+ mixer layout will look
familiar to everyone and
feel great when you're
DJing. And there are two
modes for the touchscreen
– Light and Dark –
which you can instantly
switch between so you'll
always be able to see the
displayed information,
even in bright outdoor
settings. Built-in
battery means no power
supply needed and less
gear to transport Play
for up to 5 hours without
plugging into the mains.
When it's time to top up
the power, you can
connect the AC adapter or
plug in a compatible
power bank (45W or more)
to the dedicated USB
Type-C terminal. Need to
keep the music going?
Switching to Eco mode
extends the life of the
battery and the party.
And if you combine the
OMNIS-DUO with the new
battery-powered
WAVE-EIGHT speaker, which
features
ultra-low-latency
SonicLink technology, you
can enjoy wireless DJing
for total freedom.
Flexible audio output
options to play anywhere
- there's no limit! As
the first-ever all-in-one
DJ system to feature a
Bluetooth audio output
function, the OMNIS-DUO
opens up brand-new
possibilities. Whether
you want to play on a
campground, at the beach,
or even connect to the
sound system in a
vehicle, there's no limit
to the places you can
hold a party. And when
the time comes to play in
a venue like a bar, you
can use the professional
XLR output, while the RCA
terminals are perfect for
plugging in monitor
speakers at home.
Bluetooth audio input
enables the crowd to join
in your set Never
disappoint a friend again
when they request a song.
Instead, invite them to
connect their phone to
the OMNIS-DUO via
Bluetooth function and
you can drop the track
into your set. Thanks to
the system's Bluetooth
Playback function, you'll
have control of the audio
on the deck. You can
adjust the volume and EQ,
apply effects to the
sound, change the tempo,
use Hot Cues, and
scratch, just like you
would with tracks loaded
from a USB stick or SD
card. With the OMNIS-DUO
and Bluetooth audio
input, you can enjoy
collaborating with
friends and expand your
musical experiences. $1499.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Buoso's Ghost (Piano/Vocal Score) Piano, Voix Schirmer
Composed by Michael Ching. One Act/Chamber Opera. 20th Century. Score. Publi...(+)
Composed by Michael
Ching.
One Act/Chamber Opera.
20th
Century. Score. Published
by
E.C. Schirmer Publishing
$27.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 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 | | |
| Exercises for the Cello in Various Combinations of Double-Stops Carl Fischer
Chamber Music Cello SKU: CF.BF126 Composed by Roland Vamos. Edited by Hor...(+)
Chamber Music Cello
SKU: CF.BF126
Composed by Roland Vamos.
Edited by Horacio
Contreras. SWS. Book.
With Standard notation.
64 pages. Carl Fischer
Music #BF126. Published
by Carl Fischer Music
(CF.BF126). ISBN
9781491150009. UPC:
680160907502. 9x12
inches. Written by
world renown pedagogue,
Roland Vamos, this
collection of double-stop
exercises fill a void in
the literature of
technical exercises for
cellists. These etudes
feature a systematic
series of fixed
double-stops that enables
the player to practice
and master every possible
combination of finger
patterns across two
strings without shifting.
Mr. Vamos says of the
book, The most important
accomplishment is the
development of a strong
left handà These
exercises, when practiced
slowly and carefully,
will help to develop a
keen sense of pitch and
intonation. Adapted for
cello by Horacio
Contreras, teacher,
chamber musician, and
recitalist. When I
first became familiar
with Roland Vamos’
Exercises, I was
impressed with itsclarity
and effectiveness. The
book focuses on a few
important fundamentals of
string playing,and it is
accessible to students of
every age. Moreover, its
tonal organization in C
major makesit simple and
easy to understand. I
recognized the potential
this book could have for
cellists,and after
spending several months
working on an adaptation,
I witnessed its results
in buildingand
maintaining important
fundamentals of
technique.Mr.
Vamos’ Exercises
is comprised of simple
patterns of double-stops
in sevenpositions. There
are two basic groups of
variations: seven
double-stop variations in
differentcombined rhythms
that develop finger
coordination and
independence of the left
hand, andnine bowing
variations that use
détaché at the
frog, middle and tip of
the bow to work onstring
crossings, coordination,
and balance of the bow.
The whole work provides
training thatimproves
intonation, sound, and
ease of playing in all
positions and all parts
of the bow.In order to
adapt Mr. Vamos’
book for cello, I needed
to make some
modifications tothe
original. To address the
different needs of the
neck and the thumb
positions, I chose to
writetwo separate books.
I kept the original
ascending stepwise motion
for subsequent
variationsin Book I by
following a diatonic
scale on the top line of
the patterns. However, I
modifiedthe tonal
framework to adjust to
the more limited range of
the cello. Therefore,
unlike in
Mr.Vamos’ book,
variations in Book I do
not ascend through the
positions in a uniform
pattern.I also switched
the order of patterns to
create a gradual increase
in difficulty. In Book
II, Iadded options that
work on the fourth finger
and an extended left hand
frame, and at the end,
Iincluded five sets of
variations with different
bowing alternatives.Mr.
Vamos provides a number
of specific instructions
regarding left hand
techniquein his
exercises. For his
original version, two
fingers must remain down
for almost the entireset
of variations, providing
a solid reference for the
frame of the hand. In
variations H and I,he
instructs students to
lift these fingers when
they are not being used.
In the case of
thumbposition on cello,
lifting the thumb could
make the hand unstable;
therefore, I suggested
thatthe thumb remains
down while the other
fingers are lifted
alternately in H and I. I
have foundthis exercise
quite useful to work on
thumb independence and
relaxing the thumb while
usingother fingers.Mr.
Vamos gives precise
instructions for the
bowing exercises as well.
Following hisdirections,
the exercises should be
performed with a relaxed
hand and flexible
fingers. Thenotes should
be consistently connected
even when crossing
strings. The bowing
patterns shouldbe
performed at the frog,
the middle and the tip of
the bow in every
position. $19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Carl Martin ProPower Pedal Hal Leonard
SKU: HL.438853 Version 2. EAST SOUND RESEARCH. Guitar Pedal. Hal L...(+)
SKU: HL.438853
Version 2. EAST
SOUND RESEARCH. Guitar
Pedal. Hal Leonard
#CM0211. Published by Hal
Leonard (HL.438853).
UPC: 852940000639.
9.25x7.0x2.161
inches. Whether you
are an international
touring musician, or just
very particular about the
power your pedals are
receiving; which by the
way you should be, the
'Carl Martin Pro Power
version 2' power supply
was created just for you.
The Pro Power version 2
offers a number of
features designed with
the discerning musician
in mind. Start with the
switchable (110-230 V) AC
input, and split that
into 8 individual
isolated and regulated 9v
(150mA) - 12v (150mA)
outputs, with extended
power at output 7-8 9v
(350mA) 12v (300mA), and
you have a unique power
supply you can use
virtually anywhere. There
is a simple DIP switch on
the back of the ProPower
version 2, which allows
you to switch the voltage
of each output between
9-12v. Housed in our
traditional black metal
case, the Carl Martin Pro
Power version 2 is
perfect to use on it's
own, or when powering
your personal pedal
board. The Pro Power
version 2 also comes with
a selection of 9V DC
cables for your
convenience. $159.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Omni AC Hal Leonard
SKU: HL.301329 Acoustic Simulator Guitar Pedal. Hotone Pedals. Gui...(+)
SKU: HL.301329
Acoustic Simulator
Guitar Pedal. Hotone
Pedals. Guitar Pedal. Hal
Leonard #OMP-5. Published
by Hal Leonard
(HL.301329). UPC:
888506090059.
5.5x4.25x2.25
inches. Designed
for both acoustic and
electric instruments, the
Hotone Omni AC is a
compact, acoustic
simulator pedal that
delivers realistic
acoustic instrument
emulations. These
exceptionally authentic
sounds are the result of
new Black-Tek acoustic
simulation technology,
which is built on
Hotone's CDCM
(Comprehensive Dynamic
Circuit Modeling)
architecture. The Omni AC
offers 15 high-quality
acoustic simulations,
including steel and nylon
string guitars, mandolin,
acoustic fretless
acoustic bass, and
classic double basses. A
detailed 4-band
semi-parametric EQ is
included to further
tailor the sound. An
internal voltage boost
circuit provides tons of
headroom ensuring the
input signal will stay
clean, regardless of the
instrument's output
level. A high-contrast
OLED screen makes editing
and recalling setting
easy in high and low
light environments. Omni
AC has 15 editable
presets which can be
adjusted on the pedal or
managed via free Mac/PC
software. The footswitch
can be assigned to bypass
the effect or mute the
signal. A 1/4″ thru
jack provides an
unprocessed dry signal to
other devices or
amplifiers. The pedal
includes a 1/4″
output, a balanced XLR
out to connect to mixers
or audio interfaces, an
1/8″ headphone
monitor and an 1/8″
stereo aux input making
the Omni AC perfect for
both live and recording
setups. Features include:
• Compact,
easy-to-use acoustic
simulator pedal •
Advanced DSP-powered
platform ensures high
sound quality •
24-bit AD/DA conversion,
great dynamic response
• Internal voltage
boost circuit for
exceptional headroom
• 15 high-quality
acoustic simulations via
Hotone's new Black-Tek
modeling • Detailed
4-band semi-parametric EQ
with 12dB maximum boost
and cut • Micro USB
jack for updating
firmware and
loading/managing presets
via free Mac/PC software
• 1/4″ input
and thruput • XLR
and 1/4″ outputs
• Ground/Lift
switch • 1/8″
stereo Aux In for line
level devices (unaffected
by Omni AC) •
1/8″ headphone
output for practicing and
jamming • 15
presets •
High-contrast OLED screen
• Assignable
footswitch with LED
• 9V DC (center
positive) power supply
and USB micro cable
included. $149.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| DL4 MKII Delay Pedal Line 6
SKU: HL.398631 Line 6 Effects. Guitar Pedal. Line 6 #99-040-3705. Publish...(+)
SKU: HL.398631
Line 6 Effects. Guitar
Pedal. Line 6
#99-040-3705. Published
by Line 6 (HL.398631).
UPC: 614252311656.
6.5x16.25x3.0
inches. The DL4
Delay Modeler has
remained one of the most
widely used delay pedals
in the world for more
than two decades -
embraced by everyone from
casual players to
superstars. The DL4 was
the first pedal to offer
a broad selection of
delay models based on
vintage tape echo devices
such as the Maestro®
EP-1 Echoplex and the
Roland® RE-101 Space
Echo, classic analog
delay stompboxes such as
the Electro-Harmonix®
Deluxe Memory Man, and
even the Binson Echorec
and studio staple TC
Electronic® 2290
Dynamic Digital Delay.
These were complemented
by several Line 6
originals, including the
exceptional Reverse delay
- and the DL4 also
boasted a highly
intuitive “14
Second Loop
Sampler†that is
still considered one of
most engaging loopers
ever made. The DL4 MkII
honors that legacy by
including every one of
those original sounds and
features, and retaining
the same knob and
footswitch layout, so
there's no need for DL4
users to learn any new
moves - but the DL4 MkII
also introduces many new
sounds and features that
bring it fully into the
21st century. The 15 MkII
delays were drawn from
our HX family of amp and
effects processors and
include Line 6 originals
such as Harmony Delay,
Pitch Echo, Euclidian
Delay, Glitch Delay and
ADT tape delay, as well
as 4-Switch and 1-Switch
loopers with up to 240
seconds of record time,
expandable to several
hours using an optional
microSD card. The DL4
MkII also features an XLR
dynamic microphone input
for vocal processing and
looping; MIDI
capabilities such as real
time parameter control
and preset selection (up
to 128) via its MIDI In
and Out/Thru DIN
connectors; four heavy
duty footswitches with
colored halo rings; and
switchable true,
buffered, or DSP bypass.
There's also a jack for
connecting an optional
expression pedal
(automatically assigned
to the Delay Time,
Repeat, Tweak, Tweez, or
Mix controls) or two
assignable external
footswitches.
•Identical knob and
footswitch layout as the
original DL4 •30
Delay options: 15 new
MkII plus 15 Legacy DL4
•2 Loopers -
mono/stereo and pre/post
signal path options
•Up to 240 seconds
of looping time, or
several hours with
optional microSD card
•XLR dynamic
microphone input for
vocal processing and
looping •MIDI In,
Out/Thru DIN
connectors-receives PC
and CC messages
•128 Presets via
MIDI, with footswitch
control of up to six
•Switchable true,
buffered, or DSP bypass
•Input for optional
expression pedal or two
additional
footswitches. $299.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Carl Martin Acoustic GiG Pedal Hal Leonard
SKU: HL.438839 EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0000. Pu...(+)
SKU: HL.438839
EAST SOUND RESEARCH.
Guitar Pedal. Hal Leonard
#CM0000. Published by Hal
Leonard (HL.438839).
UPC: 852940000929.
5.25x19.5x2.5
inches. With the
Carl Martin Quattro being
so popular throughout the
years, Carl thought to
himself, “I could
really use that same sort
of high quality, straight
forward, simple to use
package for my acoustics
as wellâ€. The
Acoustic GiG begins with
Carl Martin's award
winning
Compressor/Limiter
circuit. Individual
controls for compression
and level allow for
simple and easy
operation. Next, is the
well known and highly
respected Vintage Style
Echo with controls for
level, tone, repeat and
tap-tempo, plus the
'Dotted 8th Note' switch
for the most beautiful
musical echo. The Reverb
is a new Analogue/Digital
Hybrid, tailored after
the vintage-style spring
reverbs so suitable for
guitar. A beautiful,
shimmering, yet warm
reverb with the added
bonus of becoming a more
modulation/chorus/reverb
texture at higher
settings. The Boost
simply allows you to cut
though the mix with a
crystal clean volume
increase of up to 15dB
for your solos. No change
in your tone, and no
increased 'quackiness'
from your piezo pickups!
To gain maximum EQ
shaping, we found it
necessary to include a
high quality semi
parametric EQ. We
incorporated this section
directly from Carl
Martin's famous 3 Band
Parametric Pre-Amp which
allows for the specific
shaping of tone from your
guitar and pickup. To
avoid potential feedback,
practice has show the use
of a phase inverter
circuitry to be very
efficient... so of course
the Acoustic GiG has a
Phase Shift switch. To
complete the Acoustic
GiG, we have incorporated
a tuner and a overall
mute switch. On the back
panel are all the needed
connections, 1/4″
input, unbalanced
1/4″ output, high
quality balanced XLR out
with ground lift, an
insert section placed
right after the boost and
before the EQ section,
and 9V DC input with a
direct DC output if you
find the need for an
extra pedal. $649.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Acadia 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.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. 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. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Smoky Mountains 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 | | |
| Everglades (River of Grass) 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.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. 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 | | |
| Symphony No. 6 Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU:
PR.16500104F Three
Places in the East.
Composed by Dan Welcher.
Full score. Theodore
Presser Company
#165-00104F. Published by
Theodore Presser Company
(PR.16500104F). ISBN
9781491132159. UPC:
680160681082. 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. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ultimate Ears Sound Guard Hal Leonard
SKU: HL.147347 LOGITECH. Hal Leonard #989-000152. Published by Hal Leonar...(+)
SKU: HL.147347
LOGITECH. Hal Leonard
#989-000152. Published by
Hal Leonard (HL.147347).
UPC: 097855113825.
3.75x4.75x2.75
inches. In-ear
monitors are becoming
more and more ubiquitous
every day and wireless
hardware systems are
coming down in price,
opening the market to a
wide range of users, some
fairly sophisticated
about audio and other not
so knowledgeable. In the
hands of a trained pro
monitor mixer who
understands the needs and
limitations of IEM
systems (and users) the
need for an in-line brick
wall protection limiter
may not be so important.
However, at any gig - at
any level - stuff does
happen, although
hopefully less frequently
as you get up the
production food chain,
but when a show is live,
sometimes all bets are
off. Examples of
transient high-level
audio glitches can
include unexpected sound
spikes that occur from
microphone drops, audio
feedback, incorrect
volume settings, pulling
the plug on a condenser
mic when it's powered up
and any other sound
hazards that may occur
during a performance.
Unfortunately, when
you're wearing a set of
in-ears, you may be
guaranteed an up-close
and personal front row
seat to that spike or
sudden sound blast, which
is anything but pleasant.
And that's exactly what
the Sound Guard from
Ultimate Ears Pro is
designed to protect from.
With the UE Pro Sound
Guard, artists receive
protection from
unexpected sound spikes
that occur from
microphone drops, audio
feedback, incorrect
volume settings and other
sound hazards that may
occur while performing or
recording. So far, so
good; but there's more
going on here. Matching
impedance of balanced
armatures with multi-way
crossovers can be complex
and certain personal
monitoring/mixing systems
don't handle such IEM
designs - from any
manufacturer - very well.
Beyond its protection
duties, Sound Guard also
functions as an audio
buffer that provides
variable impedance
matching from the source
device to your balanced
armature IEM earpieces
(such as the UE Pro line)
for enhanced dynamic
range and improved sound
quality. And although
Sound Guard is intended
specifically for those UE
Pro IEM's, it can
function with any
balanced armature design.
Housed in a compact
2-by-2-inch plastic box
that's about a half-inch
thick, the Sound Guard
definitely gets points
for being compact. There
are two 1/8-inch stereo
TRS jacks (input and
output) on either side of
the unit, which connect
in-line via an included
6-inch TRS patch cable to
your IEM receiver (or
hardwire personal mixer),
with the output jack
going to your earpieces.
The Sound Guard box has a
recessed on/off switch
and two LED's to indicate
power-on and
batterycondition. $199.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Let's Play Kalimba: Best 30 Melodies + 10 Bonus Scores Yamaha
Kalimba - Entry, Beginner, Pre-Intermediate SKU: YM.GTL01098065 Composed ...(+)
Kalimba - Entry,
Beginner,
Pre-Intermediate SKU:
YM.GTL01098065
Composed by Various.
Piano Pop and Vocal.
Score. Yamaha Music Media
#GTL01098065. Published
by Yamaha Music Media
(YM.GTL01098065). ISBN
9784636980653. This
kalimba (thumb piano)
sheet music features
popular Japanese nursery
rhymes, Studio Ghibli,
and Anime Songs with
number notation for
17-key kalimba. It
has 30 scores for solo
and 10 bonus scores for
multiphobic (multi note)
arrangements. No
need to worry about
accidentals, such as
sharps and flats, or not
being able to play
because the range is too
wide. You can play all
the songs with your
17-key kalimba as is.
All scores are
written with the number
notation, such as 1 or 2,
and which are often
engraved on most 17-key
kalimba key plates.
Moreover, single-note
melody notation includes
chord names, so you can
enjoy ensembles with
guitar, piano, or other
accompaniment
instruments. Enjoy! $9.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Coal Mountain Portrait Orchestre d'harmonie [Conducteur et Parties séparées] - Avancé TRN Music Publisher
By David R. Holsinger. For Concert Band. Grade 5 . Score and parts. Published by...(+)
By David R. Holsinger.
For Concert Band. Grade 5
. Score and parts.
Published by TRN Music
Publisher
$125.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| DM-40D-BT 4″ Destop Monitor System with Bluetooth Hal Leonard
SKU: HL.1459386 Pioneer DJ. General Merchandise. Hal Leonard #DM-40D-BT. ...(+)
SKU: HL.1459386
Pioneer DJ. General
Merchandise. Hal Leonard
#DM-40D-BT. Published by
Hal Leonard (HL.1459386).
UPC: 841300102243.
11.0x15.25x13.75
inches. The DM
series speakers deliver
balanced, punchy bass
sound and they can pump
out extra power thanks to
the new Class D amplifier
and 4-inch woofer in each
unit. Flick the switch to
change from DJ mode to
Production mode and the
DSP settings will
automatically create the
best sound for each
application. There's no
need to decide whether
you want a set of
monitors that are best
for DJing or making
music, because the DM
series speakers are
perfect for both. Just
flip the switch to choose
either DJ mode or
Production mode and the
DSP settings will be
optimized for the task,
leaving you free to
concentrate on your mix.
With RCA and mini jack
terminals you can connect
different kinds of gear
such as DJ controllers
and mixers, or the laptop
or soundcard you use.
Connecting your
headphones is simple via
the socket on the front
panel and the level knob
is right in front of you,
too. The Bluetooth®
technology included in
the DM-40D-BT enables you
to easily pair your
smartphone, mobile
device, or PC/Mac and
play high-quality tracks
wirelessly. $199.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Carl Martin Buff DeLuxe Hal Leonard
SKU: HL.438844 EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0108. Pu...(+)
SKU: HL.438844
EAST SOUND RESEARCH.
Guitar Pedal. Hal Leonard
#CM0108. Published by Hal
Leonard (HL.438844).
UPC: 852940000387.
4.5x7.0x2.75
inches. Multiple
effects, True-Bypass
Switching and large
stages (with long cable
runs) are some of your
tone's greatest
enemies... yes
pedal-boards with all
their advantages can
become tone-thiefs! Long
cable runs and multiple
pedals using True-Bypass
switching, tend to
'muddy' our sound and
reduce the higher
frequencies that help
define our sound. Even
wah pedals on their own
can also be suspected of
stealing certain
frequencies from your
tone. By plugging your
guitar into Buff Deluxe
(1) and out to your
pedals, then from your
pedals back into Buff
Deluxe (2) and out to
your amp, you can protect
your tone. The results
are stunning with your
guitar coming back to
life as if there was
nothing between it and
the amp. There is also a
Mute switch which directs
your signal to the Tuner
Out....this allows us to
remove even the tuner
from the signal chain and
mute the guitar for
silent tuning! $179.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Marsling Octafuzzdrive Hal Leonard
SKU: HL.1458137 Interstellar Audio Machines. Guitar Pedal. Hal Leonard #I...(+)
SKU: HL.1458137
Interstellar Audio
Machines. Guitar Pedal.
Hal Leonard #IAMMOV2.0.
Published by Hal Leonard
(HL.1458137).
Introducing the
Marsling Octafuzzdrive
– a pedal as
distinctive as its sound.
The Beings at IAM take a
modern spin on the
discontinued '70s era
fOXX, enhanced with two
interstellar
modifications. First, the
octave-up effect is now
at your feet, offering
on-the-fly versatility
with a footswitch.
Additionally, a tone
control toggle switch has
been incorporated,
empowering players to
select from three unique
tonal profiles. The
Marsling stands out as
the epitome of
versatility within the
Interstellar galaxy. The
Marsling Octafuzzdrive is
a recreation of the fOXX
Tone Machine, first
released in 1971 and
discontinued in 1978. The
Tone Machine is a thick
fuzz that uses a phase
spliter and complementary
rectifier to create an
octave overtone. The Tone
Machine has a lot in
common with the Fender
Blender, but with a more
pronounced octave and
smoother tone, as well as
the ability to disable
the octave by turning off
half of the phase
splitter. And the tone is
not unlike the Superfuzz,
although it uses a
different method of
octave generation to get
there. The Marsling is
faithful to the original,
but with two added
modifications. First, the
octave switch for octave
up is on a footswitch for
on and off capabilities
instead of a toggle
switch. The second
modification is the tone
control. The tone control
of the original is
somewhat similar to the
Big Muff, but many people
find it's difficult to
get good sounds from the
treble side of the
rotation. By increasing
the value of the
treble-side tone
capacitor, it improves
the usability. A switch
has been added to let you
choose between two
different capacitors in
addition to the
original. $199.00 - Voir plus => Acheter | | |
| Omni IR Hal Leonard
SKU: HL.301330 Impulse Response Cabinet Simulator Guitar Pedal. Ho...(+)
SKU: HL.301330
Impulse Response
Cabinet Simulator Guitar
Pedal. Hotone Pedals.
Guitar Pedal. Hal Leonard
#OMP-6. Published by Hal
Leonard (HL.301330).
UPC: 888506090066.
5.5x4.0x2.25
inches. The Hotone
Omni IR is a compact,
Impulse Response-based
cabinet simulator pedal
that delivers realistic
emulation of classic
guitar and bass miked
speaker cabinets. The
Omni IR includes 40
high-quality legendary
guitar and bass cabinet
impulse responses, along
with a detailed 4-band
semi-parametric EQ. An
internal voltage boost
circuit provides tons of
headroom ensuring the
input signal will stay
clean, regardless of the
instrument's output
level. A high-contrast
OLED screen makes editing
and recalling setting
easy in high and low
light environments. Omni
IR has 40 editable
presets which can be
adjusted on the pedal or
managed via free Mac/PC
software. The footswitch
can be assigned to bypass
the effect or mute the
signal. A 1/4″ thru
jack provides an
unprocessed dry signal to
other devices or
amplifiers. The pedal
includes a 1/4″
output, a balanced XLR
out to connect to mixers
or audio interfaces, an
1/8″ headphone
monitor and an 1/8″
stereo aux input making
the Omni IR perfect for
both live and recording
setups. Features include:
•Compact,
easy-to-use IR cabinet
simulator pedal •
Advanced DSP-powered
platform ensures high
sound quality •
24-bit AD/DA conversion
• Internal voltage
boost circuit for
exceptional headroom
• 40 high-quality
legendary guitar and bass
cabinet impulse responses
• Support for
third-party IR files
• Detailed 4-band
semi-parametric EQ with
12dB maximum boost and
cut • Micro USB
jack for updating
firmware and
loading/managing impulse
responses via free Mac/PC
software •
1/4″ input and
thruput • XLR and
1/4″ outputs
• Ground/Life
switch • 1/8″
stereo Aux In for line
level devices (unaffected
by Omni IR) •
1/8″ headphone
output for practicing and
jamming • 40
presets •
High-contrast OLED screen
• Assignable
footswitch with LED
• 9V DC (center
positive) power supply
and USB micro cable
included. $149.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Carl Martin DC Drive Pedal Hal Leonard
SKU: HL.438851 EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0207. Pu...(+)
SKU: HL.438851
EAST SOUND RESEARCH.
Guitar Pedal. Hal Leonard
#CM0207. Published by Hal
Leonard (HL.438851).
UPC: 852940000851.
3.25x5.75x2.5
inches. When Carl
decided to update the
Vintage Series, it did
not take long to decide
on a drive pedal....the
DC Drive. Super simple
but extremely versatile,
the DC Drive features
Level Tone and Drive
controls which do the
obvious, but it also has
the Reg/Fat
switch.....this is where
the magic begins. In the
Reg setting you get a
traditional overdrive
sound that is very quiet
and adds no color to your
tone. Dial in just enough
to put an edge on your
sound or crank it right
up to full saturation,
the DC Drive is
pleasantly musical. Now
switch over to the Fat
setting and get
more...much more. There's
more drive, more mids,
more bass, more natural
compression, more
sustain, and... who
wouldn't want want more
of that? The Fat setting
is darker, and much more
modern, so you get two
distinct drives in one
pedal. Only the clean
boost was dropped from
the original pedal in
order to save space.
Carl, is a smart man.
Check out the new look DC
Drive...cool, anodized,
smaller footprint, die
cast case, head mounted
input/output/9v and that
awesome Carl Martin DC/DC
converter circuitry which
allows the pedal to run
with +-12V internally
(this means better parts
and better sound), all
while being powered by a
standard 9v 200mA power
supply. Bigger sound,
bigger tone, all analog,
all Carl Martin! $139.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| WAVE-EIGHT 8″ Portable DJ Speaker with SonicLink Aucune valeur Hal Leonard
SKU: HL.1418387 AlphaTheta. DJ Gear. Duration 195 seconds. Hal Leonard #W...(+)
SKU: HL.1418387
AlphaTheta. DJ Gear.
Duration 195 seconds. Hal
Leonard #WAVE-EIGHT.
Published by Hal Leonard
(HL.1418387). UPC:
841300102410.
16.0x26.5x17.0
inches. Faster and
easier Cable-free DJing
without sound delays is
now possible with the
WAVE-EIGHT thanks to
SonicLink. This new
ultra-low-latency
technology wirelessly
transmits audio much
faster than a Bluetooth
connection so only a
fraction of a second
passes between pressing
play on the decks and
hearing the track through
the speakers, which lets
you mix without missing a
beat. Take the included
transmitter out of its
storage compartment on
the WAVE-EIGHT and
connect it to your DJ
gear, and you can
instantly create a
wireless connection,
enabling you to throw a
DJ party anywhere you
want. And if you combine
the WAVE-EIGHT with the
new OMNIS-DUO portable
all-in-one DJ system,
which features battery
power, you can play
cable-free for total
freedom. Professional
sound with effortless
setup With a highly
efficient Class D
amplifier, a newly
designed 8-inch driver,
and a Vortex Bass
Accelerator which
delivers clear and
powerful bass, the
WAVE-EIGHT will bring the
vibes and the punch to
your party's sound, even
in outdoor settings. To
cover larger events and
spaces, you can easily
add more units to your
setup with the SonicLink
connection: e.g., using 2
speakers in stereo for an
expansive experience, or
with a third added as a
dedicated subwoofer for a
club-like heavy bass
sound. There are even
several modes you can
change between with a
single switch to create
the type of sound you
need, including Mono,
Stereo, and Subwoofer
mode. Battery power and
waterproof design for
outdoor events A full
battery charge gives you
8 hours of music on the
WAVE-EIGHT so you can
keep the tunes going
throughout the evening
and night. The unit is
also waterproof, with an
IPX4 rating, so it's
ideal for using outdoors.
And, if you need to
charge your phone or
another device, you can
plug it into the USB
Type-C port. Find party
venues wherever you go
The extendable handle,
casters, and additional
grab handles make it easy
to carry the WAVE-EIGHT
to any location on your
own. There's a pole
socket built-in, too, so
you can mount the speaker
on a stand for extra
height, making it ideal
for use in a variety of
locations. $899.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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