Matériel : DVD
SKU: HL.3710610
UPC: 697643111776. 14.0x14.0x0.146 inches.
Series Description: The “Precision†series is created using Paiste's proprietary Signature Alloy, and features the typical hallmarks of Paiste's original Signature sound - brightness, fullness, strong presence and projection, with brilliant musicality. A particular quality of the Signature “Precision†is its clean and focused character in combination with a very articulate, straight-ahead sound. The finish of Signature “Precision†purposely follows the tradition established by the original Signature series. Fans of the original Signature sound, look and feel will thus find these cymbals a compelling choice for their cymbal sets. “The goal for the Signature 'Precision' was to create a more affordable Signature sound. We specifically researched and designed the manufacturing process to achieve that goal. Part of the success of this project is the incredible sound potency that already exists within the Signature Alloy.†-Erik Paiste Size: 14″ Volume: Loud Weight: Heavy Sound character: Very bright, clear, forceful, brilliant. Wide range, clean mix. Fairly heavy feel. Powerful, bright open sound, full, penetrating chick sound. Controllable, pungent hi-hat for precise playing in loud to very loud situations.
SKU: HL.1479055
19.5x10.25x8.5 inches.
Pulze is a modern Bluetooth digital modeling amplifier with a minimalist exterior design, suitable for a variety of electric and acoustic instruments. Meticulously designed enclosure and speakers ensure high-quality audio playback performance and professional instrument tones within a portable form factor, faithfully reproducing classic sounds found on records. With a fully touchscreen operation combined with Bluetooth 5.0 module and a companion mobile app, Pulze offers a user-friendly, intelligent operating experience. It integrates recording, live streaming, and more features to inspire and capture your musical creativity at any time. For a long time, Hotone's comprehensive effects, have been acclaimed by many musicians for their excellent sound quality and authentic feel. Hotone's signature CDCM HD and F.I.R.E. digital modeling technology has continually evolved. Now, our experienced team has injected our digital modeling technology into the all-new Pulze Amplifier. With a high-quality dual-core digital processing platform, powerful algorithms can be fully utilized. Pulze strikes a perfect balance between tone and size. With a carefully designed ABS enclosure and a pair of custom 3.5-inch full-range speakers, everything is tailored to provide dynamic, rich, detailed, and exceptional tones during your performances. Typically, tube amplifiers require ample space to unleash their immense volume. However, Pulze delivers outstanding sound performance at any volume level, making it the ideal choice for both practice and home performances. Additionally, the stereo Class D amplifier, combined with 30 watts of output power, allows Pulze to shine in small-scale live venues. “It's a professional instrument amplifier and a portable audio system for enjoying music” -- That's the initial concept behind Pulze's design. Engineered with precision, Pulze not only faithfully reproduces the characteristics of musical instruments but also serves as a stunning stereo speaker. With multiple connectivity options like USB, Bluetooth, and Aux In, Pulze allows you to play high-quality music from your computer and smartphone anytime, anywhere. Its transparent highs and well-defined lows provide a live music experience wherever you are. Building upon true stereo signal processing and audio playback, Pulze incorporates the innovative Space+ stereo enhancement technology. It creates a broader soundstage, more realistic presence, and richer sound depth, whether you're playing or listening to music. Pulze surrounds you with an immersive listening experience. A wealth of tones 46 amps simulations 48 cabs simulations 60+ classic effects simulations 20 user IR slots with 5 built-in Celestion-authorized classic speaker IRs.
SKU: HL.1458138
UPC: 860010840313. 4.25x6.5x3.75 inches.
A NEW DIMENSION OF OVERDRIVE Introducing the Supernova Zoeldrive - your ultimate overdrive/boost pedal companion for unleashing villainous guitar tone. Crafted with precision by IAM, it amplifies your playing with an extra dose of gain and grit while maintaining the pristine integrity of your rig's tone and ultimately your unique playing style. Experience the unmistakable growl reminiscent of classic tweed amps, all without sacrificing clarity. Meticulously engineered, the Supernova Zoeldrive boasts a streamlined three-knob design, putting superior power at your fingertips. Seamlessly adjust gain, level, and tone with ease, while a convenient pushbutton footswitch ensures “on the fly” control during performances. Additionally, elevate your sound even further with the voice toggle switch, offering two distinct voicing options for even more tailored tone shaping. A staple since the '90s, this pedal's unique circuitry is hailed as the go-to choice for electrifying solos in any live setting allowing players to really punch through the mix. Elevate your sound.
SKU: P2.10020
The first part of the Chthonic Flute Suite commissioned by Areon Flutes in 2012. This suite has two main inspirations: ideologically it draws guidance from the book The Dream and the Underworld (1979)by James Hillman (1926-2011) and musically it explores the textural possibilities of a flute ensemble within the context of the heavy chamber music style I have developed with Edmund Welles: the bass clarinet quartet since 1996. This style draws virtuosic precision from the classical realm; innovation and texture from jazz; and power, rhythm and overall perspective from rock and metal. The term chthonic [thon-ik] generally means underworld. However, Hillman thoroughly elaborates that its true meaning extends below the earth and beyond it into invisible, non-physical and far distant psychic realms: the deeper mysteries of the invisible. The journey to the underworld is a solo undertaking of the self, towards the unknown, yet still rooted within. The low bass tones invoke mystery and point the direction. As an explorer, licensed teacher of and composer for the shakuhachi (an ancient Zen flute crafted from the thicker root-end of bamboo) I have become initiated into the sense-characteristics of playing a flute that has actual roots as part of its structure. Physically this changes the balance, sonically it presents certain deepening qualities, and aesthetically it alters your connection to the dead and dried piece of nature. I have composed 27 solo pieces and etudes for Taimu (a very thick, bass variant on the traditional shakuhachi flute) and tapped into the same dense, slow, timbral approach for this movement. However, the chromatic, metal, modern bass flute offers a whole new set of possibilities and so the movement explores a wide realm of sounds and tempos. Being rooted in the actual ground is an appropriate starting point for the underworld exploration of the whole suite that only goes deeper from this point downwards. The primacy of the root pitch in tonal music is another contributing facet to the root aspect of this title.
SKU: CF.CAS157F
ISBN 9781491165423. UPC: 680160924332. Key: D minor.
Journey back to ancient Rome in this powerful string orchestra work depicting the strength and reach of the Roman armies through the eyes of a weathered centurion (a centurion is the equivalent of an Army captain). The work begins with a full statement of the Centurion motif in the high strings which should be played with power and strength while in the rhythmic marching element (depicting the Roman Army) in the low strings propels us forward. The lyrical sections at measures 13 through 32 in the viola and cello sections should be expressive and maintain that powerful sound first established in the violins at the beginning of the piece. From mm. 32-42, a torrent of triplets drives toward a grander gesture of the Centurion motif in the violins and viola sections while the low strings maintain momentum and rhythmic precision. The piece continues to a more solemn restatement of the motif, a section which requires a great deal of expressive playing and vibrato, as the centurion reminisces about his accomplishments, before launching into one last battle from m. 59 to the end.
About Carl Fischer Concert String Orchestra Series
Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CF.CAS157
ISBN 9781491165027. UPC: 680160923939. Key: D minor.
Journey back to ancient Rome in this powerful string orchestra work depicting the strength and reach of the Roman armies through the eyes of a weathered centurion (a centurion is the equivalent of an Army captain). The work begins with a full statement of the Centurion motif in the high strings, which should be played with power and strength while in the rhythmic marching element (depicting the Roman Army) in the low strings propels us forward. The lyrical sections at mm. 13 through 32 in the viola and cello sections should be expressive and maintain that powerful sound first established in the violins at the beginning of the piece. From mm. 32–42, a torrent of triplets drives toward a grander gesture of the Centurion motif in the violins and viola sections while the low strings maintain momentum and rhythmic precision. The piece continues to a more solemn restatement of the motif, a section which requires a great deal of expressive playing and vibrato, as the centurion reminisces about his accomplishments, before launching into one last battle from m. 59 to the end.
SKU: HL.288108
Three Scenes for Percussion and Six Instruments (2009) by Per Norgard. Preface / Program Note: The perpetrator soloist is the continuous figure and protagonist in the three scenes of the music. The term scene can be understood as ambiguous, both as the physical place, the platform where you perform and play music and drama - and as the term of narrative course and section in a dramatic performance. My musical scenes unfold in three different stage performances and ensembles. The first stage is characterized by discrete and melodic instruments, vibraphone and marimba, with counterplay from the three riders. In the second stage, the spotlight is on the butcher soloist alone; we meet the protagonist / soloist in a monologue, performed mainly on singing saw, which is intended to treat the utmost microton precision. We also hear the soloist playing at Kalimba, also a popular instrument, but now with African background - unlike the domestic courthouse's musical saw - an often-heard soundtrack from the childhood comrade at Norrebro. In the third stage there is a fan trio, which initially plays up to the impactor's various powerful drums. After a drum cadence, all seven music ends together for the first time. The work ends with a short sleigh solo.
SKU: PR.114422450
ISBN 9781491134986. UPC: 680160685974. 9 x 12 inches.
Bachâs colossal Partita No. 2 for Solo Violin has been crowned by many masters as one of musicâs greatest achievements, and even its famous Chaconne movement alone is a mountain many performers dare not scale. While the literature of several other instruments has been enriched by transcriptions of the Chaconne, Mazzantiâs heroic adaptation of the complete Partita is the culmination of many yearsâ work, and the only transcription specifically for the piccoloâs unique range.THE INSPIRATIONEver since my childhood, Johann Sebastian Bachâs solo violin music (like his works for solo cello) has always held a charm and mystery for me. Thereâs something about this repertoire that sparks an inextinguishable questioning in my musical and human soul.It is music without spatial limits or temporal cages, a music as essential as it is masterfully complex, in which the solitary voice of man meets the all-encompassing voice of God. It is a music whose vertical and horizontal dimensions, already admirably fused, are faceted into new and mysterious realities. For every violinist, the study of these compositions is at the apex of tenacious technical study and interpretative effort.Violinist Joshua Bell has said the Ciaccona (Bach did write the Partitaâs movement titles in Italian) is ânot just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. Itâs a spiritually powerful piece, emotionally powerful, structurally perfect.âTranscribin g and performing Bachâs PARTITA NO. 2, BWV 1004 on piccolo was a feat that took years of work. The famous Ciaccona movement is, of course, the piece that alone occupied most of this time. How does one honor and elevate such high music with such a âsmallâ instrument, devoid of the enormous expressive potential of the violin, devoid of its chords and its polyphony? How might I transform the piccolo into an instrument with, like the violin, full-bodied low notes and subtle high notes? Above all, why undertake such a demanding and extraordinary journey?The first reason is obvious: by transcribing, studying, and performing such an admirable piece, we assimilate it, it becomes part of us, it enormously enriches our musical interior.In addition, it forces us technically to expand the colors, agility, and flexibility of the instrument; it makes us think in a polyphonic way.Finally, the daily study, especially of the Ciaccona, is an extraordinary gymnasium in which to consolidate and strengthen our general technique.THE TRANSCRIPTIONThe whole Partita was transcribed in the key of A minor, a fifth above the original in D minor. This was necessary for the lowest note of the violin (G) to correspond to the lowest note of the piccolo (D). This version exploits the full range of the piccolo, from the D of the first octave to the B of the third octave. However some octave adjustments were needed.The chords, particularly in the Sarabanda and the Ciaccona, have been left with the same notational system used by Bach in his version for violin. I chose to respect Bachâs presentation and did not transcribe these into grace notes breaking the chords. I advocate that we must at least try to think of this music in its vertical dimension, trying to make the notes resonate as if they were being played together, deciding the speed of the arpeggio based on musical needs.While some woodwind editions of Bachâs string solos do indicate broken chords as grace notes, this implies that the most important note is necessarily the highest one, while sometimes it is precisely in the lower pitches that the theme is voiced.In this piccolo adaptation, many of Bachâs original articulations have been respected. Some have been changed, when needing to adapt them to the specific needs of flute playing.The two passages in the Ciaccona where Bach indicates âarpeggioâ were rendered trying to respect the most consolidated and virtuous violin traditions, and at the same time the possibilities that the piccolo offers us. For this purpose, in some cases, different revoicings of the chords have been used.I thank all those who patiently listened to me and were close to me during this period, for their observations and advice. In particular, I thank my daughter Sara for her assistance and skill in entering this edition into music writing software.
