'Geometrics dans le détroit, Opus 29' est le deuxième d'une série de Mailman de compositions pour orchestre de concert explorant et en développant des motifs musicaux par l'utilisation de fréquents changements dans les habitudes métriques et largement varier les thèmes majeurs. Dédié à sa publication en 1964, le travail a été créé avec affection et gratitude à Herbert L. Carter, le directeur de la musique à l'East Carolina University. Deuxième d'une série de cinq oeuvres originales explorant les fréquents changements dans les habitudes métriques et largement varier les thèmes majeurs, il est composé sans armure et se caractérise par un son contemporain passionnant. (5:45) / Concert Band
SKU: HL.1416717
18.0x30.0x8.5 inches.
Taiga Keyboard is an evolution of the award-winning Taiga synthesizer. Taiga gave users a boundary-smashing suite of unique modern Pittsburgh Modular analog synthesizer innovations. Now in Taiga Keyboard, that same powerful suite of tools acts as a foundation in this expression keyboard instrument. Exploring the larger keyboard format, spreading controls out, and adding larger knobs make sound sculpting while performing easier than ever. We've also added additional modulation sources, additional controls, a full-size 37 key premium aftertouch-enabled keybed, and a first-of-its-kind, modular expansion bay. Taiga Keyboard oscillators Waveforms generated by the three Taiga Keyboard oscillators stretch beyond the basic geometric shapes and sounds associated with analog snythesis. Taiga Keyboard waveforms pass through up to three proprietary, cascading waveshapers designed to precisely manipulate their symmetry and harmonic content. In addition, each oscillator includes a robust six-stage wave folder to add even more complexity and depth to the diverse sonic palate of Taiga Keyboard. Dedicated coarse and fine controls deliver maximum flexibility & control over the full range of each oscillator. The “Pittsburgh Filter†The Pittsburgh filter has defined the sound of Pittsburgh Modular from the moment it was introduced. A signature gummy and relaxed sound with no dead spots that has been tweaked to perfection. It offers a warm, smooth sweep through the full frequency range and a sweet resonance that does not roll off the low end. This generation of the Pittsburgh filter is specifically designed to ensure a remarkable interplay with Taiga Keyboard's oscillators. Pittsburgh Dynamics Controller Pittsburgh's new Dynamics technology imparts Taiga Keyboard with a uniquely organic depth and presence. By simultaneously managing both amplitude and harmonic content, the Pittsburgh Dynamics Controller expands beyond the one-dimensional VCA found in other synthesizers. It does this by utilizing new advancements from traditional low pass gates to add additional definition and dimension to the voice of Taiga Keyboard. When used in low pass gate mode, sounds shed harmonic content and become warmer as they decrease in volume. This mimics how sound waves react to their environment. Because of this connection, the Taiga Keyboard sounds more natural or complex compared to other instruments. Analog Echos Echos is a beautifully dark analog delay tuned to enhance the source material by repeating it over and over. Echos utilizes a pair of bucket brigade delay chips to produce a classic voltage-controllable analog delay effect that helps to place the sounds of Taiga Keyboard in a simulated environment. Open Architecture Taiga Keyboard has an internally defined signal path. Patch cables are not necessary to begin exploring. Attach a MIDI keyboard and plug the o.
SKU: CF.W2657
ISBN 9780825891120. UPC: 798408091125. 9 x 12 inches.
On May 29, 1913, an over-capacity audience in Paris’ Théâtre desChamps-Élysées witnessed an historical spectacle as they became a brutecatalyst in the most (in)famous opening night of the twentieth century.The Rite of Spring premiered that evening in the midst of a riot inspiredby the overwhelming primitivism both onstage and in the score.One-hundred plus years later, the music still incites the senses. The balletwas first published in 1914 in a reduction for two pianos, and serves asa basis for this arrangement. This edition is presented in honor of thecentennial of the ballet’s premiere, and is intended to give soloists andaccompanists a chance to perform this monumental work.On May 29, 1913, an over-capacity audience in Paris’ Théâtre des Champs-Élysées witnessedan historical spectacle as they became a brute catalyst in the most (in)famous opening nightof the twentieth century. The Rite of Spring premiered that evening in the midst of a riotinspired by the overwhelming primitivism both onstage and in the score. Subtitled “Picturesof Pagan Russia,†the ancient scenes were evoked using contemporary musical innovations,shattering expectations of a more traditional Ballet Russe production.How was an ancient ritual of sacrifice to the earth to be scored? The unevolved pesantecharacter of a village gathering was portrayed by odd time signatures and accents. Melodieswere geometrically woven as dissonant pastorales with grace-notes mimicking gutturalbreaks in primal voices. Instruments were orchestrated against the grain, straining soundsinto unrecognizable timbres. And just like the dancers on stage, musicians were organizedinto alternating groups often clashing with one another.One-hundred plus years later, the music still incites the senses. The ballet was first publishedin 1914 in a reduction for two pianos, and serves as a basis for this arrangement. This editionis presented in honor of the centennial of the ballet’s premiere, and is intended to give soloistsand accompanists a chance to perform this monumental work. Both movements may beplayed alone, and the first movement may also serve as a solo piece.
