SKU: RU.30054FS
9 x 12 inches.
The RBC Mariachi Series is a storied catalog full of wonderful melodies and timeless tunes by legendary musicians and arrangers Juan Ortiz and Jamie Martin Vela. The Mariachi catalog is a wonderful resource for any level of Mariachi Ensemble, with charts that span easy to advanced difficulty levels. Complete sets come with vocal sheet music as well as lyric sheets for ease of performance and rehearsal, while others come with alternate parts in Trumpet and Violin to make each piece more accessible.
SKU: HL.3712066
UPC: 196288220664. 5.0x8.75x2.75 inches.
Dynamic instrument microphone (cardioid) for guitar amps, snare and bass.
SKU: HL.3712061
UPC: 196288220725. 6.25x9.25x3.5 inches.
Studio condenser microphone (cardioid) with switchable pre-attenuation (-15 dB), low-cut filter.
SKU: HL.3712039
UPC: 196288220671. 5.0x8.75x2.75 inches.
Condenser boundary microphone, semi-cardioid, with black 3-pin XLR connector and built-in phantom power adapter. For 11 - 52V phantom power.
SKU: HL.3712031
5.0x8.75x2.75 inches.
Condenser drum microphone, clip-on (cardioid), angled gooseneck for phantom powering.
SKU: HL.3712062
UPC: 196288220749. 7.5x11.5x3.25 inches.
Condenser microphone set (cardioid), 2 stereo-matched pair MC 930, include 2 elastic suspensions EA 19/25 and 2 windscreens WS 53 in a transport case.
SKU: HL.3712030
UPC: 196288220732. 5.0x14.0x2.5 inches.
Condenser drum microphone, clip-on (cardioid), straight gooseneck for phantom powering.
SKU: IS.CQ7583EM
ISBN 9790365075836.
Amer ican composer and woodwind performer Mike Curtis is equally comfortable in classical, jazz, and ethnic settings. He has toured the world as a klezmer clarinetist, played bassoon with symphonies and opera companies, and recorded on sax with jazz greats Charlie Rouse and Anthony Braxton. His compositions show the influence of those experiences and more. Cuarteto Santa Cruz was composed in 2020 and consists of four movements: Danzas, Balada, Tangos, and ¡Cocodrilo!
SKU: PR.114419080
ISBN 9781491114216. UPC: 680160671595. 9 x 12 inches.
Composing for Boston Music Viva on a Fromm Foundation grant, Melinda Wagner drewinspiration from an astounding video of an industrious little pufferfish and his sand artistry.Working 24 hours a day, he carves out a beautiful medallion of swirls and ridges, in the hopeof attracting a sweetheart. Wagner has written, “I was so moved by the careful preparation,determination , patience, and artistry of this little fish, who has no guarantees of finding true love.The phenomenon reminded me very much of the act of composing – of creating something outof nothing, with few guarantees.â€.Se veral years ago, a friend shared the most marvelous video with me. In it, an industrious little puffer fish begins to prepare an elaborate work of artistry – his “etchings†– in hopes of attracting a sweetheart. Using only his fins, he prepares the “canvas†(the sandy ocean floor), and for the next week, working 24 hours a day, he carves a beautiful medallion of swirls and ridges. Shell pieces and pebbles are collected to adorn the masterpiece. And he waits.I was so moved by the careful preparation, determination, patience, and artistry of this little fish who has no guarantees of finding true love. The phenomenon reminded me very much of the act of composing – of creating something out of nothing with few guarantees. Rather than attempting to capture any action programmatically, I tried instead to express, in the abstract, the sense of anticipation, lovelorn hopefulness – and the optimism of a tiny, unsung hero. [The puffer fish is a member of the Chordata phylum.]-Melinda WagnerAugust 2018.
SKU: HL.3712035
UPC: 196288220640. 5.0x8.75x2.75 inches.
Dynamic vocal microphone (cardioid) with lockable switch. Includes bag and clamp.
SKU: BO.B.3429
English comments: In 2003, I wrote Introspeccion for solo clarinet and, although I had already used the clarinet many years ago (in 1963 with a Duo for clarinet and piano), I felt the need to return to that instrument again: malleable, dynamic, with a considerable tessitura and an expressive and effective timbre both in pianissimo and fortissimo.
Apart from the Piano concerto I wrote in 2003, over the last four years I have preferred to work with chamber music. In 2005 I used the clarinet again, this time alongside the classic string quartet, a combination that has always caught my attention. So this is how the Quinteto de la Sala de Llevant arose, as a work designed in a single tempo that I think follows along the same lines marked by my compositions in recent years, in the sense that all superfluous elements are removed to leave a strict musical discourse that I hope can be considered markedly expressive.
The Quinteto de la Sala de Llevant was first performed on 29 June 2005 at the Sala de Llevant in the Library of Catalonia, when I loaned my musical archives to this institution. It was played by Josep Fuster (to whom the work is dedicated) on the clarinet and the Glinka Quartet (Ala Voronkova, Guerassim Voronkov, violins, Bernat Bofarull, viola, Nabi Cabestany).--The author
Comentarios del Espanol: En el ano 2003, escribo Introspeccion para clarinete solo y, si bien ya habia usado el clarinete hace muchos anos (en 1963 con un Duo para clarinete y piano) senti la necesidad de volver al mismo instrumento: ductil, agil, de una tesitura considerable y de un timbre expresivo y eficaz tanto en el pianissimo como en el fortisimo.
Exceptua ndo el Concierto para piano del 2003, en estos ultimos cuatro anos he trabajado preferentemente la musica de camara. En el 2005 vuelvo a usar el clarinete, ahora junto al clasico cuarteto de cuerda, conjuncion que siempre me habia llamado la atencion. Nace, pues, el Quinteto de la Sala de Llevant, obra concebida en un solo tiempo y que creo que continua con la linea marcada por el autor durante estos ultimos anos, en el sentido de eliminar todo elemento superfluo para seguir un discurso musical riguroso y que querria marcadamente expresivo.
El estreno del Quinteto de la Sala de Llevant tuvo lugar el 29 de junio del 2005 en la Sala de Llevant de la Biblioteca de Catalunya, en ocasion de la cesion de mi archivo musical a esta misma institucion. Josep Fuster (a quien la obra esta dedicada), clarinete, y el Cuarteto Glinka (Ala Voronkova, Guerassim Voronkov, violines, Bernat Bofarull, viola, Nabi Cabestany) fueron sus interpretes.--El autor
SKU: UT.DM-31
ISBN 9790215305694. 9 x 12 inches.
È ormai un dato acquisito che la pratica della musica d’insieme rappresenti un’importante e indispensabile esperienza in grado di favorire una corretta e completa formazione musicale. Nei Conservatori di Musica è prevista la frequenza obbligatoria di questa disciplina solo dal quinto anno di strumento. È a partire da quel momento che lo strumentista incomincerebbe a possedere i requisiti necessari per poter iniziare a suonare insieme agli altri: e cioè una buona tecnica strumentale, una corretta intonazione, un bel suono, ecc.In realtà anche in Italia sono ormai molte le Scuole di Musica (pubbliche e private) che, invece, propongono da subito questa attività ai giovanissimi allievi dei corsi di propedeutica strumentale e di propedeutica musicale generale.Non è infatti indispensabile possedere grandi abilità tecniche o avere già maturato una perfetta intonazione: l’importante è che il bambino possa incominciare da subito ad esprimere la propria musicalità concentrando l’attenzione anche su pochi elementi, pochi suoni, e possa soprattutto, nella continua interazione con i propri compagni, sviluppare l’abitudine di ascoltare se stesso in rapporto al contributo degli altri e al risultato di insieme.Il piccolo allievo avrà così la possibilità di potenziare il senso ritmico, la percezione melodica, la memoria musicale, la lettura, le capacità analitiche, compositive e interpretative; e potrà inoltre sviluppare il rapporto con il proprio strumento migliorando l’intonazione, la postura, il modo di respirare (e il problema non riguarda solo gli strumenti a fiato), ricercando diverse modi di produzione del suono: d’altra parte è proprio imparando ad ascoltare gli altri, attraverso una disciplina fatta di autocontrollo e concentrazione, che può maturare l’ascolto critico del proprio suono e dunque lo sforzo per migliorarlo. Anche solo l’esecuzione di una melodia all’unisono, se fatta in un gruppo d’insieme, può così diventare motivo di gratificazione e di stimolo per la crescita musicale dei giovanissimi allievi e può nello stesso tempo assumere una forte rilevanza formativa, anche in quanto esperienza socializzante.I primi strumenti comunemente utilizzati all’interno dei corsi di propedeutica musicale sono, com’è noto, quelli dello strumentario Orff. In genere solo in un successivo momento (di solito dopo circa un anno) il bambino inizia parallelamente anche lo studio di uno strumento musicale sotto la guida di un insegnante con competenze strumentali specifiche. L’approccio iniziale con lo strumentario didattico è sicuramente semplice e immediato: senza problemi di intonazione l’esecutore può concentrarsi direttamente sulla tecnica esecutiva e sul fare musica insieme. È vero però che gli strumenti musicali tradizionali con le loro ben più ricche e interessanti caratteristiche timbriche, possono ancor più stimolare la fantasia del bambino e dunque motivarlo nella ricerca di nuove possibilità sonore.La proposta di utilizzare entrambe le tipologie strumentali può allora rappresentare un valido accorgimento per un percorso metodologico veramente completo e in grado di agevolare una corretta e approfondita crescita musicale.È per questo che al primo quaderno dedicato alla musica d’insieme per strumentario Orff ne seguirà un secondo, nel quale verranno proposte altre facili partiture che richiederanno anche l’utilizzo degli strumenti tradizionali.Le partiture qui raccolte, da me trascritte ed elaborate, sono il risultato di un’esperienza decennale maturata all’interno dei corsi di propedeutica degli Istituti musicali pareggiati di Carpi e Reggio Emilia. I brani si susseguono secondo un ordine di difficoltà crescente e sono presi dal repertorio popolare internazionale e classico. Il quaderno si rivolge a bambini di 8-12 anni, ma può essere utilizzato anche nelle scuole medie inferiori o a indirizzo musicale.È consigliabile che il gruppo di musica d’insieme sia costituito da non più di 10-12 esecutori, con la possibilità di raddoppiare le parti principali.Si è scelto di non scrivere le singole parti strumentali affinché l’allievo possa prendere da subito l’abitudine a leggere in partitura.Inoltre si è preferito non adottare la diteggiatura dello strumentario a piastre per dare maggior chiarezza ritmica alla partitura e nello stesso tempo per lasciare più libertà nelle modalità d’esecuzione.Le parti pianistiche sono per la maggior parte abbastanza facili, adatte ad essere suonate da allievi principianti.
SKU: HL.1117980
UPC: 847986001436. 8.0x10.0x4.25 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. Tailored vocal sound The MTP 550 DM features clear and powerful live sound. Your voice sits well in the mix, and you'll hear yourself clearly on the monitors. It's easy to connect with your audience when you know that they'll hear you. Highly feedback proof The MTP 550 DM features a consistent cardioid pattern so that your monitor signal can be as loud as you desire. You don't have to worry about feedback, and you can perform confidently delivering a solid show. Durable materials for longevity To assure your beloved microphone survives even the roughest touring routines, the enclosure is made out of durable zinc die-cast parts. A rubber-suspension protects the capsule while minimizing unwanted handling noise. The built-in wind- and pop-filter prevents hissing sounds and plosives. On top of that, the capsule is protected from moisture. Cardioid polar pattern The cardioid polar pattern picks up sound coming mainly from the front of the microphone, sound from directly behind the MTP 550 DM is dampened effectively. Because the pattern is very consistent, it's hard to find a mic with better rear-rejection. What's in the box? The MTP 550 DM comes with a snap-in mic clip, a windscreen and a transport bag.
SKU: HL.364988
UPC: 810100410179. 11.25x5.0x3.25 inches.
The Heil PR22-UT microphone is essentially the PR22, but (like all Heil Utility microphones), saves you money by shipping with just the essentials. The same patent pending diaphragm shock mounting, along with tight cardioid pattern element of the PR22, makes the PR22-UT the choice for those who expect the best in a dynamic cardioid microphone. The PR22-UT has exceptionally low noise handling, response and impeccable reproduction of whatever source it takes in. The PR22-UT is a sleek & elegant, yet rugged, microphone – just like the PR22. With the PR22-UT you get a stainless mesh screen, mic stand clip, and black foam acoustical windscreen, in a zipper case. It is also available in a switched version.
SKU: HL.364989
UPC: 810100410186. 5.0x11.25x3.25 inches.
The Heil Sound PR22-SUT is a handheld cardioid dynamic microphone designed for articulate reproduction of vocals, speech, instruments, amplifier cabinets, and drums in studios, clubs, houses of worship, and live stage applications. Though sonically identical to the PR22, the PR22-SUT sports a stainless steel grille in place of the PR22's interchangeable silver, black, and gold grilles. The dynamic microphone element features a composite magnet for increased strength and a cardioid polar pattern, which provides significant rear rejection and immunity to feedback. With a 145dB maximum SPL and a frequency response of 50Hz to 18kHz, it is well suited to a wide variety of sources. The patent-pending ISO BAND isolation mounting impedes handling noise and rumble from vibrations. Plosives and wind noise are attenuated via the included foam windscreen. An on/off switch allows easy muting between announcements, bands, or sets. The balanced XLR 3-pin output ensures compatibility with most microphone preamps, mixer inputs, portable PA systems, and audio interfaces. A mic clip and carrying bag are also included.
SKU: UT.LB-40
ISBN 9788881095230. 5.90 x 8.26 inches.
Il presente volume è un manuale di tecnica vocale dedicato ai giovani allievi di canto. Nel testo vengono proposti una serie di esercizi progressivi atti a una corretta impostazione della voce spiegati verbalmente e con relativi esempi musicali. Il testo è rivolto a studenti e semi professionisti nell’ambito del canto lirico, ma anche a chiunque voglia apprendere i fondamenti per una corretta impostazione dello strumento voce, e utilizza un linguaggio chiaro con esempi concreti e facilmente applicabili.Gli esercizi sono finalizzati a guidare il cantante a concentrarsi su quelle pratiche giornaliere che gli saranno utili per consolidare e affinare una tecnica vocale solida e consapevole.
SKU: HL.364930
UPC: 810100410049. 9.5x6.5x6.0 inches.
Not only is the Fin a professional microphone with all the qualities you could ask for in a dynamic cardioid microphone, it also just happens to be one of the coolest-looking mics you've ever seen – combining a “vintage†look with a futuristic and timeless feel, all in one shiny microphone. Best-in-class, smooth, flat response from the shock mounted, large, low mass diaphragm element driven by a powerful magnet, will reward you with rich sound throughout its broad frequency range. The Fin is great in the studio, or live, and it particularly exhibits excellent upper mids. The Fin has a beautifully sculpted body that is double-chromed in a three-stage plating process. Horizontal fins accent its soft angular profile. As an added bonus, The Fin glows via the four L.E.D. lights inside, which can be turned on and off from via the phantom power from the mixing board. This can make for a dramatic effect, or create that certain “vibe†to enhance your next performance. The Fin is stocked in chrome and matte black bodies. Each version has either red, white or blue foam color/LEDs.
SKU: HL.364939
UPC: 885936792119. 5.5x11.0x2.0 inches.
The Heil Sound PR20-SUT is a handheld cardioid dynamic microphone designed for articulate reproduction of vocals, speech, instruments, amplifier cabinets, and drums in studios, clubs, houses of worship, and live stage applications. Though sonically identical to the PR20, the PR20-SUT sports a stainless steel grille in place of the PR20's interchangeable silver, black, and gold grills. The dynamic microphone element features a composite magnet for increased strength and a cardioid polar pattern, which provides significant rear rejection and immunity to feedback. With a 145dB maximum SPL and a frequency response of 50Hz to 18kHz, it is well suited to a wide variety of sources. Plosives and wind noise are attenuated via the included foam windscreen. An on/off switch allows easy muting between announcements, bands, or sets. The balanced XLR 3-pin output ensures compatibility with most microphone preamps, mixer inputs, portable PA systems, and audio interfaces. A mic clip and carrying bag are also included with the PR20-SUT.
SKU: HL.364928
UPC: 810100410025. 5.0x11.25x3.25 inches.
SKU: HL.364932
UPC: 810100410063. 9.5x6.5x6.0 inches.
SKU: HL.364929
UPC: 810100410032. 9.5x6.5x6.0 inches.
SKU: BO.B.3338
English comments: I finished writing the Porta Ferrada Double Concerto at the beginning of 2004. I was commissioned to write it for the Porta Ferrada International Music Festival (in Sant Feliu de Guixols).This double concerto for violin, cello and chamber ensemble represents the start of a period in which the pieces that I am working on are all for small ensembles: Davallament, for soprano and piano; Quinteto de la sala de Levante, for clarinet and string quartet; Palau d'hivern, for soprano, clarinet and string quartet; and Concertino Geminis for solo violin and 15 string instruments.Having written large-scale works, I have now gone back to writing chamber music.
We can see how, throughout my career, the sinfonia concertante form is omnipresent in almost all my earlier periods. I still haven't found a satisfactory answer to why I choose a dialogue between a soloist and an instrumental group so often. I would perhaps say that with a solo instrument it seems as if my music has to flow more effortlessly, allowing me to work more easily. Having a main character in the piece's discourse greatly helps me to develop the idea I have about the piece I want to write.
In this case there are two string soloists, the violin and the cello, which of course play a major part, but without this becoming a virtuosic. As for its form, the piece is based on three parts that meet without interruption.It was first performed on 10 August 2005 at the Teatre Auditori Municipal in Sant Feliu de Guixols as part of the 43rd edition of the Porta Ferrada International Festival, by the Porta Ferrada Simfonietta orchestra and the soloists Melodie Giot and Manon Philippe, conducted by Daniel Tosi.
Comentarios del Espanol: Acabe de escribir el Doble Concierto de la Porta Ferrada a principios del ano 2004. Nace como un encargo del Festival Internacional de Musica de la Porta Ferrada (Sant Feliu de Guixols).Este doble concierto, para violin, violonchelo y un conjunto de camara, abre un periodo en el que las obras que trabajo son todas para pequenos conjuntos: Davallament, para soprano y piano; Quinteto de la sala de Levante, para clarinete y cuarteto de cuerda; Palau d'hivern, para soprano, clarinete y cuarteto de cuerda; Concertino Geminis para violin solista y 15 instrumentos de cuerda.Despues de haber escrito obras de gran formato, ahora vuelvo a la musica de camara.
Podemos ver como la forma concertante, a lo largo de toda mi produccion, es omnipresente en casi todas las epocas precedentes. No he encontrado una respuesta satisfactoria al porque de elegir tan a menudo el dialogo entre un solista y un grupo instrumental. Como aproximacion, diria que con un instrumento solista parece ser que mi musica tenga que fluir mas facilmente y que pueda trabajar con mas comodidad. El hecho de tener un personaje principal en el discurso de la partitura me ayuda mucho a desarrollar la idea que tengo sobre la obra que quiero escribir.
En este caso se trata de dos solistas de cuerda, el violin y el violonchelo, que, como es natural, toman un papel primordial sin que, sin embargo, lleguen a alcanzar una parte virtuosistica. La obra, formalmente, se basa en tres partes que se tocan sin interrupcion.
El estreno tuvo lugar el 10 de agosto de 2005 en el Teatre Auditori Municipal de Sant Feliu de Guixols, en el marco del 43 Festival Internacional de la Porta Ferrada, por la orquesta Simfonietta Porta Ferrada y las solistas Melodie Giot y Manon Philippe, bajo la direccion de Daniel Tosi.
SKU: BO.EAS0005
SKU: HL.364927
UPC: 810100410018. 9.5x6.5x6.0 inches.
SKU: HL.49046188
ISBN 9781540051684. UPC: 888680938703. 9.0x12.0 inches.
When Cuarteto Casals approached me with the idea of illuminating Beethovens quartets anew, you can imagine the many thoughts and feelings that where going through my mind: what a joy, what a great honor What an intriguing head-scratcher! How can you possibly shine a new light on something that is already perfect? Weeks, months went by in search of a common ground between the Master and myself until I finally found it in the realization that a word lays hidden in the St. Johns hymn that gave musical notes their original name: Re, Sol, Ut, Io (D, G, C, B in English music notation) Perfect! “Resolutio†in Latin means both the resolution of aproblem and the re-solution: a re-blend of many elements that will eventually coagulate to make something new. There was finally themelodic and a rhythmical canvas for my piece. On this canvas I wrote the story of a funny little contest, played on a sunny Mediterranean square, between street musicians and Cuarteto Casals just minutes before they are about to go on stage to perform Beethovens Harp Quartet. After all the characters, each in his own way, had the chance to tell their story, a gentle rain starts to fall, dissolving (Re-solving) again the music sheet to eventually leave us with just a white piece of paper for somebody else to continue the Work. (Lucio Franco Amanti).
SKU: HL.364931
UPC: 810100410056. 11.25x4.75x3.25 inches.