SKU: HL.49007596

SKU: BO.B.3542

Staeliana was commissioned by the Fundacio Caixa de Catalunya in 2007 for the inauguration of an exposition of the work of Nicolas Staël at La Pedrera, Barcelona. In this work I wanted to compose homage to a painter who knew how to join together in his unique works both the traditions of the past along with the vanguard of his time. Beginning with figurative works which lead toward abstraction, his body of work can be defined as a contrast between these two concepts which, with extreme simplicity, define his entire artistic conception. Staeliana, an expressive chorale, at times both luminous and dramatic, dissolves into the most minimal expression. From the first joining together of the voices it concludes with utter simplicity of expression. The suicide of the artist in 1955 is representative of the dissolution of his existence as well as of his artistic works. This contrast between figurative and abstraction is reflected in the music by the contrast between stability and tension. I believe that this duality may be found both in his work and in his life, always oscillating between living a creative life or opting for death, which may be seen as a fusion in nothingness with the plenitude of purest simplicity.

SKU: CF.CPS242F

ISBN 9781491157947. UPC: 680160916542. 9 x 12 inches.

All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me amany moonsa ago.
All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me many moons ago.
All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility.The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible.I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me “many moons” ago.

SKU: CF.CPS242

ISBN 9781491157930. UPC: 680160916535. 9 x 12 inches.

All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me amany moonsa ago.
All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me many moons ago.
All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility.The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible.I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me “many moons” ago.

SKU: BO.B.3292

English comments:
This is the definitive version of Biogenesis, a piece that Cervello had written in 1976, together with his friend Jorge Wagensberg, and which was awarded the First Prize at the Spanish Ministry for Education and Science's Permanent Composition and Musical Research Competition. The new version was made at 1984-85 Lux et umbra is written for a string group consisting of four first and four second violins, three violas, three cellos and a double bass. The conceptual battle between darkness and light is represented by the instability between the notes B and C, and by the compartmentation of the group of fifteen strings into divisi that provide an independent arrangement for each instrument, thus bestowing great substance upon the texture of the music. A cello cadence emerges from a slow and straightforward beginning. A process of contrasts then begins, culminating in a molto vivace passage of a scherzando nature, which alludes to the Baroque concerti grossi. The music once again plays with chiaroscuro until reaching its climax, from which point the conclusion slowly begins, establishing itself in the high register until fading away. The work was first performed at Barcelona's Palau de la Musica by the English Chamber Orchestra, directed by Enrique Garcia Asensio, in 1987. That same year, in the newspaper El Pais, the observations of the composer and critic Francesc Taverna-Bech paid tribute to the work's intelligence as regards the use of and search for instrumental resources (in this case, string instruments, about which Cervello knows a great deal), the skill involved in endowing the lyrical line with tension, and a singular touch that confers formal essence upon the musical discourse. In La Vanguardia, Jordi Llovet wrote that this is a work in which, as is the case with most of Cervello's compositions, the listener finds something covertly religious, a mysterious secret, a transcendence linked to the origins of communication requiring more than a single being, which provides excitement. In 1990, when the Orquesta de Granada (Orchestra of Granada) performed the work at Barcelona's Grec festival, the critic Cesar Calmell opined, in the same newspaper, that inch by inch, surely and imperturbably, Cervello built up a perfect world that reflects the image of the craftsman who, so astonished at the delights of his trade, is unable to do anything but turn the very backdrop of tragedy into something pleasant. Lux et umbra was recorded by the Orchestra Estatal of the Hermitage, conducted by Alexis Soriano (CD SA01210 Fundacion Autor). --Xavier Casanoves Danes Music critic

Comentari os del Espanol:
Se trata de la version definitiva de Biogenesis, obra que habia escrito en 1976 en colaboracion con su amigo Jorge Wagensberg y que obtuvo el Primer Premio, en el ano de su creacion, en el Concurso Permanente de Composicion e Investigacion Musical del Ministerio de Educacion y Ciencia. La nueva version fue realizada en 1984-85. Lux et umbra esta escrita para un grupo de cuerda integrado por cuatro primeros violines, cuatro segundos, tres violas, tres violoncelos y un contrabajo. El combate filosofico entre la oscuridad y la luz lo lleva a cabo la inestabilidad entre las notas si y do y la compartimentacion del grupo de quince cuerdas en unos divisi que llegan a una escritura independiente para cada instrumento, otorgando una gran importancia a la textura sonora. De un principio lento y descarnado emerge una cadencia del violonchelo. A continuacion da comienzo un proceso de contrastes que culmina en un pasaje molto vivace de caracter scherzando que alude a los concerti grossi del barroco. La musica juega de nuevo con el claroscuro hasta llegar a la cumbre sonora iniciando el final lentamente que se instala en el registro agudo hasta desvanecerse. La estreno en el Palau de la Musica de Barcelona la English Chamber Orchestra en el ano 1987 bajo la direccion de Enrique Garcia Asensio. Ese mismo ano, en el periodico El Pais, el compositor y critico Francesc Taverna-Bech reconocia en sus comentarios la inteligencia en el uso y la busqueda de los recursos instrumentales -en este caso la cuerda, de la que Cervello es profundo conocedor-, la destreza para revestir de tension la linea lirica y un tacto particular para conferir entidad formal al discurso sonoro. Jordi Llovet, en La Vanguardia, escribia que en esta obra, se encuentra, como en la mayor parte de la produccion de Cervello, algo secretamente religioso, un arcano misterioso, una trascendencia vinculada a los origenes de la comunicacion impracticable con el ser unico que resulta apasionante. En el ano 1990, cuando la Orquesta de Granada la toco en el Grec de Barcelona, era el critico Cesar Calmell quien, en el mismo periodico consideraba que Cervello construyo palmo a palmo, segura e imperturbablemente, un mundo perfecto que refleja la imagen del artesano que, de tan admirado con las delicias de su oficio, no puede hacer otra cosa que convertir en agradable el fondo mismo de la tragedia. Lux et umbra esta grabada por la Orquesta Estatal del Hermitage, dirigida por Alexis Soriano (CD SA01210 Fundacion Autor). --Xavier Casanoves Danes Critico musical.

SKU: HL.456810

UPC: 809164026921. 17.5x41.5x3.5 inches.

1962 Flame Whether you're playing chugging rhythms or blistering leads, the 1962 Flame does it all. A pair of Rockfield PAF humbuckers produce an aggressive punch, while the iconic double- cutaway silhouette allows for easy access to the upper frets. A two-point floating tremolo provides tuning stability while still allowing for dramatic dives. A single coil-split gets you from vintage glassy tones to a raucous beast at the flip of a switch. Complete with a contoured basswood body, 22 medium jumbo frets, and matching headstock, the 1962 Flame stands out from the crowd.

SKU: HL.456811

UPC: 809164026938. 17.5x41.5x3.5 inches.

1962 Flame Whether you're playing chugging rhythms or blistering leads, the 1962 Flame does it all. A pair of Rockfield PAF humbuckers produce an aggressive punch, while the iconic double- cutaway silhouette allows for easy access to the upper frets. A two-point floating tremolo provides tuning stability while still allowing for dramatic dives. A single coil-split gets you from vintage glassy tones to a raucous beast at the flip of a switch. Complete with a contoured basswood body, 22 medium jumbo frets, and matching headstock, the 1962 Flame stands out from the crowd.

SKU: LM.C05939

ISBN 9790230359399.

SCHU LZ J.A. Peter : En marchant - PASTERWITZ G. von : Petit theme varie - ANONYME : ll est parti mon drole (Chant populaire du Poitou) - PURCELL H. : Rigaudon - CORRETTE M. : Prends ma Philis - RAMEAU J.-P. : Rigaudon - CZERNY C. : Melodie - CORRETTE M. : La marche du Roy de Prusse - HAENDEL G.F. : Menuet en La min. - CORRETTE M. : Air anglais - STEIBELT D. : Adagio - MULLER A.E. : Gai et triste - CORRETTE M. : Bal - HAYDN J. : 2 petites danses - CIMAROSA D. : Petite piece - DUSSEK F. : Andante et allegro - HAENDEL G.F. : Fuguette - CORRETTE M. : Rondeau - HAENDEL G.F. : Sonatine - MOUSSORGSKI M. : Sanglot - MOZART W.A. : 2 danses - TCHAIKOVSKY P.I. : Danse russe Op.39 No. 13 - BENDA G. : Toccata - BACH C.P.E. : Petite fantaisie - GOTTSCHALK L.M. : Souvenir de bal - SCARLATTI D. : Pastorale - CHOPIN F. : Mazurka Op.67 No. 2.

SKU: LM.25498D

ISBN 9790231702422.

BABE LL : Rigaudon - BACH J.C. : Menuet - BACH : Menuet en Re mineur - Musette - Menuet en Sol Majeur - Menuet en Sol mineur - Marche - BEETHOVEN : Contredanse - Danse allemande - CLEMENTI : Adagio - COUPERIN : Le Petit rien - DUNCOMBE : Fanfare - FRANCK : Les Plaintes d'une poupee - GRAUPNER : Bourree - GURLITT : Novelette - HAENDEL : Bourree - Menuet - HASSLER : Menuet - Ecossaise - HAYDN : De Bonne humeur - Final - LATOUR : Allegro - Sonatine - MOZART L. : Burlesque - Menuet - MOZART : Menuet en Do Majeur - Menuet en Fa Majeur - Menuet en Re Majeur - Allegro - NEEFE : Romance - PURCELL : Air - RAMEAU : Menuet en Do Majeur - Menuet en La mineur - SCHUMANN : Melodie - En fredonnant - Premier chagrin - STEIBELT : Tendre souvenir - TCHAIKOVSKI : La Poupee malade - Vieille chanson francaise - TELEMANN : Gavotte - Rigaudon - Menuet - TURK : Air - Badinerie - Danse joyeuse - Petite marche - WITTHAUER : Allegretto - Gigue.

SKU: PE.EP14740

ISBN 9790577024097. German.

Vier Stücke für Klavier by Mark Andre is a six-minute work for solo piano comprising four concise and intricate movements. Informed by the philosophy of Edmund Husserl and Martin Heidegger, and referencing the Gospel of Matthew, Vier Stücke für Klavier is focused on compositional instability, on the unfolding and ‘deterritorialisation� � of perceptual phenomena, which open fissures in the musical structure.

Vier Stücke für Klavier was commissioned by the Embassy of the Federal Republic of Germany in Seoul for “140 Years of German-Korean Relations” at the Seoul Arts Centre (SAC), as well as the Performing Arts Management Association of Korea and Asiana Airlines. The world premiere took place at Seoul Art Center on 23rd August 2023 with pianist Jong Hwa Park.

SKU: HL.393906

UPC: 716408543307. 16.5x42.0x5.0 inches.

Transit series gig bag designed to fit electric guitars. Features: • Weather-resistant blended fabric exterior in charcoal black • Thick rubber tread on bottom of the bag prevents wear and protects from small puddles to spilled drinks • 20mm thick foam padding covered with plush micro-fleece lining • Rigid interior construction within the fram of the bage for case-like protection • Adjustable, removable three-point interior padding system protects the headstock, neck and bottom/endpin • Large front zippered pocket with flap • Features g-hook buckle and seatbelt loops for multiple connection points allowing you to fill the pocket to capacity and still secure it • Small pocket on front flap with soft lining for electronics • Molded, padded, contoured handle for a secure yet comfortable grip • Padded hideaway straps • Several d-rings for clipping accessories.

SKU: BT.DHP-1012559-130

Albion ist neben Excalibur und Stonehenge das dritte große Werk für Brass Band, bei dem sich Jan van der Roost durch das englische Mittelalter inspirieren ließ. Obgleich sie nicht auf einer konkreten Geschichte beruht sind die erzählerischen Momente in dieser Sinfonischen Dichtung nicht zu übersehen. Der Anfang gibt einen Einduck von der Eroberung Albions (Albion ist der erste überlieferte Name der britischen Insel); der Zuhörer taucht dabei in die Zeit von König Artus und seinen legendären Rittern der Tafelrunde ein.

Après Excalibur et Stonehenge, Albion est la troisième œuvre majeure pour Brass Band de Jan Van der Roost inspirée par l’Angleterre du Moyen ge. Bien que l’œuvre ne soit pas construite autour d’une histoire précise, ce poème symphonique a toute l’ampleur d’une épopée. L’ouverture de l’œuvre semble dépeindre la conquête d’Albion (premier nom connu de l’Angleterre), transportant l’auditeur l’époque du roi Arthur et de ses légendaires chevaliers de la Table Ronde. Trois groupes de cornets dispersés au sein de la formation et trois tambours différents reflètent, en autant de tonalités et de tempos, les périodes de guerre qui plongent l’Angleterredu début du Moyen ge dans la tourmente. Des accords sombres et majestueux, exposés dans le registre grave, créent un contraste et donnent au son d’ensemble un caractère trouble et confus. Lorsque les tambours se retrouvent dans un même rythme, l’ensemble de la formation interprète pour la première fois l’unisson le Thème d’Albion.Un allegro energico plein d’agitation apporte soudainement plus d’élan et de dynamisme. Des thèmes virtuoses et guerriers se succèdent, donnant au passage un caractère tumultueux. Cette suite de thèmes se conclut également avec le Thème d’Albion, soutenu cette fois-ci par une structure harmonique plus complexe. S’ensuit un passage intermédiaire calme et serein, permettant plusieurs solistes d’exploiter et de révéler leurs qualités musicales. Après tout, Albion n’a pas connu que des périodes de troubles et de misère. Et le roi Arthur n’est-il pas considéré comme celui qui a apporté paix et stabilité au pays ? Cette lente succession de fragments en solo progresse avec une fluidité presque évidente vers un passage où l’orchestre interprète en chœur les accords majestueux des mesures d’ouverture de l’œuvre. Le Brass Band sonne comme un orgue et le Thème d’Albion vient tout naturellement conclure cette oasis de paix retrouvée. Dans le finale impressionnant, plusieurs éléments thématiques.

SKU: ET.TU197

ISBN 9790207021335.

Fast en Your Seatbelt is a septet in two movements for solo euphonium (with alternative parts for solo trombone or solo tenor saxophone), alto saxophone, trumpet, bass guitar, electric piano, drum set and marimba/congas.
It is a typical example of the versatile composing talent of Roland Szentpali. His approach to jazz is well structured, with virtuoso written sequences over a dynamic rhythm section sustaining the three melodic wind instruments (with optional improvisation spaces for them).
I. Hunting Instinct is a 7/4 speedy groove music running over long basso continuo ostinati of the rhythm section including collectiv virtuoso intrusions of the wind instruments and improvised sequences.
II. Transfer Passenger is pushing another kind of speedy groove, here on a more traditional 4/4, inspired by the human traffic jam in crowded international airports...
Indeed, fasten your seatbelt...

World premiere: 30th of June 2017, Theater 'de Schalm' in Veldhoven, the Netherlands with the Jazz Combo of “The Band of the Royal Netherlands Army Mounted Regiment and soloist Rodin Rosendahl on the euphonium.

SKU: PO.ME11

ISBN 9780958206518.

Walk er drew inspiration for this short, slow movement from I Thirst being the the fifth of Christ's last seven words from the cross - cries of dereliction and comfort that are meditated upon annually at Passiontide. I Thirst is a ritual of solo melody, homophony and biting figuration whose dessication is, in due course, quenched by waves of string harmonics. The work's pervading instability is resolved with the subduing power of melody finally bringing balance.

SKU: AP.47368

ISBN 9781470641177. UPC: 038081545233. English.

The hands never play together in this playful solo. Written in middle C position, the solo includes an optional duet accompaniment that provides harmonic interest and fosters rhythmic stability for students. It is also an excellent study of articulation, as many phrases contain both legato and staccato notes.

SKU: CN.R10004

A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.

Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.

SKU: HL.291057

UPC: 840135400524. 4.25x21.25x4.41 inches.

The 8710SC Flat Base Suspension Cymbal Stand is perfect for concert band, pep band, and pit percussion applications. Position your cymbal comfortably for swelling and crashing. Equipped with a secondary cymbal post, add another cymbal to the stand for more color and texture in your music without having to add another cymbal stand. Featuring a lightweight, low mass structural design, the flat base legs offer abundant stability, as well as a traditional appearance for today's players.

SKU: HL.393911

UPC: 716408549088. 17.0x44.0x7.0 inches.

Transit series gig bagdesignd to fit Resonator, 00 & classical acoustic guitars. Features: Weather-resistant blended fabric exterior in charcoal • 20mm-thick foam padding throughout interior frame of bag provides case-like protection • Stowaway backpack straps with concealable zipper pocket • Removable three-point interior foam block padding system cradles headstock, neck and base/strap pin for case-like protection • Large exterior accessory pocket with g-hook buckle and seatbelt loop for storing cables and accessories • Reinforced carry handle for both secure and comfortable grip • Thick rubber tread on bottom of the bag prevents wear and protects from small puddles to spilled drinks • Multiple d-rings for clipping accessories to bag.