| How Sweet the Name of Jesus Sounds Chorale SATB SATB, Piano [Octavo] Sacred Music Press
Composed by Brenda Portman. Sacred Anthem. Octavo. Sacred Music Press #10/4868S....(+)
Composed by Brenda
Portman. Sacred Anthem.
Octavo. Sacred Music
Press #10/4868S.
Published by Sacred Music
Press (LO.10-4868S).
$2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| LCT 840 Hal Leonard
SKU: HL.1117973 Lewitt Audio. Microphone. Hal Leonard #LCT840. Published ...(+)
SKU: HL.1117973
Lewitt Audio. Microphone.
Hal Leonard #LCT840.
Published by Hal Leonard
(HL.1117973). UPC:
847986001085.
7.0x19.5x18.0
inches. Please
note: although we don't
keep stock on hand, this
item will drop ship
direct from the
manufacturer at the time
of your order. Your tube
mic that sounds even
better than it looks. If
you are looking for
larger-than-life tube
sound, look no further.
The LCT 840 stands for
exceptionally warm and
classic tube sound. The
dual triode 12AX7 tube
delivers comforting sound
with smooth high
frequencies, while still
preserving the ability to
cut through the mix. Low
self-noise and high
dynamic range exemplify
how the LCT 840 is
classic design brought
into the present. The
LC10 capsule is precision
taken to a new level. The
externally polarized
dual-diaphragm 1″
capsule captures every
nuance of your
performance thanks to its
3-micron-thin,
gold-layered, low-mass
diaphragms. It handles
everything from vocals to
full orchestras. Dual
triode 12AX7 tube for
warm sound The LCT 840 is
fully devoted to warm
tube sound. We use a dual
triode 12AX7 tube to
create that warm and
comforting sound with
smooth high frequencies
while still preserving
the ability to cut
through the mix. Remote
control and power supply
in one The user interface
on the remote control
with integrated power
supply allows a quick
setup of polar pattern,
pre-attenuation, and
low-cut. It is easy to
check or change the
settings even in complete
darkness due to its
illuminated user
interface. $1199.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ingenting utanför (Nothing beyond) - Intermédiaire/avancé Barenreiter
Female choir (SSMezAA) - Level 4 SKU: BA.BA08522 Composed by Marten Janss...(+)
Female choir (SSMezAA) -
Level 4 SKU:
BA.BA08522 Composed
by Marten Jansson.
Stapled. Choral score. 11
pages. Baerenreiter
Verlag #BA08522_00.
Published by Baerenreiter
Verlag (BA.BA08522).
ISBN 9790006563210. 27
x 19 cm inches. Text
Language: Swedish,
English. Libretto: Einar
Askestad. Text: Einar
Askestad. “In
genting utanför /
Nothing Beyond†is
another collaboration
between MÃ¥rten Jansson
and the Swedish poet
Einar Askestad. This a
cappella choral work
deals with sorrow and
loss. After a forceful,
harmonically ambiguous
section and a clear break
in the music, the piece
ends with a comforting
decrescendo of
reconciliation. It was
commissioned by the
Uppsala female choir
“La Cappellaâ€
and is dedicated to its
choral director Tony
Margeta.
“My
music is my own and I
have never tried to be
original. That has always
been my motto and I have
only tried to use music
to express all the
feelings which life has
to offer. This has led
people to describe my
music as ‘so sad
that it sounds like birds
who have lost their
wings’ but also as
‘the happiest
classical music that we
have ever
heard‘. My
compositions are almost
all sacred. They express
not only my own faith but
also my appreciation and
respect for the timeless
texts that have been used
for centuries and
centuries.“
MÃ¥rten Jansson (b.
1965), elected member of
the Föreningen svenska
tonsättare (the
Society of Swedish
Composers), graduated
from the Royal College of
Music, Stockholm (KHM)
with an MFA degree in
Music Education, Dalcroze
Eurhythmics and Voice.
For more than ten years
he was the music director
and conductor of
“Carmenâ€, one
of the most prominent
womens’ vocal
ensembles in Sweden. He
currently teaches choral
conducting and music
theory as well as giving
vocal tuition at the
Bolandgymnasiet and
Musikskolan in his home
town of
Uppsala.
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gottwald/Wolf: Drei Lieder Carus Verlag
Composed by Hugo Wolf (1860-1903). For 8-part mixed choir. Contemporary choral m...(+)
Composed by Hugo Wolf
(1860-1903). For 8-part
mixed choir. Contemporary
choral music. Collection.
12 pages. Published by
Carus Verlag
$8.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Oboe 1, Oboe 2, Piccolo,
alto Saxophone, soprano
Saxophone, tenor
Saxophone SKU:
PR.165001000 Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Folio. Set of Score and
Parts.
4+24+24+16+8+4+4+24+12+12
+8+4+4+4+4+8+8+8+8+4+4+4+
4+8+8+8+8+8+8+8+8+4+16+4+
8+4+8+8+4+4+4+48 pages.
Duration 10 minutes, 41
seconds. Theodore Presser
Company #165-00100.
Published by Theodore
Presser Company
(PR.165001000). ISBN
9781491129241. UPC:
680160669776. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more. SKU:
PR.16500100F Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F). ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Al Schmitt on Vocal and Instrumental Recording Techniques Hal Leonard
SKU: HL.234017 Metalliance Academy. METAlliance Academy. Computers...(+)
SKU: HL.234017
Metalliance
Academy. METAlliance
Academy. Computers &
Technology,
Recording/Music Business.
Softcover. 118 pages.
Published by Hal Leonard
(HL.234017). ISBN
9781495094514. UPC:
888680684419.
7.5x9.25x0.279 inches. Al
Schmitt Metalliance
Academy
Presents. In Al
Schmitt on Vocal and
Instrumental Recording
Techniques, legendary
producer and engineer Al
Schmitt takes us into the
studio and shares his
process of selecting a
microphone and shows us
how to get the best
sounds. Considerations
such as song style,
instrumentation, and the
recording space itself
are taken into account
when making mic choices
and determining the best
placement for each.
Schmitt demonstrates how
to achieve the best
sounds for a number of
instruments –
including drums, bass,
piano, guitars (both
acoustic and electric),
organs, and horns
– across many
genres of music. Drawing
on decades of experience
in the studio, Schmitt
brings a unique and
invaluable perspective to
not only making mic
choices and their
placement, but also the
importance of interacting
with musicians –
taking their vision and
preferences into account
to create the most
comfortable and effective
recording experience for
all involved. Also
featured in Vocal and
Instrumental Recording
Techniques is an
interview of Schmitt
conducted by fellow
METAlliance producer and
engineer Ed Cherney. $30.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| In a New York Jam Orchestre d'harmonie - Débutant Alfred Publishing
Concert Band - Grade 1.5 SKU: AP.48119S Composed by Lon McClearn. Concert...(+)
Concert Band - Grade 1.5
SKU: AP.48119S
Composed by Lon McClearn.
Concert Band; MakeMusic
Cloud; Performance Music
Ensemble; Single Titles.
Alfred Debut Series.
Funk; Light Concert;
Rock. Score. 20 pages.
Duration 2:10. Alfred
Music #00-48119S.
Published by Alfred Music
(AP.48119S). ISBN
9781470661915. UPC:
038081554747.
English. The sounds
of the city come alive in
this fun and funky tune,
In a New York Jam by Lon
McClearn. Easy to prepare
with very comfortable
ranges and infectious
rhythms. The audience
will enjoy the sounds of
the city traffic and
construction, all set to
a rock beat. (2:10) This
title is available in
MakeMusic Cloud. $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
Plus de résultats boutique >> |