SKU: HL.3710124
UPC: 697643106413. 20.0x20.0x0.07 inches.
Series Description: These venerable cymbals ?? developed during the 1960s' rapid expansion of popular music ?? were faithfully recreated and re-launched by Paiste in 2005. Giant Beat cymbals offer the big, warm, brilliant vintage sound that takes you straight back to the roots of rock. Alloy: CuSn8 Bronze, also known as ??2002 Bronze? Size: 20-inches Weight: medium thin Volume: soft to loud Stick Sound: clear, washy Intensity: lively Sustain: long Bell Character: integratedt Sound Character: Deep, dark, rich, brilliant, warm. Wide range, fairly complex mix. Even, balanced, very responsive feel. Pearly, wooden ping over a wide, deep, full wash. Big, swelling crash sound. Strong, articulate embedded bell. An ultimate classic sound, developed in 1967 during one of popular music's most revolutionary eras.
SKU: HL.3710114
UPC: 697643104891. 15.0x15.0x0.043 inches.
Series Description: These venerable cymbals – developed during the 1960s' rapid expansion of popular music – were faithfully recreated and re-launched by Paiste in 2005. Giant Beat cymbals offer the big, warm, brilliant vintage sound that takes you straight back to the roots of rock. Alloy: CuSn8 Bronze, also known as “2002 Bronze†Size: 15-inches Weight: medium thin top / medium heavy bottom Volume: soft to medium loud Stick Sound: defined Intensity: medium lively Sustain: medium Chick Sound: soft, tight Sound Character: Mellow, warm, yet brilliant with a hissing shimmer. Medium range and fairly clean mix. Warm, light and woody open sound, paired with a well defined, soft chick-sound. A very classic hi-hat for multi-purpose application in different musical genres.
Series Description: These venerable cymbals – developed during the 1960s' rapid expansion of popular music – were faithfully recreated and re-launched by Paiste in 2005. Giant Beat cymbals offer the big, warm, brilliant vintage sound that takes you straight back to the roots of rock. Alloy: CuSn8 Bronze, also known as “2002 Bronze†Size: 20-inches Weight: medium thin Volume: soft to loud Stick Sound: clear, washy Intensity: lively Sustain: long Bell Character: integratedt Sound Character: Deep, dark, rich, brilliant, warm. Wide range, fairly complex mix. Even, balanced, very responsive feel. Pearly, wooden ping over a wide, deep, full wash. Big, swelling crash sound. Strong, articulate embedded bell. An ultimate classic sound, developed in 1967 during one of popular music's most revolutionary eras.
SKU: HL.3710122
UPC: 697643106406. 18.0x18.0x0.06 inches.
Series Description: These venerable cymbals – developed during the 1960s' rapid expansion of popular music – were faithfully recreated and re-launched by Paiste in 2005. Giant Beat cymbals offer the big, warm, brilliant vintage sound that takes you straight back to the roots of rock. Alloy: CuSn8 Bronze, also known as “2002 Bronze†Size: 18-inches Weight: medium thin Volume: soft to loud Stick Sound: clear, washy Intensity: lively Sustain: long Bell Character: integratedt Sound Character: Deep, dark, rich, brilliant, warm. Wide range, fairly complex mix. Even, balanced, very responsive feel. Pearly, wooden ping over a wide, deep, full wash. Big, swelling crash sound. Strong, articulate embedded bell. An ultimate classic sound, developed in 1967 during one of popular music's most revolutionary eras.
SKU: AP.44080
ISBN 9781470619671. UPC: 038081495668. English.
Charlie Gracie's hit song Butterfly topped the American and British music charts in 1957, selling over three million copies. His hits in the late '50s propelled him to appearances on Dick Clark's American Bandstand, The Ed Sullivan Show, and some of the largest venues in the U. S. and abroad. Charlie was part of the birth of rock & roll, and his unique style influenced some of the most important artists in rock history, including The Beatles, Cliff Richard, Van Morrison, Graham Nash, Chubby Checker, and countless others. Rock & Roll's Hidden Giant uncovers Charlie's inspiring story, tracing his rise to the top of the charts through to his fall from fame. From his upbringing on the streets of Philadelphia to the tragic death of his friend Eddie Cochran to experiencing the dark side of Dick Clark and the early days of the music industry, we learn that Charlie's unfaltering integrity and talent were the constant guides in his life. Rock history would not be the same without Charlie Gracie, and this remarkable, uplifting account is essential for all fans of rock & roll. When we were starting out with The Beatles, the music coming over from America was magical to us---and one of the artists who epitomized this magic was Charlie Gracie. ---Sir Paul McCartney Charlie Gracie was FIRST in Rock & Roll---and the FIRST Rock & Roller to come out of Philadelphia! He started it and made it possible for all the rest of us! ---Chubby Checker His concerts in the late '50s in Manchester, England helped me to become who I am today. ---Graham Nash This book will allow you to see that nothing comes 'easy.' Success comes with hard work, disappointments, and some artists suffer betrayal by those they trust. ---Sir Cliff Richard His guitar sound was brilliant! ---George Harrison.
SKU: HL.3710123
UPC: 697643113886. 19.0x19.0x0.054 inches.
SKU: HL.3710113
UPC: 697643104884. 14.0x14.0x0.107 inches.
SKU: HL.3710125
UPC: 697643113893. 22.0x22.0x0.095 inches.
SKU: HL.3710115
UPC: 697643113855. 16.0x16.0x0.11 inches.
SKU: HL.3710112
UPC: 697643110410. 20.0x20.0x0.055 inches.
SKU: CF.CPS261
ISBN 9781491161272. UPC: 680160919864.
Sahar a is an exciting programmatic work for concert band that musically paints a picture of a fantastical desert crossing in three contrasting sections. The first section depicts a large caravan moving across the giant dunes. The second section describes a visit to a palace in a mystical oasis city. The third section brings the piece to an epic close as the caravan outruns a sandstorm to reach their final destination. Performance Notes You may use a set of congas in addition to or in lieu of the dumbek part to bring out that pitched drum sound. At m. 4, emphasize the accented quarter notes in the horns and euphonium. Measures 17-26, make sure that the sixteenth note marimba part is heard clearly. In measures 48-92, this entire middle section may be played in a rubato style at the director's discretion to achieve maximum musical expression. Be sure to emphasize the crescendo-decrescendo dynamics in this entire section. In measures 56-61, be sure that the syncopated flute and clarinet parts are heard clearly. and the flute and oboe are heard as well mm. 76-81. The descending eighth notes in the bass clarinet and tuba part should be brought out in mm. 76-81. Measures 109-112, make sure to bring out the trills in the Flute and oboe parts and sustain them all the way through the measure with a release immediately on beat 1 of the following measure. And finally, mm. 125-126, emphasize the F Horn and Alto Saxophone parts.Sahara is an exciting programmatic work for concert band that musically paints a picture of a fantastical desert crossing in three contrasting sections. The first section depicts a large caravan moving across the giant dunes. The second section describes a visit to a palace in a mystical oasis city. The third section brings the piece to an epic close as the caravan outruns a sandstorm to reach their final destination.Performance NotesYou may use a set of congas in addition to or in lieu of the dumbek part to bring out that pitched drum sound. At m. 4, emphasize the accented quarter notes in the horns and euphonium. Measures 17-26, make sure that the sixteenth note marimba part is heard clearly. In measures 48-92, this entire middle section may be played in a rubato style at the director’s discretion to achieve maximum musical expression. Be sure to emphasize the crescendo-decrescendo dynamics in this entire section. In measures 56-61, be sure that the syncopated flute and clarinet parts are heard clearly. and the flute and oboe are heard as well mm. 76-81. The descending eighth notes in the bass clarinet and tuba part should be brought out in mm. 76-81.Measures 109-112, make sure to bring out the trills in the Flute and oboe parts and sustain them all the way through the measure with a release immediately on beat 1 of the following measure. And finally, mm. 125-126, emphasize the F Horn and Alto Saxophone parts.
SKU: CF.CPS261F
ISBN 9781491161715. UPC: 680160920402.
SKU: BT.CMP-0607-02-140
A Grade 1 rock anthem! It’s a perfect way to keep your beginners motivated while you drill them on that new concept called “eighth notes.†Lots of repetition of simple eighth note figures will help your young band players enter the fascinating world of the divided beat with ease.This solid minor key rock-type piece will also help to keep your audience attentive by letting them hear a bit of a style they are so accustomed to. The overwhelming rhythmic nature of the piece also makes it a possible choice for use with an elementary level massed band. When faced with more than 100 beginners at a time, one likes to do music that has a beat they can hang on to! Whether it’s for asmall one-school band or a giant massed group, this one is sure to work for you.
SKU: CL.012-4617-00
Known throughout the world, legendary composer Karl L. King created a treasure trove of wonderful marches that have, without question, stood the test of time. Bunker Hill is no exception and this entertaining 6/8 march, with its pronounced and steady beat, is sure to generate enthusiastic toe tapping from beginning to end. The performance of a King march is simply a can’t miss opportunity for introducing your audience to an undeniable musical giant. An Audience Pleaser!
About Heritage of the March
Full -sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style
SKU: CL.012-4617-01
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
