Catalyst CX 60

SKU: HL.1364414

Catalyst® CX 100 is a dual-channel 1x12 combo amplifier that performs like a traditional guitar amp – while providing the increased versatility of a modern amp. Occupying the middle position in the Catalyst CS family of guitar amplifiers – which range from 200 to 60 watts – the 100-watt Catalyst CX 100 is powerful enough for most gigs, while also sporting studio-friendly features such as a USB audio interface. The sturdily constructed Catalyst CX 100 amplifier offers 12 Amp Voicings – ranging from pristine clean to modern high-gain – derived from the Helix® amp and effects processor. Each Amp Voicing is matched with a custom Boost type, and there are also 24 HX®-quality effects spanning four effects categories. Additional features include a Tap/Tuner button, an XLR line output, an effects loop, a Power Amp input for using the Catalyst CS as a powered speaker, MIDI functionality, a 2-channel USB recording interface, and power output options. The free Catalyst Edit app for desktop and mobile devices provides deep editing capabilities. Add an optional LFS2 footswitch for even more flexibility, and an optional cover to protect your combo. • 100-Watt, dual-channel 1x12 combo amp (with optional LFS2 footswitch) • 12 Amp Voicings derived from Helix processors • Dedicated Boost circuit with boost types optimized for each amp • 24 Effects derived from Helix processors • Tap Tempo/Tuner button • XLR line output for pro connection to P.A. or recording devices • Effects loop and Power Amp input for integrating external devices • 2-Channel audio interface, MIDI, and Mac®/iOS®/PC/Android™ connectivity via USB • MIDI In via DIN connector • Free Catalyst Edit app for desktop and mobile devices.

SKU: CF.SAS5

ISBN 9781491159279. UPC: 680160917853.

Catalyst is a fiery and rhythmic piece that allows your ensemble to work on syncopated rhythms, difficult but accessible fingerings, and advanced phrasing. Articulations should all be emphasized in order to add to the drama of the piece, as well as to create a strong contrast between the crisp staccatos and the long and smooth legatos. Awareness across the ensemble will be essential to maintain both cohesion and clarity of the melody throughout the faster and slower sections.

SKU: CF.SAS5F

ISBN 9781491159446. UPC: 680160918027.

Catalyst is a fiery and rhythmic piece that allows your ensemble to work on syncopated rhythms, difficult but accessible fingerings, and advanced phrasing. Articulations should all be emphasized in order to add to the drama of the piece, as well as to create a strong contrast between the crisp staccatos and the long and smooth legatos. Awareness across the ensemble will be essential to maintain both cohesion and clarity of the melody throughout the faster and slower sections.

SKU: BR.BV-448

SKU: GI.G-10493

ISBN 9781622775637.

Includes book, DVD, and unique code to access DVD online.   The purpose of Arioso, one of the eight parts of John Feierabend’s First Steps in Music curriculum, is to provide children with the opportunity to spontaneously create their own tunes. To do this, the catalyst must be inviting and accessible. The opera Hansel and Gretel provides the perfect opportunity while also introducing students, even very young ones, to the wonderful world of opera. In addition to creating Arioso, children will be able to sing some of the more accessible songs. This opera comes to life when children are invited to actively participate, to become each character and sing their songs, and to create Arioso to convey their thoughts and feelings. Lillie Feierabend has presented Hansel and Gretel for over twenty years to the delight of her entire school community. Join her as she guides the first, second, and third grade students of the Indianapolis Children’s Choir as they sing songs from the opera and create Arioso for each character. Also included on this DVD: A voiceover track with John and Lillie Feierabend discussing the songs and Arioso opportunities in each scene  Complete storyline with ideas for implementation  Parent engagement as they interact and create Arioso with their children  Lillie Feierabend is known for her work with young children and instilling a love of music within them. She has been a general music teacher in Connecticut for thirty years and a director of the Connecticut Children’s Chorus for seventeen. She is a frequent clinician at local, state, national, and international conferences, speaking on many aspects of early childhood music. Dr. John Feierabend is considered one of the leading authorities on child development in music and movement. He is a Professor Emeritus and former Director of Music Education at the University of Hartford’s The Hartt School and is a past President of the Organization of American Kodály Educators (OAKE).

SKU: CL.012-4758-75

SKU: AP.36-A162202

UPC: 659359719493. English.

Édouard Lalo (1823-1892) wrote Concerto for Cello in D minor a few years after the popular Symphonie espagnole in 1876 for Belgian cellist Adolphe Fischer. The following year, Fischer was the soloist for the premiere at the Cirque d'Hiver on December 9, 1877. Influenced by his Symphonie espagnole, this concerto evokes a Spanish atmosphere. At the time of its premiere, there were few serious cello concerti, leading Lalo's Concerto to serve as a catalyst for the cello to be considered a more soloistic instrument. Instrumentation: 2.2.2.2: 4.2.3.0: Timp: Str (9-8-7-6-5 in set): Solo Vc in set.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: GI.G-10796

SKU: FG.55011-372-5

ISBN 9790550113725.

Images of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss.
Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water.
The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound.
It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.