SKU: PR.164001780
UPC: 680160037056.
The American imagist poet Amy Lowell (1874-1925) provided both the title and the substance for this brief descriptive work in her poem Night Clouds. I had been commissioned by the flute/harp duo Chaski to write a piece that had a different sound than most flute and harp pieces. The image of these elusive beasts cavorting through the night, before the appearance of the tiger sun, seemed to me perfectly suited for the flute and harp and would give me the chance to write a work for that combination that did NOT have overtones of nymphs and shepherds. I wanted to make much use of the harp's more violent sounds (beating the strings and the soundboard, for instance) as well as its unusual and idiomatic effects, such as pedal glissandi. For the flute, there are jet-whistle effects, extremes of register, pitch-bending and other decidedly non-pastoral gestures. The work was composed in 1986. --Dan Welcher.
SKU: CF.CM9589
ISBN 9781491154113. UPC: 680160912612. 6.875 x 10.5 inches. Key: C major. English, Latin. English Carol.
The Boars Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level mens chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text laudes Domino building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1: Quot estis in convivio As you all feast so heartily Verse 2: Let us servire cantico. Let us serve with a song. Verse 3: In Reginensi atrio. In the Queens hall. Chorus: Caput apri defero Lo, behold the head I bring Reddens laudes Domino Giving praise to God we sing. .The Boaras Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level menas chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text alaudes Dominoa building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1:A Quot estis in convivioA A A A A As you all feast so heartily Verse 2:A Let us servire cantico.A A A A A Let us serve with a song. Verse 3:A In Reginensi atrio.A A A A A A A A A In the Queenas hall. Chorus: Caput apri deferoA A A A A A A A A A Lo, behold the head I bring Reddens laudes DominoA A A Giving praise to God we sing. .The Boar's Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level men's chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text laudes Domino building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1: Quot estis in convivio As you all feast so heartily Verse 2: Let us servire cantico. Let us serve with a song. Verse 3: In Reginensi atrio. In the Queen's hall. Chorus: Caput apri defero Lo, behold the head I bring Reddens laudes Domino Giving praise to God we sing. .The Boar's Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level men's chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide. The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text laudes Domino building up to the final verse with a slower, broader tempo as marked. Latin text translation: Verse 1: Quot estis in convivio As you all feast so heartily Verse 2: Let us servire cantico. Let us serve with a song. Verse 3: In Reginensi atrio. In the Queen's hall. Chorus: Caput apri defero Lo, behold the head I bring Reddens laudes Domino Giving praise to God we sing. .The Boar’s Head Carol is a traditional English Carol. This TBB arrangement was written as a processional for a Renaissance festival to be sung by a high school varsity level men’s chorus. The boar's head feast is said to have been the special first dish at formal feasts around the year for many centuries, especially at Yuletide.The piano accompaniment contains brass-like interludes throughout as an interaction with the male voices. Page 8 contains transitional material with the repeated text “laudes Domino†building up to the final verse with a slower, broader tempo as marked.Latin text translation:Verse 1: Quot estis in convivio     As you all feast so heartilyVerse 2: Let us servire cantico.     Let us serve with a song.Verse 3: In Reginensi atrio.         In the Queen’s hall.Chorus: Caput apri defero          Lo, behold the head I bringReddens laudes Domino   Giving praise to God we sing. .
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: PR.16400222S
UPC: 680160037841.
This work follows my Quartet No. 1 by five years. In terms of style and aesthetic aim, however, it seems light years away. Where the first work, a 28-minute, four-movement piece, took aim at cosmic conflicts and heroic resolutions, the present work is intended as a kind of divertissment. Harbor Music lasts a mere eleven minutes, is cast in a single movement with six sections, and should leave both performers and listeners with a feeling of good humor and affection. The title comes from my experience as a guest in the magnificent city of Sydney, Australia. One of its most attractive features is its unique system of ferry boats: the city is laid out around a large, multi-channeled harbor, with destinations more easily approached by water than by land. Consequently, inhabitants of Sydney get around on small, people-friendly boats that come and go from the central docks at Circular Quay. During a week's visit in 1991, I must have boarded these boats at least a dozen times, always bound for a new location - the resort town of Manley, or the Zoo at Taronga Park, or the shopping district at Darling Harbour. In casting about for a form for my second string quartet, a kind of loose rondo came to mind. Each new destination would be approached from the same starting-out point (although there are subtle variations in the repeating theme; it's always in a new key, and the texture is never the same). The result, I hope, is a sense of constant new information presented with introductory frames of a more familiar nature. The embarkation theme, which begins the piece, is a sort of bi-tonal fanfare in which the violins are in G major and the viola and cello are in B-flat major. It is bold, eager, and forward-looking. The first voyage maintains this bi-tonality, beginning as a 9/8 due for second violin and viola in a kind of rocking motion -much as a boat produces when reaching the deeper water in the harbor. A sweet, nostalgic theme emerges over this rocking accompaniment. This music is developed somewhat, then transforms quickly into a much faster and lighter episode, filled with rising and falling scales (again, in differing keys). A scherzando interlude in short notes and changing meters provides contrast, and the episode ends with a reprise of the scales. The second embarkation follows, this time in A major/C major. It leads quickly into a very warm and slow theme, in wide-leaping intervals for the viola. This section is interrupted twice by solo cadenzas for the cello, suggesting distant boat-horns in major thirds. The end of the episode becomes a transition, with boat-horns leading into the final appearance of the embarkation music, this time in trills and tremolos instead of sharply accented chords. The nostalgic theme of the first episode makes a final appearance, serving now as a coda. The rocking motion continues, in a lullaby fashion, leaving us drowsy and satisfied on our homeward journey. Harbor Music was written for the Cavani Quartet, and is dedicated to Richard J. Bogomolny. Commissioned by his employees at First National Supermarkets as a gift, it represents a thank you from many of the people (including this composer) who have benefitted from his vision and generosity. An ardent advocate of chamber music (and a cellist himself), Mr. Bogomolny has for many years been Chairman of the Board of Chamber Music America. -- Dan Welcher.
SKU: BT.MUSAM996996
ISBN 9781849380140. English.
The Complete Guitar Player series has taught hundreds of thousands how to play and the accompanying songbooks have featured hits by Paul Simon, Elvis Presley, The Beatles, John Denver and many othertopartists.Now these songbooks are available in super value omnibus editions like this one. The songs are still graded by ease of playing and everything is there... standard notation, Guitar chord boxes, full lyrics andevenstrumming patterns!Over 180 great songs! Perfect for all players and singers!The bonus CD contains backing tracks to 16 of the songs in the book.
