| FuniculÃ?¬, FuniculÃ? Orchestre [Conducteur et Parties séparées] - Facile Alfred Publishing
Composed by Luigi Denza (1846-1922). Arranged by Sandra Dackow. Orchestra. Part(...(+)
Composed by Luigi Denza
(1846-1922). Arranged by
Sandra Dackow. Orchestra.
Part(s); Score; String
Orchestra. Orchestra
Expressions Book 2. Grade
2.5. 152 pages. Published
by Alfred Music
$49.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Reflections Piano seul Theodore Presser Co.
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
$21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pression Contre Basse Breitkopf & Härtel
Double bass solo SKU: BR.EB-9268 Revised Version 2010. Composed by...(+)
Double bass solo SKU:
BR.EB-9268 Revised
Version 2010.
Composed by Helmut
Lachenmann. Arranged by
Caleb Salgado. Solo
instruments; Folder.
Edition Breitkopf. Music
post-1945; New music
(post-2000). Score.
Composed 1969/2010. 26
pages. Duration 9'.
Breitkopf and Haertel #EB
9268. Published by
Breitkopf and Haertel
(BR.EB-9268). ISBN
9790004185681. 12 x 9
inches. This piece
originated as an
introduction to
instrumental
musique-concrete. In this
sort of piece it is
common for sound
phenomena to be so
refined and organised
that they are not so much
the results of musical
experiences as of their
own acoustic attributes.
Timbres, dynamics and so
on arise not of their own
volition but as
components of a concrete
situation characterised
by texture, consistency,
energy, resistance.This
does not come from within
but from a liberated
compositional technique.
At the same time it
implies that our
customary sharply-honed
auditory habit is
thwarted. The result is
aesthetic provocation:
beauty denying
habit.(Helmut
Lachenmann),,Cette
nouvelle edition est une
invitation faite aux
violoncellistes qui
souhaiteraient
redecouvrir leur
instrument et la maniere
de la faire sonner en
realisant dessus un
nouveau genre de
polyphonie: une
polyphonie d'actions.
(Francois-Xavier Feron,
Circuit, Heft 25, Juni
2015)CDs/LPs:Michael Bach
CD cpo 999 102-2 Lucas
Fels CD Montaigne Auvidis
MO 782075 Walter Grimmer
CD col legno WWE 31863
Taco Kooistra CD Attacca
Babel 9369-1 Pierre
Strauch CD Accord 202082
Michael Bach LP ABE ERZ
1003 Werner Taube LP ABE
ERZ 1003ensemble
phorminxCD WER 6682
2Michael M. KasperCD
Michael M. Kasper rounds
per minute, Ensemble
Modern Medien,
EMCD-006Michael Svoboda
(trombone)CD Wittener
Tage fur neue Kammermusik
2011Bibliography:Deltz,
Eberhard: begegnung im
grenzbereich. Zwei Werke
von Helmut Lachenmann und
Hideaki Yamanobe im
Spiegel eines Haiku von
Matsuo Basho, in: Neue
Zeitschrift fur Musik 167
(2006), Heft 1, pp.
36-41.Feron,
Francois-Xavier: Enjeux
et evolution du systeme
de notation dans
,,Pression pour un(e)
violoncelliste de Helmut
Lachenmann, in: Circuit,
Heft 25, 2015, pp.
55-65.GoGwilt, Keir:
Templates for Technique
in Mantel and Lachenmann.
Between Transcendence and
Immanence, in: The Dark
Precursor: Deleuze and
Artistic Research. Band
I: The Dark Precursor in
Sound and Writing, hrsg.
von Paulo de Assis und
Paolo Giudici, Leuven:
Leuven University Press
2017, pp.
105-113.Griffiths, Paul:
ModernMusic and After,
3rd edition, Oxford
University Press 2010,
pp. 216-219.Handschick,
Matthias: Musik als
,,Medium der sich selbst
erfahrenden Wahrnehmung.
Moglichkeiten der
Vermittlung Neuer Musik
unter dem Aspekt der
Auflosung und Reflexion
von Gestalthaftigkeit (=
Schriften der Hochschule
fur Musik Freiburg 3),
Hildesheim u. a.: Olms
2015, dort pp.
161-167.Hiekel, Jorn
Peter: Helmut Lachenmann
und seine Zeit, Laaber:
Laaber 2023, S. 169-172,
231-232.Jahn, Hans-Peter:
simultan eine Erinnerung,
in: Neue Zeitschrift fur
Musik 167 (2006), Heft 1,
pp. 12-15.Lessing,
Wolfgang: Musizieren als
Prozess. Zur didaktischen
Dimension von Helmut
Lachenmanns Pression, in:
Musik inszeniert.
Prasentation und
Vermittlung
zeitgenossischer Musik
heute, hrsg. von Jorn
Peter Hiekel (=
Veroffentlichungen des
Instituts fur Neue Musik
und Musikerziehung
Darmstadt, Band 46),
Mainz u. a.: Schott 2006,
pp. 73-83.ders.:
Verweigerung von
Gewohnheit.
Instrumentaldidaktische
Annaherungen an Pression
von Helmut Lachenmann,
in: Darstellen und
Mitteilen. Ein Handbuch
der musikalischen
Interpretation, hrsg. von
Ursula Brandstatter,
Martin Losert, Christoph
Richter und Andrea Welte,
Mainz: Schott 2010, pp.
111-122.ders.:
Interpretation, Verstehen
und Vermittlung, in: Ans
Licht gebracht. Zur
Interpretation Neuer
Musik, hrsg. von Jorn
Peter Hiekel (=
Veroffentlichungen des
Instituts fur Neue Musik
und Musikerziehung
Darmstadt, Band 53),
Mainz u. a.: Schott 2013,
pp. 24-39.Mosch, Ulrich:
Das Unberuhrte beruhren
Anmerkungen zur
Interpretation von Helmut
Lachenmanns Werken
Pression und Allegro
sostenuto, in: Musik
inszeniert. Prasentation
und Vermittlung
zeitgenossischer Musik
heute, hrsg. von Jorn
Peter Hiekel (=
Veroffentlichungen des
Instituts fur Neue Musik
und Musikerziehung
Darmstadt, Band 46),
Mainz u. a.: Schott 2006,
pp. 25-46.Musik als
Bildkritik Gesprach
zwischen Gottfried Boehm,
Helmut Lachenmann und
Matteo Nanni, in: Helmut
Lachenmann: Musik mit
Bildern? Hrsg. von Matteo
Nanni und Matthias
Schmidt (= eikones, hrsg.
von Nationalen
Forschungsschwerpunkt
Bildkritik an der
Universitat Basel),
Munchen: Wilhelm Fink
2012, pp.
237-269.Neuwirth, Markus:
Strukturell vermittelte
Magie.
Kognitionswissenschaftlic
he Annaherungen an Helmut
Lachenmanns Pression und
Allegro sostenuto, in:
Musik als
Wahrnehmungskunst.
Untersuchungen zu
Kompositionsmethodik und
Horasthetik bei Helmut
Lachenmann, hrsg. von
Christian Utz und Clemens
Gadenstatter (=
musik.theorien der
gegenwart 2),
Saarbrucken: Pfau 2008,
pp. 73-100.Orning, Tanja:
The Polyphonic Performer.
A Study of Performance
Practice in Music for
Cello Solo by Morton
Feldman, Helmut
Lachenmann, Klaus K.
Hubler and Simon
Steen-Andersen, Diss.
Oslo 2014, Oslo:
NMH-publikasjoner (mit
DVD).Sparrer,
Walter-Wolfgang: Wider
den geolten Gleichlauf.
Von der Notwendigkeit
strukturierender
Verfahrensweisen bei der
Interpretation von Musik.
Modell I: Kompositionen
fur Violoncello solo von
J. S. Bach, Isang Yun und
Helmut Lachenmann, in:
Musikalische Produktion
und Interpretation, hrsg.
von Otto Kolleritsch,
Wien/Graz 2003 (= Studien
zur Wertungsforschung,
Band 43), pp. 75-100.Utz,
Christian: Erinnerte
Gestalt und gebannter
Augenblick. Zur Analyse
und Interpretation
post-tonaler Musik als
Wahrnehmungspraxis
Klangorganisation und
Zeiterfahrung bei Morton
Feldman, Helmut
Lachenmann und Brian
Ferneyhough, in: Ans
Licht gebracht. Zur
Interpretation Neuer
Musik, hrsg. von Jorn
Peter Hiekel (=
Veroffentlichungen des
Instituts fur Neue Musik
und Musikerziehung
Darmstadt, Band 53),
Mainz u. a.: Schott 2013,
pp. 40-67.
World
premiere: Como (Autunno
musicale), September 30,
1970. $49.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Song We Sing (William Averitt and Robert Bode) GIA Publications
SKU: GI.G-1133 GIA ChoralWorks Series. Composed by Cameron LaBarr ...(+)
SKU: GI.G-1133
GIA ChoralWorks
Series. Composed by
Cameron LaBarr & Missouri
State University Chorale.
GIA ChoralWorks. Music
Education. Choral score.
GIA Publications #1133.
Published by GIA
Publications (GI.G-1133).
UPC:
785147813323. The
Song We Sing was
commissioned by the Arts
Chorale of Winchester
(Virginia) to honor
founding artistic
director Michael Main and
his husband, accompanist
Richard McPherson upon
their retirement from the
ensemble after 19 years.
Scored for SATB chorus
and piano four-hands, the
score sets three new
poems by Robert Bode,
himself a well-known
choral conductor as well
as a poet. Track Listing:
Let's Move to the Sea The
Song We Sing Morning
Dance “Let’s
Move to the Seaâ€
(#1) references
Michael’s and
Richard’s plan to
relocate from Virginia to
the seaside resort of
Rehoboth Beach, Delaware.
The music is marked
“Brightlyâ€
and is highly rhythmic
and dancelike. Robert
Bode’s poem is in
three verses, and the
music follows this
layout, with three
clearly related sections.
The poem “The Song
We Sing†(#2) is a
quiet, and rather
profound, meditation on
the underlying meaning of
choral singing—the
deeper sense of what it
means to sing together.
It underscores the fact
that choirs often create
a feeling of community
where individuals are
accepted for themselves
without prejudice as they
come together to make
music. Like the first
movement, “Morning
Dance†(#3) is
rhythmic and playful. The
poem is organized into
four verses, each
followed by a refrain.
The music, similarly, is
written in four sections
that are based on
closely-related musical
materials, each followed
by a refrain of almost
identical music.
Everything culminates in
the poem’s
ecstatic final line,
“Lift your arms to
the sun, and
dance!†The
Missouri State University
Chorale is the flagship
choral ensemble at
Missouri State
University. Made up of a
diverse group of singers
from a variety of
backgrounds, this
renowned ensemble
performs at an incredibly
high level and enjoys an
international reputation.
The MSU Chorale has
performed regularly at
conferences of the
American Choral Directors
Association, Missouri
Music Educators
Association, the National
Association for Music
Education, and has toured
throughout North America,
Europe, Asia, and Africa.
Cameron F. LaBarr is
director of choral
studies at Missouri State
University, where he
leads a comprehensive
choral program including
eight choirs and a
graduate program in
choral conducting. He
holds a Bachelor of Music
from Missouri State
University and earned a
Master of Music and
Doctor of Musical Arts
from the University of
North Texas.
Additionally, Dr. LaBarr
has completed further
study in choral music and
conducting with Simon
Carrington and Alice
Parker. Dr. LaBarr has
worked as a guest
conductor, clinician, and
adjudicator across North
America, Europe, Africa
and Asia, recently at the
China International
Chorus Festival, the Bali
International Choir
Festival, and the
Limerick Sings
International Choral
Festival (Ireland). $12.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto Piano seul Theodore Presser Co.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202. What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement. $47.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Out The Window Ensemble Jazz - Intermédiaire Kendor Music Inc.
Jazz Ensemble standard jazz ensemble with opt. vibes - Grade 3.5 SKU: KN.4329...(+)
Jazz Ensemble standard
jazz ensemble with opt.
vibes - Grade 3.5 SKU:
KN.43295 Composed by
Adam Larson. Jazz
Ensemble Series. Swing.
Kendor Music Inc #43295.
Published by Kendor Music
Inc (KN.43295). UPC:
822795432954. Commi
ssioned by the jazz
division of the Illinois
Music Educators
Association for the 2020
Illinois All State Jazz
Ensemble, this Adam
Larson swing composition
provides musical
challenges to all
sections of the band. In
addition to the wonderful
ensemble writing, the
open solo section
provides space for your
soloists to stretch out
as well. This is a great
choice at the medium
advanced level. Duration
6:40. $60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Out The Window (Full Score) - Intermédiaire Kendor Music Inc.
Jazz Ensemble - Grade 3.5 SKU: KN.43295S Composed by Adam Larson. Jazz En...(+)
Jazz Ensemble - Grade 3.5
SKU: KN.43295S
Composed by Adam Larson.
Jazz Ensemble Series.
Kendor Music Inc #43295S.
Published by Kendor Music
Inc (KN.43295S). UPC:
822795432954. Commi
ssioned by the jazz
division of the Illinois
Music Educators
Association for the 2020
Illinois All State Jazz
Ensemble, this Adam
Larson swing composition
provides musical
challenges to all
sections of the band. In
addition to the wonderful
ensemble writing, the
open solo section
provides space for your
soloists to stretch out
as well. This is a great
choice at the medium
advanced level. Duration
6:40. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Starting Early GIA Publications
SKU: GI.G-7850 Adventures with Music - Book 1. Composed by Ann Kac...(+)
SKU: GI.G-7850
Adventures with Music
- Book 1. Composed by
Ann Kaczkowski Kimpton
and Paul Kimpton.
Adventures with Music.
Music Education. Book.
204 pages. GIA
Publications #7850.
Published by GIA
Publications (GI.G-7850).
ISBN 9781579998059.
English. Adventures
with Music Book 1 A new
adventure series where
the heroes are young
musicians! Dale and his
friends waited for this
moment, and now it was
here: they were finally
old enough to play an
instrument. Little did
Dale know that his
decision to play the
cornet would take him on
an adventure of a
lifetime... This first
book in The Adventures
with Music Series begins
in the U.S. during World
War II. Paul and Ann
Kimpton bring to life
this unforgettable story
about best friends, their
dog Scout, bike rides,
forts, foot races, and
heroism—capturing
the spirit of a
remarkable time and the
sheer joy of making music
Excerpt from the book...
The Conn instrument
factory was on fire, and
only one person could
save the town.... Hurry,
Dale! You have no time to
spare! Grandpa warned as
Dale hopped on his bike.
He put the bugle to his
lips, but nothing came
out. Remember what you
have been taught, Grandpa
advised. Dale licked his
lips and tried again.
This time the Fire Call
came out loud and clear.
The sound echoed across
the valley. Grandpa
shouted, Now ride to each
corner and play it as
loud as you can. This is
going to be your most
important performance
ever! Paul Kimpton grew
up in a musical family
and was a band director
in Illinois for 34 years.
His father Dale was a
band director and
professor at the
University of Illinois,
and his mother Barbara
was a vocalist. When Paul
is not writing, he is
reading or enjoying the
outdoors. Ann Kimpton
played French horn
through college and went
on to be a mother,
teacher, and high school
administrator. Her
parents, Henry and
Maryalyce Kaczkowski,
both educators, instilled
an appreciation for the
fine arts and the
outdoors in all of their
children. How to use the
Adventures with Music
series: 1. Parents,
Teachers, Librarians:
Intended for intermediate
readers in grades 4
through 8, these books
capture the interests of
both boys and girls. The
series fosters a love of
reading while exposing
students to American
history and the
foundations of music. The
musician characters
provide positive role
models for any child, but
especially students who
like music or play an
instrument. 2. General
Music Classroom: Support
reading across the
curriculum in your
classroom! The Adventures
with Music series
promotes musicians as
can-do kids. Musical
concepts are embedded
throughout each
high-interest story, thus
reinforcing what students
are learning in your
classroom. Provide your
students with a
background rich in music
history in an exciting
context. The books are
written to appeal to a
variety of reading
levels, and as a result,
support differentiated
instruction in your
classroom. 3.
Instrumental Music
Teachers: Build interest
when recruiting
beginners, and maintain
that excitement, as
students develop their
musical skills. The
Adventures with Music
series provides students
with positive role models
of well-rounded, active
musicians. Students see
how music can be an
essential part of their
lives and are drawn to
the exciting stories that
reinforce the concepts
they will encounter when
they play an instrument.
The series’
characters learn to read
music, rehearse, and
persevere all while
developing leadership
skills in their
school’s music
program. Music history is
woven throughout, helping
you keep the legacy of
music alive for young
musicians. Â . $8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Eugene Migliaro Corporon: Explorations, Discoveries, Inventions, and Designs in the Know Where GIA Publications
SKU: GI.G-9294 A Teaching Music through Performance in Band 20th Anniv...(+)
SKU: GI.G-9294
A Teaching Music
through Performance in
Band 20th Anniversary
Edition. Composed by
Eugene M. Corporon.
Teaching Music Through
Performance. Music
Education. 504 pages. GIA
Publications #9294.
Published by GIA
Publications (GI.G-9294).
ISBN
9781622772179. For
twenty years, Eugene
Corporon, renowned
conductor, recording
artist, and music
educator, has shown
generations of band
directors not only how to
transform the performance
of individual ensemble
members and the sound of
an ensemble, but also how
the participants and
audience listen to and
perceive a musical work.
Now, Corporon’s
celebrated insights
published in each edition
of the iconic Teaching
Music through Performance
in Band series are
collected in a single
volume, making
Explorations,
Discoveries, Inventions,
and Designs in the Know
Where a must-have
resource for music
educators who want to
grow their skills as
teacher, communicator,
musician, and inspiration
to students. Included are
chapters on “Making
an Emotional
Connection†(Volume
3), “Historical
Highlights of the Wind
Band†(Volumes 6
and 7), “Principles
for Achievement,
Enhancing Musicianship,
and Valued
Colleagues†(Volume
8), and much more.
Corporon’s
complete
discography—update
d for this
volume—is
included, as well as a
chronological listing of
his doctoral and
master’s students,
and an invaluable
bibliography. Of special
note is the inclusion of
his chapter in the
forthcoming Volume 11 of
the iconic Teaching Music
through Performance in
Band series. $35.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Library Of Easy Piano Classics 2 Piano seul [Partition] - Facile Music Sales
Edited by Amy Appleby. For piano. Format: piano solo book (spiral bound). With f...(+)
Edited by Amy Appleby.
For piano. Format: piano
solo book (spiral bound).
With fingerings. Baroque,
classical period,
romantic period and
americana. 240 pages.
9x12 inches. Published by
Music Sales.
(3)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| COMPLETE MANDOLINIST, VOLUME 2: MUSIC IN CONTEXT Mandoline - Intermédiaire/avancé Mel Bay
Perfect binding. Exercises. Book. Mel Bay Publications, Inc #30782. Publishe...(+)
Perfect binding.
Exercises.
Book. Mel Bay
Publications,
Inc #30782. Published by
Mel
Bay Publications, Inc
$34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Comp Duets for Winds Volume II Carl Fischer
Chamber Music Bassoon, Euphonium, Trombone SKU: CF.WF218 29 Duets That...(+)
Chamber Music Bassoon,
Euphonium, Trombone
SKU: CF.WF218
29 Duets That can Be
Played by Any Combination
of Wind Instruments.
Composed by
Adolphe-Charles Adam,
Chauncey Olcott, George
Frideric Handel, Giuseppe
Concone, Giuseppe
Gariboldi, Henri Kling,
Henry Purcell, Hughie
Cannon, Larry Clark,
Richard Shuebruk,
Scottish Folk Song,
Traditional, Wilhelm
Wurm, Wolfgang Amadeus
Mozart, and etc. Arranged
by Larry Clark. SWS.
Collection. With Standard
notation. 48 pages. Carl
Fischer Music #WF218.
Published by Carl Fischer
Music (CF.WF218). ISBN
9781491149188. UPC:
680160906680. 9 x 12
inches. Continuing
with the success of the
popular Compatible
series, Compatible Duets
for Winds Volume 2
contains 29 duets in a
variety of styles that
can be played with any
combination of two wind
instruments. Students can
develop their
chamber-ensemble skills
while playing with their
friends, no matter what
wind instruments they
play. Ranging from grade
levels 2-3, Compatible
Duets for Winds Volume 2
is perfect for band
directors looking for new
tools for the classroom,
and its flexibility makes
it a must-have for any
wind player. Having
students play in small
chamber music groups is a
very beneficial exercise
to improvethe
student’s overall
musicianship. The
simplest form of chamber
music is the duet. It is
anopportunity for the
student to play with a
teacher or to play with
another student of
similarabilities. Aspects
of playing such as tone
quality, intonation,
technique and ensemble
skillscan be developed
during the process of
studying duets.These
duets are different in
that they have many
different performance
options, since all ofthe
books in this series are
compatible. As a former
middle-school band
director I alwayshad
students that wanted to
come to the band room
during lunch or after
school; studentswho just
wanted to play with their
friends. That was not
possible since there was
very littleduet material
available that was
compatible with all of
the wind instruments.
This bookand the first
volume in the series take
care of that. A student
can now grab their
friend,no matter what
instrument they play, and
have hours of fun playing
duets together.
Mostimportantly, they
will learn something in
the process.The duets
have been generally
placed in the book in
order of difficulty and
cover a rangeof keys that
are appropriate for this
ability level. Special
care was given to making
surethat both of the duet
parts were on a similar
ability level and that
each line was givenan
opportunity to play a
lead role at some point
during the arrangement.
Also, most ofthe musical
markings are attached to
both systems, and the
point size of the music
wasconsidered for ease of
reading.It is my hope
that this collection will
help to stimulate and
enhance the musicianship
of theperformers. It was
a pleasure for me to have
the opportunity to put
together this
collection.I hope it is a
useful tool for you for
years to come. $12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Comp Duets for Winds Volume II Carl Fischer
Chamber Music Tuba SKU: CF.WF219 29 Duets That can Be Played by Any Co...(+)
Chamber Music Tuba
SKU: CF.WF219
29 Duets That can Be
Played by Any Combination
of Wind Instruments.
Composed by
Adolphe-Charles Adam,
Chauncey Olcott, George
Frideric Handel, Giuseppe
Concone, Giuseppe
Gariboldi, Henri Kling,
Henry Purcell, Hughie
Cannon, Larry Clark,
Richard Shuebruk,
Scottish Folk Song,
Traditional, Wilhelm
Wurm, Wolfgang Amadeus
Mozart, and etc. Arranged
by Larry Clark. SWS.
Collection. With Standard
notation. 48 pages. Carl
Fischer Music #WF219.
Published by Carl Fischer
Music (CF.WF219). ISBN
9781491149195. UPC:
680160906697. 9 x 12
inches. Continuing
with the success of the
popular Compatible
series, Compatible Duets
for Winds Volume 2
contains 29 duets in a
variety of styles that
can be played with any
combination of two wind
instruments. Students can
develop their
chamber-ensemble skills
while playing with their
friends, no matter what
wind instruments they
play. Ranging from grade
levels 2-3, Compatible
Duets for Winds Volume 2
is perfect for band
directors looking for new
tools for the classroom,
and its flexibility makes
it a must-have for any
wind player. Having
students play in small
chamber music groups is a
very beneficial exercise
to improvethe
student’s overall
musicianship. The
simplest form of chamber
music is the duet. It is
anopportunity for the
student to play with a
teacher or to play with
another student of
similarabilities. Aspects
of playing such as tone
quality, intonation,
technique and ensemble
skillscan be developed
during the process of
studying duets.These
duets are different in
that they have many
different performance
options, since all ofthe
books in this series are
compatible. As a former
middle-school band
director I alwayshad
students that wanted to
come to the band room
during lunch or after
school; studentswho just
wanted to play with their
friends. That was not
possible since there was
very littleduet material
available that was
compatible with all of
the wind instruments.
This bookand the first
volume in the series take
care of that. A student
can now grab their
friend,no matter what
instrument they play, and
have hours of fun playing
duets together.
Mostimportantly, they
will learn something in
the process.The duets
have been generally
placed in the book in
order of difficulty and
cover a rangeof keys that
are appropriate for this
ability level. Special
care was given to making
surethat both of the duet
parts were on a similar
ability level and that
each line was givenan
opportunity to play a
lead role at some point
during the arrangement.
Also, most ofthe musical
markings are attached to
both systems, and the
point size of the music
wasconsidered for ease of
reading.It is my hope
that this collection will
help to stimulate and
enhance the musicianship
of theperformers. It was
a pleasure for me to have
the opportunity to put
together this
collection.I hope it is a
useful tool for you for
years to come. $12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Compatible Duets for Winds Volume II Carl Fischer
Chamber Music alto Saxophone, baritone Saxophone SKU: CF.WF216 29 Duet...(+)
Chamber Music alto
Saxophone, baritone
Saxophone SKU:
CF.WF216 29 Duets
That Can Be Played by Any
Combination of Wind
Instruments. Composed
by Adolphe-Charles Adam,
Chauncey Olcott, George
Frideric Handel, Giuseppe
Concone, Giuseppe
Gariboldi, Henri Kling,
Henry Purcell, Hughie
Cannon, Larry Clark,
Richard Shuebruk,
Scottish Folk Song,
Traditional, Wilhelm
Wurm, Wolfgang Amadeus
Mozart, and etc. Arranged
by Larry Clark. SWS.
Collection. With Standard
notation. 48 pages. Carl
Fischer Music #WF216.
Published by Carl Fischer
Music (CF.WF216). ISBN
9781491149164. UPC:
680160906666. 9 x 12
inches. Continuing
with the success of the
popular Compatible
series, Compatible Duets
for Winds Volume 2
contains 29 duets in a
variety of styles that
can be played with any
combination of two wind
instruments. Students can
develop their
chamber-ensemble skills
while playing with their
friends, no matter what
wind instruments they
play. Ranging from grade
levels 2-3, Compatible
Duets for Winds Volume 2
is perfect for band
directors looking for new
tools for the classroom,
and its flexibility makes
it a must-have for any
wind player. Having
students play in small
chamber music groups is a
very beneficial exercise
to improvethe
student’s overall
musicianship. The
simplest form of chamber
music is the duet. It is
anopportunity for the
student to play with a
teacher or to play with
another student of
similarabilities. Aspects
of playing such as tone
quality, intonation,
technique and ensemble
skillscan be developed
during the process of
studying duets.These
duets are different in
that they have many
different performance
options, since all ofthe
books in this series are
compatible. As a former
middle-school band
director I alwayshad
students that wanted to
come to the band room
during lunch or after
school; studentswho just
wanted to play with their
friends. That was not
possible since there was
very littleduet material
available that was
compatible with all of
the wind instruments.
This bookand the first
volume in the series take
care of that. A student
can now grab their
friend,no matter what
instrument they play, and
have hours of fun playing
duets together.
Mostimportantly, they
will learn something in
the process.The duets
have been generally
placed in the book in
order of difficulty and
cover a rangeof keys that
are appropriate for this
ability level. Special
care was given to making
surethat both of the duet
parts were on a similar
ability level and that
each line was givenan
opportunity to play a
lead role at some point
during the arrangement.
Also, most ofthe musical
markings are attached to
both systems, and the
point size of the music
wasconsidered for ease of
reading.It is my hope
that this collection will
help to stimulate and
enhance the musicianship
of theperformers. It was
a pleasure for me to have
the opportunity to put
together this
collection.I hope it is a
useful tool for you for
years to come. $12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mitchell on Trumpet * Book 1 with DVD Trompette [Partition + DVD] Santorella Publications
(82 balanced lessons). By Harold E. Mitchell. For trumpet. This edition: Paperba...(+)
(82 balanced lessons). By
Harold E. Mitchell. For
trumpet. This edition:
Paperback. Instructional.
Method. Method book and
DVD. Text Language:
English. 96 pages.
Published by Santorella
Publications
$18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rituals Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabas...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Horn 1, Horn 2, Horn 3,
Horn 4, Oboe, Percussion,
Trombone 1, Trombone 2,
Trumpet 1, Trumpet 2,
Tuba, Viola, Violin 1,
Violin 2, Violoncello
SKU: PR.44641192L
For 5 Percussionists
and Orchestra.
Composed by Ellen Taaffe
Zwilich. Contemporary.
Large Score. With
Standard notation.
Composed 2003. 72 pages.
Duration 30 minutes.
Theodore Presser Company
#446-41192L. Published by
Theodore Presser Company
(PR.44641192L). UPC:
680160610860. 11 x 14
inches. One of my
greatest pleasures in
writing a concerto is
exploring the new world
that opens for me each
time I enter the
sometimes alien, but
always fascinating, world
of a solo instrument or
instruments. For me, the
challenge is to discover
the deepest nature of the
solo instrument (its
karma, if you will) and
to allow that essential
character to guide the
shape and form of the
work and the nature of
the interaction between
soloists and orchestra.
In recent years, many of
us have become more aware
of the musical world
outside the Western
tradition of musics that
follow different
procedures and spring
from other aesthetics.
And contemporary
percussionists have
opened many of these
worlds to us, as they
have ventured around the
globe, participating in
Brazilian Samba schools,
studying Gamelan and
African drumming with
local experts, collecting
instruments from Asia and
Africa and South America
and the South Pacific,
widening our horizons in
the process. I will never
forget our first meeting
in Toronto when Nexus
invited me into their
world of hundreds of
exciting percussion
instruments. The vast
array of instruments in
the collection of the
Nexus ensemble is truly
global in scope as well
as offering a thrilling
sound-universe. I was
inspired by the
incredible range of sound
and moved by the fact
that so many of these
instruments were musical
reflections of a
spiritual dimension.
After long consideration,
I decided that it would
not only be impossible,
but even undesirable for
this
Western-tradition-steeped
composer to attempt to
use these instruments in
a culturally authentic
way. My goal was an
existential kind of
authenticity: searching
instead for universal
ideas that would be true
to both myself and the
performers while
acknowledging the
traditional uses of the
instruments. Since many
percussion instruments
are associated with
various kinds of ritual,
I decided that I would
allow that concept to
shape my piece. Rituals
is in four movements,
each issuing from a
ritual associated with
percussion, but with the
orchestral interaction
providing an essential
element in the musical
form. I. Invocation
alludes to the traditions
of invoking the spirit of
the instruments, or the
gods, or the ancestors
before performing. II.
Ambulation moves from a
processional, through
march and dance to
fantasy based on all
three. III. Remembrances
alludes to traditions of
memorializing. IV.
Contests progresses from
friendly competition
games, contests to a
suggestion of a battle of
big band drummers, to
warlike exchanges. In the
2nd and 4th movements,
another percussion
tradition, improvisation,
is employed. Written into
these movements are a
number of seeds for
improvisation.
Indications in the score
call for the soloists to
improvise in three
different ways, marked A
for percussion alone;
marked B for percussion
with and in response to
the orchestra; and C
where the percussionists
are free to add and
embellish the written
parts. These
improvisations should
grow out of and embellish
previous motives and
gestures in the
movement. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 11 Duets for Clarinet 2 Clarinettes (duo) [Partition + CD] - Intermédiaire Mel Bay
For 2 Clarinets or Clarinet and Alto Sax. Composed by Matthias Petzold. Clar...(+)
For 2 Clarinets or
Clarinet
and Alto Sax. Composed by
Matthias Petzold.
Clarinet,
Saxophone, Music Styles
&
Regions, Classical, Solos
and
Duets. Book and Insert
with
CD. 52 pages. Published
by
Mel Bay Publications, Inc
$22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 11 Duets for Flute 2 Flûtes traversières (duo) [Partition + CD] - Intermédiaire Mel Bay
For 2 Flutes or Clarinet and Flute. Composed by Matthias Petzold. Clarinet, ...(+)
For 2 Flutes or Clarinet
and
Flute. Composed by
Matthias
Petzold. Clarinet, Flute,
Fife and Oboe, Music
Styles and
Regions, Classical, Jazz,
Solos and Duets. Book and
Insert with CD. 52 pages.
Published by Mel Bay
Publications, Inc
$22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| St. John Passion TWV 5:30 Chorale SATB - Intermédiaire Barenreiter
Solo voices, choir, orchestra (2 Soprano Voice Solo, Alto Voice Solo, 3Tenor Voi...(+)
Solo voices, choir,
orchestra (2 Soprano
Voice Solo, Alto Voice
Solo, 3Tenor Voice Solo,
3Bass Voice Solo, SATB
Choir, recorder-A, 2 Fl,
Ob, Ob-dam, bassoon, Trp,
Str, Continuo) - Level 3
SKU: BA.BA05310
Ein Lammlein geht und
tragt die Schuld.
Composed by Georg Philipp
Telemann. Edited by
Wolfgang Hirschmann. This
edition: Edition of
selected works, Urtext
edition. Linen. Telemann
Musical Works. Band 29.
1745. Passionen (Passion
Music, Easter). Edition
of selected works, Score.
Composed 1745. TWV 5.
Duration 1 hour, 50
minutes. Baerenreiter
Verlag #BA05310_00.
Published by Baerenreiter
Verlag (BA.BA05310).
ISBN 9790006497881.
33.1 x 25.9 cm
inches. In the
autumn of 1721, when
Georg Philipp Telemann
became cantor at the
Hamburg Johanneum and
music director of the
city’s five
principal churches, he
faced the challenge of
composing and performing
a new Passion setting
every year.
The
ninety-minute St. John
Passion of 1745 was
written in a winningly
clear and transparent
style, with two large
choral numbers, six
chorales (probably joined
by the congregation) and
several turbae that pose
interesting yet
manageable demands on the
chorus. The plain and
unassuming recitatives
and the eleven sharply
defined yet contemplative
arias give soloists broad
leeway for artistic
interpretation. This
volume follows the Urtext
of vol. 29 of the
Telemann Edition, thereby
offering a reliable text
at the pinnacle of modern
scholarship.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$349.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Piano Lessons, Primer
Piano seul [Partition] - Débutant Kjos Music Company
By James Bastien. Bastien Piano. Bastien Piano Library. Level: Primer. Music Boo...(+)
By James Bastien. Bastien
Piano. Bastien Piano
Library. Level: Primer.
Music Book. Published by
Neil A. Kjos Music
Company.
(2)$6.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sonata For Brass Trio (1615) Theodore Presser Co.
Chamber Music Horn, Organ, Trombone, Trumpet SKU: PR.114417440 Composed b...(+)
Chamber Music Horn,
Organ, Trombone, Trumpet
SKU: PR.114417440
Composed by Giovanni
Gabrieli. Arranged by
Travis Freshner. Baroque.
Set of Score and Parts.
With Standard notation.
Composed 2015. 8+2+2+2
pages. Duration 3
minutes. Theodore Presser
Company #114-41744.
Published by Theodore
Presser Company
(PR.114417440). UPC:
680160633715. A
composer who wears many
musical hats, from editor
to band director and
more, Freshner presents a
solid arrangement of a
17th century work by the
early master Giovanni
Gabrieli. Originally for
three violins (Sonata con
tre violini [XXI from
Canzoni et Sonate,
1615]), Freshner's
setting features a brass
trio over an organ
foundation. $28.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sonata For Brass Trio (1615) Theodore Presser Co.
Chamber Music Horn, Organ, Trombone, Trumpet SKU: PR.11441744S Composed b...(+)
Chamber Music Horn,
Organ, Trombone, Trumpet
SKU: PR.11441744S
Composed by Giovanni
Gabrieli. Arranged by
Travis Freshner. Baroque.
Full score. With Standard
notation. Composed 2015.
8 pages. Duration 3
minutes. Theodore Presser
Company #114-41744S.
Published by Theodore
Presser Company
(PR.11441744S). UPC:
680160633739. A
composer who wears many
musical hats, from editor
to band director and
more, Freshner presents a
solid arrangement of a
17th century work by the
early master Giovanni
Gabrieli. Originally for
three violins (Sonata con
tre violini [XXI from
Canzoni et Sonate,
1615]), Freshner's
setting features a brass
trio over an organ
foundation. $16.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Blues and Rock Techniques for Hammond Organ Orgue [DVD] Homespun
Homespun Tapes (Instructional). DVD . Size 5.5x7.5 inches. Published by Homespun...(+)
Homespun Tapes
(Instructional). DVD .
Size 5.5x7.5 inches.
Published by Homespun.
(1)$29.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Riccardo primo, Re dInghilterra / Richard der Erste, Konig von England HWV 23 Barenreiter
2 alto voice solos, 2 soprano voice solos, 2 bass voice solos, orchestra (2 Alto...(+)
2 alto voice solos, 2
soprano voice solos, 2
bass voice solos,
orchestra (2 Alto Voice
Solos, 2 soprano voice
solos, 2 bass voice
solos, Orchestra) SKU:
BA.BA04081 Opera
in three acts.
Composed by George
Frideric Handel. Edited
by Terence Best. This
edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Serie II
Band 20. Complete
edition, Score. HWV 23.
Duration 3 hours.
Baerenreiter Verlag
#BA04081_00. Published by
Baerenreiter Verlag
(BA.BA04081). ISBN
9790006497782. 33 x 25.8
cm inches. In his
libretto for “
Riccardo primoâ€,
Paolo Rolli drew on
Antonio Lotti’s
opera “ Isacio
tiranno †which had
been performed in Venice
in 1710. Handel needed a
text with two great
women’s roles, for
the two best female
singers of the day were
members of his troupe
– Francesca
Cuzzoni and Faustina
Bordoni . He had already
written the operas
“Alessandroâ€
and “ Admeto
†for them. He
began composing “
Riccardo †in
spring 1727, completing
the first version on 16
May. However,
following the death of
King George I on 11 June
1727, the theatres
remained closed. For
Handel, who had become a
British citizen in
February 1727, the
accession of George II to
the throne offered new
possibilities, and he
embarked on a revision of
the opera. With this, he
was able to offer a new
opera for the coronation
festivities, the hero of
which was one of King
George’s
charismatic
forebears. From May
onwards, Handel
thoroughly revised the
present score, wrote some
parts anew and expanded
it with particularly
splendid music. Handel
and Rolli also improved
the plot and introduced
patriotic elements to
honour the British
monarchy. The
historic background is
the third crusade against
Saladin, the Sultan of
Egypt and Syria , who had
recaptured Jerusalem in
1187. Although King
Richard I captured Cyprus
and together with French
crusaders stormed the
fortress of Akko in the
Holy Land, the crusade
ended with a ceasefire
and Jerusalem remained in
Saladin’s hands.
Richard was given the
title
‘Coeur-de-lionâ€
¹â€™ by the English
for his great military
ability and bravery,
although the Sicilians
had first given him this
name because of his
relentless cruelty in
clashes around Messina
. The vocal
score is based on the
Halle Handel Edition
volume published in 2005,
edited by Terence Best,
and contains the second
version of the opera
which was premiered in
November 1727.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$608.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Trumpet Fox 2 Trompette [Partition + CD] Hage Musikverlag
Trumpet SKU: BT.HAGEH3807 Composed by Dunser. Book with CD. Hage Musikver...(+)
Trumpet SKU:
BT.HAGEH3807 Composed
by Dunser. Book with CD.
Hage Musikverlag
#HAGEH3807. Published by
Hage Musikverlag
(BT.HAGEH3807).
Volume 2
carries on the methodical
and didactic line
established in volume 1
while ensuring that
learning is fun!
Continual progess is very
important here, as are
the development of
various different musical
and stylistic
capabilities. Well-known
songs and duets help
improve embouchure,
playing technique and
general musicality. The
accompanying CD includes
playbacks for many of the
exercises, because
practising with a band is
so much more fun. Of
course, all exercises can
also be played without
the CD backing tracks.
Trumpet Fox is among the
most successful trumpet
tutors of recent years.
The complete set
consistsof 3
instructional books.
Ideal for individual and
group lessons as well as
private study. Also
suitable for flugelhorn,
cornet or tenor horn. $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 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 | | |
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