| First Lessons Bass Basse electrique [Partition + CD] - Débutant Mel Bay
by Jay Farmer. First Lessons. Level: Beginning. Book/CD Set. Size 8.75x11.75. 32...(+)
by Jay Farmer. First
Lessons. Level:
Beginning. Book/CD Set.
Size 8.75x11.75. 32
pages. Published by Mel
Bay Pub., Inc.
$9.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| First Lessons Bass Basse electrique - Débutant Mel Bay
Bass guitar - Beginning SKU: MB.99933M Composed by Jay Farmer. Saddle-sti...(+)
Bass guitar - Beginning
SKU: MB.99933M
Composed by Jay Farmer.
Saddle-stitched, Electric
Bass, Method,
Contemporary, Children
and Young Beginner. First
Lessons. Style. Book and
online audio/video. 32
pages. Mel Bay
Publications, Inc
#99933M. Published by Mel
Bay Publications, Inc
(MB.99933M). ISBN
9780786693184. UPC:
786693185. 8.75 x 11.75
inches. First
Lessons Bass is intended
to introduce beginning
students to the
fundamental concepts of
playing the electric
bass. The material
covered in this book is
approximately the
material covered in the
first 8 lessons of
private bass instruction.
This book makes use of
the 3-finger left hand
position commonly found
in double bass technique.
The emphasis on left hand
technique allows the
student to develop a
consistent fingering
approach to the
fingerboard, reduces
unnecessary strain on the
left hand, and makes the
bass more accessible to
younger students or
students with small
hands. After the left
hand technique has been
established, the book
introduces the student to
important elements of
bass line construction
including blues patterns,
the root-fifth
relationship, and common
rhythmic patterns.
Includes access to online
audio and
video.
?
Introduction for
beginning students to the
fundamental concepts of
playing the electric
bass. ? Book is
approximately the
material covered in the
first 8 lessons of
private bass
instruction. ? Makes
use of the 3-finger left
hand position commonly
found in double bass
technique. ? Offers
student important
elements of bass line
construction: blues
patterns, root-fifth
relationship, and common
rhythmic patterns. ?
Includes access to online
audio and video. $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Exercises for Three Finger Banjo Banjo - Débutant Mel Bay
Composed by Jack Hatfield. Squareback saddle stitch. Book. Published by Mel Bay ...(+)
Composed by Jack
Hatfield. Squareback
saddle stitch. Book.
Published by Mel Bay
Publications, Inc
(MB.99783).
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jazz Chord/Scale Handbook Formation musicale - Solfège [Partition] Advance Music
| | |
| St. Olaf Service GIA Publications
(An Order for Morning Prayer). By Kevin Vogt. For Unison; Presider, Cantor; SATB...(+)
(An Order for Morning
Prayer). By Kevin Vogt.
For Unison; Presider,
Cantor; SATB Chorus and
Keyboard accompaniment.
Other. Sacred. 28 pages
$5.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| On Music Carl Fischer
Choral SSA Choir, piano, flute SKU: CF.CM9583 Composed by Christopher Gab...(+)
Choral SSA Choir, piano,
flute SKU:
CF.CM9583 Composed by
Christopher Gabel. Sws.
Performance Score. 20
pages. Duration 4
minutes, 9 seconds. Carl
Fischer Music #CM9583.
Published by Carl Fischer
Music (CF.CM9583).
ISBN 9781491154052.
UPC: 680160912551. 6.875
x 10.5 inches. Key: Eb
major. English. Thomas
Moore
(1779-1852). Thomas
Moore (17791852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Filld with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when pleasures
dream is gone, Its memory
lives in Musics breath.
Music, oh, how faint, how
weak, Language fades
before thy spell! Why
should Feeling ever
speak, When thou canst
breathe her soul so well?
Friendships balmy words
may feign, Loves are even
more false than they; Oh!
tis only musics strain
Can sweetly soothe, and
not betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779a1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music a
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fillad with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasureas dream is gone,
Its memory lives in
Musicas breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendshipas balmy
words may feign, Loveas
are even more false than
they; Oh! atis only
musicas strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779-1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music -
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fill'd with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasure's dream is gone,
Its memory lives in
Music's breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendship's balmy
words may feign, Love's
are even more false than
they; Oh! 'tis only
music's strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779-1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music -
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fill'd with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasure's dream is gone,
Its memory lives in
Music's breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendship's balmy
words may feign, Love's
are even more false than
they; Oh! 'tis only
music's strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779–1852) was
an Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song.We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life?On Music –
Thomas MooreWhen through
life unblest we
rove,Losing all that made
life dear,Should some
notes we used to love,In
days of boyhood, meet our
ear,Oh! how welcome
breathes the
strain!Wakening thoughts
that long have
slept,Kindling former
smiles againIn faded eyes
that long have wept.Like
the gale, that sighs
alongBeds of oriental
flowers,Is the grateful
breath of song,That once
was heard in happier
hours.Fill’d with balm
the gale sighs on,Though
the flowers have sunk in
death;So, when
pleasure’s dream is
gone,Its memory lives in
Music’s breath.Music,
oh, how faint, how
weak,Language fades
before thy spell!Why
should Feeling ever
speak,When thou canst
breathe her soul so
well?Friendship’s balmy
words may feign,Love’s
are even more false than
they;Oh! ’tis only
music’s strainCan
sweetly soothe, and not
betray.Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Scales Plus Scales Keys Positions Shifts
Violon [Partition] Alfred Publishing
By William Starr. Edited by Judi Gowe. Summy-Birchard supplementary instruments ...(+)
By William Starr. Edited
by Judi Gowe.
Summy-Birchard
supplementary instruments
(Violin). Published by
Alfred Publishing.
(1)$8.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Guitar Chord Resource Guitare [Partition + CD] Alfred Publishing
(The Supreme Resource for Chords and How to Use Them). For Guitar. Book; CD;...(+)
(The Supreme Resource for
Chords and How to Use
Them).
For Guitar. Book; CD;
Guitar
Method or Supplement;
Method/Instruction. 424
pages.
Published by Alfred Music
Publishing
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pronouncing Guide to French, German, Italian, Spanish [Livre] Carl Fischer
To French German Italian Spanish. Edited by Archie Jones; M Irving Smith; Robert...(+)
To French German Italian
Spanish. Edited by Archie
Jones; M Irving Smith;
Robert B. Walls. For
Accessory. Text. 203
pages. Published by Carl
Fischer.
$11.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jazz Chord Connection Guitare notes et tablatures [Partition + CD] Hal Leonard
A Systematic Approach to Understanding Guitar Fingerboard Harmony. Reh Publicati...(+)
A Systematic Approach to
Understanding Guitar
Fingerboard Harmony. Reh
Publications. Book and CD
package. With notes and
tablature. Size 9x12
inches. 40 pages
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Tarantella Carl Fischer
Choral Double bass voice, Piano, Viola, Violin 1, Violin 2, SATB chorus SKU: ...(+)
Choral Double bass voice,
Piano, Viola, Violin 1,
Violin 2, SATB chorus
SKU: CF.CM9735
Jubilate Agno.
Composed by Z. Randall
Stroope. 16 pages.
Duration 0:03:05. Carl
Fischer Music #CM9735.
Published by Carl Fischer
Music (CF.CM9735).
ISBN 9781491161159.
UPC: 680160919741. Key: A
minor. Latin, English.
Christopher Smart and
ZRS. Origins of the
Tarantella The tarantella
is a popular southern
Italian dance with
origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(little spider), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the poison, the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately courtship.
Origins of the Text
Christopher Smart
(1722-1771), also known
as Kit Smart or Jack
Smart, was born in Kent,
England and suffered from
what is now believed to
be acute asthma and other
health issues as a child.
As such, he did not work
in the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke's Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor's prison, was
common during this period
if one's debts could not
be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [Rejoice in
the Lamb] was set to
music by English
composer, Benjamin
Britten.) Smart's writing
style (which, at times,
bordered on the absurd),
along with his many
obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of Smart's
Jubilate Agno were used
in mm. 24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance: theraphosa
[teh-rah-fo-sa] a genus
of tarantula spiders
bellicose
[beh-lee-ko-sah] hostile;
aggressive odiosa
[o-dee-o-sa] hateful;
vexation tenebrosa
[teh-neh-bro-sa]
creeping; dark nemorosa
[neh-mo-ro-sa] wooded;
shady lapidosa
[lah-pee-do-sa] stony
area; gritty The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work. About the Composer
Z. Randall Stroope is an
American composer and
conductor. He has served
as Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. Performance Notes
Text: In Latin, the r is
flipped; use s instead of
z on endings such as
phosa, cosa, and so on;
the Latin o is a cross
between oh and aw; in the
transliteration above, I
chose to simply use an o
for consistency. The
director will blend the
oh and aw in the
rehearsals to his/her own
preference. Lastly,
tarantula is pronounced
tah-rah-n-too-lah (avoid
teh-ran-choo-luh) within
the confines of this
text. Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little spider”),
Italy. During harvest,
workers in the field were
sometimes bitten by the
tarantula spider. To
combat the “poison,”
the afflicted workers
went into a frenetic,
almost musical exorcism
to sweat the venom out of
their pores. In the
millennium since, the
very energetic nature of
the dance has remained,
although the curative
focus of the dance has
given way to more
enjoyable endeavors, even
stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit Smart”
or “Jack Smart,” was
born in Kent, England and
suffered from what is now
believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor’s prison, was
common during this period
if one’s debts could
not be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [“Rejoice
in the Lamb”] was set
to music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate Agno
were used in mm. 24-31,
103-110 and 149-156. The
remaining text was
gathered by the composer,
including the rapid,
almost patter-like,
delivery of words from
A-Z in the alphabet.
(Christopher Smart had a
preoccupation with the
alphabet.) These words
both rhyme and accentuate
the frenetic nature of
the spider dance:The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work.Z. Randall Stroope
is an American composer
and conductor. He has
served as Professor of
Music at three
universities (an Endowed
Professor at two),
conducted 47 all-state
choirs, and directed
over 40 times at Carnegie
Hall, among other
American venues. Randall
guest conducts full-time,
and composes from his
home studios on Merritt
Island, Florida and in
Sandia Park, New Mexico.
In Latin, the “r” is
flipped; use “s”
instead of “z” on
endings such as
“phosa,” “cosa,”
and so on; the Latin
“o” is a cross
between “oh” and
“aw”; in the
transliteration above, I
chose to simply use an
“o” for consistency.
The director will blend
the “oh” and “aw”
in the rehearsals to
his/her own preference.
Lastly, “tarantula”
is pronounced
“tah-rah-n-too-lah”
(avoid
“teh-ran-choo-luh”)
within the confines of
this text.Stomp: This can
be done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little spider”),
Italy. During harvest,
workers in the field were
sometimes bitten by the
tarantula spider. To
combat the “poison,”
the afflicted workers
went into a frenetic,
almost musical exorcism
to sweat the venom out of
their pores. In the
millennium since, the
very energetic nature of
the dance has remained,
although the curative
focus of the dance has
given way to more
enjoyable endeavors, even
stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit Smart”
or “Jack Smart,” was
born in Kent, England and
suffered from what is now
believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor’s prison, was
common during this period
if one’s debts could
not be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [“Rejoice
in the Lamb”] was set
to music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate Agno
were used in mm. 24-31,
103-110 and 149-156. The
remaining text was
gathered by the composer,
including the rapid,
almost patter-like,
delivery of words from
A-Z in the alphabet.
(Christopher Smart had a
preoccupation with the
alphabet.) These words
both rhyme and accentuate
the frenetic nature of
the spider dance:The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work.Z. Randall Stroope
is an American composer
and conductor. He has
served as Professor of
Music at three
universities (an Endowed
Professor at two),
conducted 47 all-state
choirs, and directed
over 40 times at Carnegie
Hall, among other
American venues. Randall
guest conducts full-time,
and composes from his
home studios on Merritt
Island, Florida and in
Sandia Park, New
Mexico.In Latin, the
“r” is flipped; use
“s” instead of
“z” on endings such
as “phosa,”
“cosa,” and so on;
the Latin “o” is a
cross between “oh”
and “aw”; in the
transliteration above, I
chose to simply use an
“o” for consistency.
The director will blend
the “oh” and “aw”
in the rehearsals to
his/her own preference.
Lastly, “tarantula”
is pronounced
“tah-rah-n-too-lah”
(avoid
“teh-ran-choo-luh”)
within the confines of
this text.Stomp: This can
be done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pedalboard Buffer Interface Vertex Effects
SKU: HL.1158247 Vertex Effects. Guitar Pedal. Duration 162 seconds. Verte...(+)
SKU: HL.1158247
Vertex Effects. Guitar
Pedal. Duration 162
seconds. Vertex Effects
#BI. Published by Vertex
Effects (HL.1158247).
UPC: 749350578400.
6.25x4.0x3.0
inches. VERTEX
BUFFERS NOW AVAILABLE TO
THE MASSES! For over a
decade, every buffer
that's come out of Vertex
Effects has been custom
made, bespoke, for the
pedalboard it was
designed for or the
customer that ordered it.
Needless to say, our
buffers were very
limited, with only a few
hundred made over the
last ten years. Over that
time, and through
hundreds of custom buffer
interfaces being made,
several common
applications for buffer
combinations and routing
emerged as the most
common uses as it comes
to placing buffers on a
pedalboard for the most
optimal results. Routing
schemes such as mono,
stereo, audition loops
(inserts), four-cable
method, five-cable
method, and wet/dry/wet
were all common requests
from our customers, but
there was never an
all-in-one solution that
provided all of these
options for buffering and
routing your pedalboard
in a pedalboard-friendly
enclosure – until now.
Introducing the Vertex
Buffer Interfaces and
Buffer Modules. The first
all-in-one solution that
covers 99% of all
pedalboard routing
options, whether you have
multiple amps, amps with
effects loop, a
wet/dry/wet rig, an
impedence sensitive fuzz,
or want to side-chain
pedals off the board in
the middle of your signal
path with an insert loop,
these boxes have a
solution for you that
won't compromise on tone.
WHY ARE OUR BUFFERS
BETTER? Firstly, our
buffers are designed to
have no sound of their
own – totally
transparent, no color, no
EQ, no distortion –
just your tone as though
you plugged your guitar
directly into your amp
with a 10ft cable (even
if you're running a dozen
or more pedals between
the guitar and amp with
over 100 ft. of cable).
So often buffers in our
industry will be
described by the
manufacturers with words
like “warm” or
“fat” when really the
buffer should NOT be
imparting anything to the
sound other than 1)
loading the guitar
pickups properly with the
same loading as your
guitar would see if
plugged into a tube amp
and 2) converting the
signle to low impedence,
driving the line so it is
the least susceptible to
environmental factors
that might alter the
tone. Unfortunately, 99%
of the buffers available
on the market don't do
this – they add a color
to the signal and lack
the proper specifications
to dive even 20 feet of
cable without introducing
artifacts into the
sound. $249.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Dutch Harp Music Harpe Ut Orpheus
Books and Journals; Harp SKU: UT.LB-4 Composed by Mirella Vita. Paperback...(+)
Books and Journals; Harp
SKU: UT.LB-4
Composed by Mirella Vita.
Paperback (Soft Cover).
Classical. Books and
Journals. Ut Orpheus #LB
4. Published by Ut
Orpheus (UT.LB-4).
ISBN 9788881094479.
6.5 x 9.5
inches. ??During
my career spanning half a
century, like all my
fellow harpists I
constantly had to grapple
with the commonly held
view that the harp has
neither music nor history
of its
own. Fortunately, over
the years I have been
able to give the lie to
this myth and have tried
to bring to light some of
the vast repertoire, both
early and modern,
expressly composed for
this instrument which has
been treated somewhat as
an outsider in the
musical world. The
research work for my
books on Italian and
Swiss harp music was
plain sailing because
source materials were
specific titles and title
pages. Were I to write
books on French, German,
Austrian, British,
Bohemian, Spanish,
Portuguese or
Scandinavian harp music,
the work involved would
be equally smooth and
straightforward. Howev
er, where Dutch music is
concerned, the approach
is rather different,
because here it is the
painters,
treatise-writers and
historians who provide
the evidence and guidance
necessary to discover the
musical customs and
traditions where the harp
played a significant
part. Performers
looking for pieces of
music may use this book
as follows: chapter II
deals with treatises,
chapter III with
paintings, chapter IV
with history and research
accounts. Chapters V and
VI are concerned with
confusions in
terminology. Chapter VII
describes recent
developments and chapters
VIII and IX cover
composers and pieces of
music. Libraries and
publishers are listed
with their addresses in
chapters X and XI, and
finally chapter XII
consists of the index
based on the various
groups of
performers. In this
last chapter harpists
will find the composers
most suited to their
programme, and can then
turn to chapters VIII and
IX for details. The
actual pieces can be
obtained by consulting
chapters X and XI. I wish
you every success in your
search, in your
rehearsals and in your
concerts ! In order to
define what is Dutch or
non-Dutch in early music,
I have followed the
current approach, i.e.
all art and history prior
to the separation of the
??Seven Provinces in
the 16th century is the
common heritage of the
Low Countries, whereas
everything pertaining to
those courageous lands
from then onwards is
specifically Dutch.. $27.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Bass Guitar Chords
Basse electrique [Diagrammes] Centerstream
Written by Ron Middlebrook. For bass guitar. Format: bass guitar chord chart. Wi...(+)
Written by Ron
Middlebrook. For bass
guitar. Format: bass
guitar chord chart. With
bass guitar chord
diagrams and
instructional text. Chord
chart. 3 pages. 9x12
inches.
(7)$2.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Old-Time Fiddle Style Violon [Partition + Accès audio] Mel Bay
(A Collection of 35 Traditional Appalachian Tunes). Composed by Ken Kolodner....(+)
(A Collection of 35
Traditional Appalachian
Tunes). Composed by Ken
Kolodner. For fiddle.
Perfect binding. Book and
Online Audio. 60 pages.
Published by Mel Bay
Publications, Inc
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Meditation on 'Kyrie de Angelis' CanticaNOVA Publications
Composed by Glenn Caluda. For organ and flute (or violin). Instrumental chant me...(+)
Composed by Glenn Caluda.
For organ and flute (or
violin). Instrumental
chant meditation.
General. Published by
CanticaNOVA Publications
$3.25 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 15 Solos for Harp Volume 2 Harpe - Intermédiaire/avancé Mel Bay
Composed by Monika Mandelartz. For Folk Harp and Pedal Harp. Saddle-stitched. ...(+)
Composed by Monika
Mandelartz. For Folk Harp
and
Pedal Harp.
Saddle-stitched.
Intermediate-Advanced.
Book.
28 pages. Published by
Mel
Bay Publications, Inc
$9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bluegrass on Hammered Dulcimer Dulcimer [Partition] - Intermédiaire Mel Bay
By Jeanne Page. For Dulcimer (Hammered). Solos. Bluegrass. Intermediate. Book. 5...(+)
By Jeanne Page. For
Dulcimer (Hammered).
Solos. Bluegrass.
Intermediate. Book. 56
pages. Published by Mel
Bay Publications, Inc
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jazz Session Trainer Formation musicale - Solfège [Partition + Accès audio] Hal Leonard
(The Woodshedder's Practice Kit - E-Flat Edition). For All Instruments, E-Flat I...(+)
(The Woodshedder's
Practice Kit - E-Flat
Edition). For All
Instruments, E-Flat
Instruments. Jazz
Instruction. Softcover
Audio Online. 128 pages.
Published by Hal Leonard
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Jazz Mandolin Appetizers Mandoline [Partition + Accès audio] - Intermédiaire/avancé Mel Bay
Composed by Don Stiernberg. For mandolin. Saddle-stitched, Technique. Intermedia...(+)
Composed by Don
Stiernberg. For mandolin.
Saddle-stitched,
Technique.
Intermediate-Advanced.
Book and online audio.
Published by Mel Bay
Publications, Inc
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Exploring 3rd Position, Level 2 Harmonica [Partition + Accès audio] - Intermédiaire/avancé Mel Bay
(Complete Blues Harmonica Lesson Series). Composed by David Barrett. For harmoni...(+)
(Complete Blues Harmonica
Lesson Series). Composed
by David Barrett. For
harmonica.
Saddle-stitched.
Harmonica Masterclass
Lesson.
Intermediate-Advanced.
Book and online audio.
Published by Mel Bay
Publications, Inc
$17.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Berklee Contemporary Music Notation Formation musicale - Solfège Berklee
| | |
| Exploring 3rd Position Harmonica [Partition + CD] - Intermédiaire/avancé Mel Bay
Level 2, Complete Blues Harmonica Lesson Series. By David Barrett. For Harmonica...(+)
Level 2, Complete Blues
Harmonica Lesson Series.
By David Barrett. For
Harmonica (Diatonic).
Method. Harmonica
Masterclass Lesson.
Blues. Level:
Intermediate-Advanced.
Book/CD Set. Size 8.5x11.
40 pages. Published by
Mel Bay Publications,
Inc.
(1)$17.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Polythythmic Studies For Snare Drum Caisse Claire [Partition] Alfred Publishing
Performed by Fred Albright. By Fred Albright. Edited by Ray Brych. Percussion. 7...(+)
Performed by Fred
Albright. By Fred
Albright. Edited by Ray
Brych. Percussion. 76
pages. Published by
Alfred Publishing.
$15.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Exercises and Etudes For The Jazz Instrumentalist (Trombone / Bass Clef Instruments)
Trombone Hal Leonard
(Bass Clef Edition) By J.J. Johnson. Instructional book (leadsheet notation) for...(+)
(Bass Clef Edition) By
J.J. Johnson.
Instructional book
(leadsheet notation) for
trombone (and bass clef
instruments). 159 pages.
Published by Hal Leonard.
(4)$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Up Singing
Paroles et Accords [Partition] Hal Leonard
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Pu...(+)
The Group Singing
Songbook. By Various.
Vocal. Size 9.5x12
inches. 281 pages.
Published by Hal Leonard.
(1)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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