The Austrian composer Franz Schubert wrote his famous song The Trout (D550) in 1817. This song reappeared as the basis of a set of variations for the fourth movement of the renowned Trout Quintet, so-named as a reference to the title of the song. Robert van Beringen used the lively theme for The Trout Fantasy, which he has written for five-part saxophone ensemble.

In 1817 schreef de Oostenrijkse componist Franz Schubert het bekende lied Die Forelle (opus 32). Hij hergebruikte het in 1819 voor het vierde deel van zijn beroemde Forellenkwintet, waarvan de titel op het lied is gebaseerd. Robert van Beringen gebruikte het levendige thema voor The Trout Fantasy, , een stuk voor vijfstemmig saxofoonensemble.

Im Jahre 1817 schrieb der österreichische Komponist Franz Schubert das bekannte Lied Die Forelle (opus 332). 1819 verwendete er dieses Lied erneut im vierten Satz seines berühmten Forellenquintetts, dessen Name auf den Titel des Liedes zurückgeht. Robert van Beringen verwendete das lebhafte Thema für The Trout Fantasy (Forellen-Fantasie), die er für ein fünfstimmiges Saxophonensemble schrieb.

Le compositeur autrichien Franz Schubert a écrit sa célèbre mélodie Die Forelle D 550 (La Truite) en 1817. Ce lied est cependant pleinement mis en évidence dans les variations du quatrième mouvement extrait du Quintette de la Truite, ainsi nommé en référence au titre initial. Robert van Beringen a repris ce thème pétillant dans un arrangement, The Trout Fantasy , écrit pour quintette de saxophones.

SKU: BT.DHP-1125348-070

9x12 inches.

The Austrian composer Franz Schubert wrote his famous song The Trout (D550) in 1817. This song reappeared as the basis of a set of variations for the fourth movement of the renowned Trout Quintet, so-named as a reference to the title of the song. Robert van Beringen used the lively theme for The Trout Fantasy, which he has written for a variable wind ensemble.The five-part arrangement has optional percussion parts added. The set contains C, B flat and E flat parts, allowing for many different instrumentations.

In 1817 schreef de Oostenrijkse componist Franz Schubert het bekende lied Die Forelle (opus 32). Hij hergebruikte het in 1819 voor het vierde deel van zijn beroemde Forellenkwintet, waarvan de titel op het lied is gebaseerd. Robert van Beringen gebruikte het levendige thema voor The Trout Fantasy, een stuk voor variabel blazersensemble.Naast de vijfstemmige instrumentatie zijn ook optionele slagwerkstemmen toegevoegd. De set wordt geleverd met C-, Bb- en Eb-stemmen, zodat het werk in allerlei samenstellingen kan worden gespeeld.Part 1 fluit hobo kl Bb kl Eb s-sax trp Part 2 fluit althobo kl Bb alt-kl a-sax trp hrn Part 3 alt-kl althobo t-sax fagothrn tromb euph Part 4 tromb euph Part 5 bas-kl b-sax fagot tromb euph tuba Opt. kl. sp. pauk perc 1 perc 2

Im Jahre 1817 schrieb der österreichische Komponist Franz Schubert das bekannte Lied Die Forelle (opus 332). 1819 verwendete er dieses Lied erneut im vierten Satz seines berühmten Forellenquintetts, dessen Name auf den Titel des Liedes zurückgeht. Robert van Beringen verwendete das lebhafte Thema für The Trout Fantasy (Forellen-Fantasie), die er für ein variables Bläserensemble mit Schlagzeug schrieb.Der fünfstimmigen Instrumentierung wurden optionale Schlagzeugstimmen hinzugefügt. Das Set enthält C-, B- und Es-Stimmen, sodass dieses Stück in vielerlei Besetzungen gespielt werden kann.Part 1 Fl Ob Kl B/Es S-Sax Trp Part 2 Fl Cor Ang Kl B A-Kl A-Sax TrpHrn Part 3 A-Kl Cor Ang T-Sax Fg Hn Pos Euph Part 4 Pos Euph Part 5 B-Kl B-Sax Fg Pos Euph Tuba Opt. Gl.sp. Timp Perc 1 Perc 2

Quintette vent instrumentation variable (avec percussion)Le compositeur autrichien Franz Schubert a écrit sa célèbre mélodie Die Forelle D 550 (La Truite) en 1817. Ce lied est cependant pleinement mis en évidence dans les variations du quatrième mouvement extrait du Quintette de la Truite, ainsi nommé en référence au titre initial. Robert van Beringen a repris ce thème pétillant dans un arrangement, The Trout Fantasy , écrit pour quintette vent instrumentation variable.Cette version contient les parties pour instruments en Ut, Si bémol, Fa et Mi bémol, ce qui rend cet arrangement accessible de nombreuses instrumentations. De plus, elle contient unepartie optionnelle de percussion.Voix 1 Fl Htb Cl. Si b Sax. S. TrpVoix 2 Fl Cl. Si b Cl. Alto Sax. A. Trp CorVoix 3 Cl. Alto Sax. T. Basson Cor Trb Euph.Voix 4 Sax. T. Basson Trb Euph.Voix 5 Cl. Basson Sax. B. Basson Trb Euph. Tuba C. Cordes Opt. GlockenspielTimb. Perc. 1 Perc. 2

Nel 1817, il compositore austriaco Franz Schubert compose il noto lied La Trota (opus 32). Schubert lo utilizzò nuovamente nel 1819 nel quarto movimento del suo famoso Quintetto della trota. Robert van Beringen ha utiizzato questo vivace tema per la sua fantasia.Voce 1 Flauto Oboe Cl. Sib/Mib Sax S. Tromba Voce 2 Flauto Cor. Ing Cl. Sib Cl. Alto Sax A. Tromba Corno Voce 3 Cl. Alto Cor. Ing Sax T. Fg Corno Tbn Euf. Voce 4 Tbn Euf. Voce 5 Cl. Bas Sax B. Fg Tbn Euf. Tuba Opt. Mallets Timp Perc 1 Perc 2 The five-part arrangement has optional percussion parts added. The set contains C, B flat and E flat parts, allowing for many differentinstrumentations .

The Austrian composer Franz Schubert wrote his famous song The Trout (D550) in 1817. This song reappeared as the basis of a set of variations for the fourth movement of the renowned Trout Quintet, so-named as a reference to the title of the song. Robert van Beringen used the lively theme for The Trout Fantasy, which he has written for a five-part flute ensemble.

In 1817 schreef de Oostenrijkse componist Franz Schubert het bekende lied Die Forelle (opus 32). Hij hergebruikte het in 1819 voor het vierde deel van zijn beroemde Forellenkwintet, waarvan de titel op het lied is gebaseerd. Robert van Beringen gebruikte het levendige thema voor The Trout Fantasy, een stuk voor vijfstemmig fluitensemble.

Im Jahre 1817 schrieb der österreichische Komponist Franz Schubert das bekannte Lied Die Forelle (opus 332). 1819 verwendete er dieses Lied erneut im vierten Satz seines berühmten Forellenquintetts, dessen Name auf den Titel des Liedes zurückgeht. Robert van Beringen verwendete das lebhafte Thema für The Trout Fantasy (Forellen-Fantasie), die er für ein fünfstimmiges Flötenensemble schrieb.

Le compositeur autrichien Franz Schubert a écrit sa célèbre mélodie Die Forelle D 550 (La Truite) en 1817. Ce lied est cependant pleinement mis en évidence dans les variations du quatrième mouvement extrait du Quintette de la Truite, ainsi nommé en référence au titre initial. Robert van Beringen a repris ce thème pétillant dans un arrangement, The Trout Fantasy , écrit pour quintette de fl tes traversières.

The Austrian composer Franz Schubert wrote his famous song The Trout (D550) in 1817. This song reappeared as the basis of a set of variations for the fourth movement of the renowned Trout Quintet, so-named as a reference to the title of the song. Robert van Beringen used the lively theme for The Trout Fantasy, which he has written for a five-part recorder ensemble.

In 1817 schreef de Oostenrijkse componist Franz Schubert het bekende lied Die Forelle (opus 32). Hij hergebruikte het in 1819 voor het vierde deel van zijn beroemde Forellenkwintet, waarvan de titel op het lied is gebaseerd. Robert van Beringen gebruikte het levendige thema voor The Trout Fantasy, een stuk voor vijfstemmig blokfluitensemble.

Im Jahre 1817 schrieb der österreichische Komponist Franz Schubert das bekannte Lied Die Forelle (opus 332). 1819 verwendete er dieses Lied erneut im vierten Satz seines berühmten Forellenquintetts, dessen Name auf den Titel des Liedes zurückgeht. Robert van Beringen verwendete das lebhafte Thema für The Trout Fantasy (Forellen-Fantasie), die er für ein fünfstimmiges Blockflötenensemble schrieb.

Le compositeur autrichien Franz Schubert a écrit sa célèbre mélodie Die Forelle D 550 (La Truite) en 1817. Ce lied est cependant pleinement mis en évidence dans les variations du quatrième mouvement extrait du Quintette de la Truite, ainsi nommé en référence au titre initial. Robert van Beringen a repris ce thème pétillant dans un arrangement, The Trout Fantasy, écrit pour quintette de fl tes bec.

SKU: HL.301272

ISBN 9781540064110. UPC: 888680964368. 9.0x12.0x0.337 inches.

The Strum Together series enables players of five different instruments – or any combination of them – to “strum together” on great songs. This easy-to-use format features melody, lyrics, and chord diagrams for five popular folk instruments: standard ukulele, baritone ukulele, guitar, mandolin, and banjo. This collection includes 70 all-time country favorites: Always on My Mind • Boot Scootin' Boogie • Could I Have This Dance • Deep in the Heart of Texas • Friends in Low Places • Green Green Grass of Home • Happy Trails • Hey, Good Lookin' • I Fall to Pieces • Jambalaya (On the Bayou) • King of the Road • On the Road Again • Ring of Fire • Sixteen Tons • Take Me Home, Country Roads • When Will I Be Loved • Your Cheatin' Heart • and more.

SKU: CY.CC2623

Gounod's Three Romances Without Words arranged by Ralph Sauer are taken from a group of five similarly named Romances Without Words originally composed for Piano solo between 1861 and 1866. Four of them were later arranged for Violin and Piano.

The three movements are titled:

1. The Periwinkle (La Pervenche)
2. The Brook (Le Ruisseau)
3. The Evening (Le Soir)

The three movements (all in bass clef) are very lyrical, about 8 minutes in length, and are perfect for intermediate and higher level performers to begin to learn the finer points of phrasing. The highest note is F-flat above the staff.

SKU: CY.CC2591

Gounod's Three Romances Without Words arranged by Ralph Sauer are taken from a group of five similarly named Romances Without Words originally composed for Piano solo between 1861 and 1866. Four of them were later arranged for Violin and Piano.

The three movements are titled:

1. The Periwinkle (La Pervenche)
2. The Brook (Le Ruisseau)
3. The Evening (Le Soir)

The three movements (all in bass clef) are very lyrical, about 8 minutes in length, and are perfect for intermediate and higher level performers to begin to learn the finer points of phrasing. The highest note is G above middle C.

SKU: 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.

SKU: HL.14021531

9.0x12.0x0.154 inches. French.

Les caracteristiques de la guitare sont telles qu'il existe un nombre quasi-illimite de possibilites (positions, doigtes, techniques de liaison) pour jouer une meme phrase melodique. Cet ouvrage a donc pour but de donner quelques exemples de phrases et d'arrangements des Standards du Jazz issus de repertoire Swing et Be-Bop a l'aide d'un CD d'accompagnement. Vous trouverez dans cette methode deux types de themes et d'arrangements: * Les themes Be-Bop: Ils sont arranges pour deux guitares, une basse et une batterie. * Les themes Swing: Ils sont arranges pour guitare, basse et batterie. La guitare joue les accords et la melodie simultanement. The guitar idioms give an endless comnbination of fingerings, neck positions and legato techniques to play one single musical line. The purpose of this book is to provide examples of phrasing and arranging of swing and be-bop standards. You will find two types of tunes * Be-Bop tunes: These tunes are arranged for two guitars, a bass and drums. * Swing tunes: These are arranged for guitar, bass and drums. The theme and chords are played by one guitar only.