DIGITAL MARKETING

Hay Burner

Sammy Nestico loved horses and many of the titles he chose for his music reflect that love...Hay Burner is a perfect example. Aside from being a great straight ahead swing chart, there is also a tip of the hat to country music. As with all of Sammy's music there is ample opportunity to show off the dynamic shadings that are available in a big band.

Albert Hay Malotte: The Lord's Prayer (Voice/ Orchestra)

Available for the first time! The Lord's Prayer by Albert Hay Malotte is now available in the key of C, with a recorded accompaniment available on CD and orchestra score and parts. Ideal for church and sacred concert performance. Available for SATB, SAB, SSA and 2-Part. ChoirTrax CD available. Orchestral Pak also available. Performance Time: Approx. 2:30

Hercules bs200b+ notställ

Nodeplade: 48 x 34,5 cm. Orkesternodestativ med ben som kan stables. Sort. Nodeplade: 48 x 34,5 cm Højde: 69-110 cm Vægt 3,4 kg Orkesternodestativ med ben som kan stables. Sort

Y.M.C.A.

Teaches sign language (well, sort of) and encourages group participation.

No Hay Palabras ... (There Are No Words)

Comin' Home Baby

Essential Elements for Jazz Ensemble – Grade 1-2This soulful and funky tune is built using a twisted sort of blues progression, but is a great sounding groove for beginning bands. This will come together easily andbe fun to play.

Allegretto

Taken from early classical guitar music, Allegretto is a sort of period minuet, and clearly demonstrates the Italian style that parallels the work of Beethoven. Lloyd Conley brings us this well-crafted version, an ideal teaching piece for beginning string orchestras.

Hercules ms533b mikrofonställ

Mikrofonstativ med tre ben og bom. Sort. Mikrofonstativ med tre ben og bom. Højde: 107-240 cm. Bomlængde: 78 cm. Vægt: 2,6 kg. Bommen kan stoppes ned i toppen af stativet. Enten for at gøre stativet ekstra langt eller for at transportere stativet på en lettere måde.

Dusk to Dawn : Solo Alt sax Feature

In sort of a throwback style of slow funk, here is a skillfully composed vehicle for solo alto sax. Rich harmonies and an infectious groove help set the stage. And with careful pacing and tight ensemble figures, this makes anappealing change of pace for any concert or festival.

Brighton!

Brighton! is a short travelogue, in which all periods of history co-exist in some sort of 'present'. A party of Saxon travellers from the dark ages walk around an early 21st century city and experience - live - events from themid-19th and late 20th centuries. The music uses material from William Boyce, Beethoven, and Samuel Wesley'.

John Corigliano: Gazebo Dances for Orchestra (Full Score)

The title Gazebo Dances was suggested by the pavilions (often seen on village greens in towns throughout the countryside) where public band concerts are given on summer evenings.The delights of that sort of entertainment are portrayed in this set of dances, which begins with a Rossini-like Overture, is followed by a rather peg-legged Waltz, a long-lined Adagio, and finishes with a bouncy Tarantella.

Baby Elephant Walk

Everyone knows this Henry Mancini favorite, but not like this! Mike Tomaro has gleefully twisted the well-known melody into a New Orleans style second line groove for jazz ensemble! The signature bass line is still there (well, sort of), augmented with riffs and punches by various sections of the band. With a flexible solo section and a full ensemble shout, this chart is a real treat!

Toccata e Fantasia

Toccata e Fantasia was inspired by the composers’ love of Anton Bruckner’s fantastic wind instrument scoring in his symphonies. Within Toccata e Fantasia Thomas Doss has used several of Bruckner’s motifs. In addition to these obvious references you will also find hints of Eastern music with the small motifs being repeated again and again in a sort of Indian guru’s mantra, and an improvised blues section with a Big Band feel! A unique concert work that will thrill your audience.

Hercules ms540b mikrofonställ

Lavprofil mikrofonstativ med teleskop og Quick-N-EZ greb. Sort. Lavprofil mikrofonstativ med ekstra lang teleskoparm som er ideelt til tromme- og forstærkeropmiking og sammeklappelig trefod. Boomarmen kan nemt og hurtigt via "Quik-N-EZ"-systemet sættes på og tages af basen. Leveres med "EZ Adaptor Flip Clip" som gør det ligeså nemt at påsætte en lang række mikrofoner. Højde: 655 mm Vægt: 2.1 kg Fodradius: 325 mm Telskoparmlængde: 780 mm - 1220 mm Sammenfoldet: 782 mm x 105 mm x 90 mm

45's Bluetooth Headphones - White

Something cool, different and exciting. Encapsulating the spirit of Soho itself, the 45’s are the number 1 headphone for touch and swipe control and have amazing hybrid noise cancellation. Also, the outer shell of the 45’s has incorporated a record deck look from the future. Look at the specification, if you like that sort of thing, and compare it to other brands, it just sounds good. Gesture controls Up to 60-hour battery life Exceptional Noise cancelling Comfortable memory foam earcups USB-C type Charging cable included

The Frank Zappa Guitar Book: Transcribed By And With Intro By Steve Vai

Back in print! This classic book, compiled and transcribed by Steve Vai, a former member of the Zappa Band, features 22 transcriptions (without tab) of songs from seven Zappa albums. Also includes an introduction by Vai and photos. Songs include: Black Napkins, The Deathless Horsie, Five-five-Five, Gee, I like Your Pants, He Used to Cut the Grass, Heavy Duty Judy, Hog Heaven, Mo' Mama, Outside Now, Packard Goose, Pink Napkins, Rat Tomago, Sheik Yerbouti Tango, Shut up 'n Play Yer Guitar, Shut up 'n Play Yer Guitar Some More, Soup 'n Old Clothes, Stucco Homes, Theme from the 3rd movement of Sinister Footwear, Treacherous Cretins, Variations on the Carlos Santana Secret Chord Progression, Watermelon in Easter Hay, While You Were Out.

Frederic Chopin: Piano Pieces

Mazurkas, nocturnes, waltzes and polonaises constitute the core of Chopin’s expressive world. However, he also moved comfortably beyond such genre cycles, and pieces of this sort are brought together in this “Klavierstücke” book, in which we find lesser-known works (two Variation cycles, three Ecossaises) from Chopin’s earlier creative period along with rousing dance movements (Bolero and Tarantelle) and, to finish, the orchestrally conceived Allegro de concert. This forms the introduction to a sequence of three great individual works from Chopin’s middle and later creative periods: the Fantasie op. 49, the Berceuse op. 57, and the Barcarolle op. 60 the finest Chopin, availablein Henle paperback, cloth-bound, and study editions.

Ludwig van Beethoven: Clarinet Trios B flat major op. 11 and E flat major op. 38 for Piano, Clarinet (or Violin) and Violoncello

Beethoven composed his Clarinet Trios op. 11 and 38 in 1798 and 1802/03. The op. 11 was given the nickname “Gassenhauer Trio” because its third movement is a set of variations on a theme from Joseph Weigl’s opera L’amor marinaro (“Gassenhauer” means a “popular song”). Playing with many possibilities in these nine variations, Beethoven sometimes lets the piano appear alone, and sometimes has it rest. In places the mood is that of a sort of funeral march, and there are harmonic and rhythmic surprises throughout. The op. 38 “Grand Trio”, the later of the two, was a reworking by Beethoven himself of his op. 20 Septet. He provided as also in the case of op. 11 an alternativeviolin part, in order to give the work broader distribution and thus greater popularity. The violin parts are likewise included with our Urtext edition, which just as back then- makes it doubly valuable.

Per Nørgård: Zigzag (Parts)

Programme Note Zigzag ? percussion sextet (1981)ZIGZAG (1981, earlier entitled just SEXTET) is the second of my three percussion sextets (the other being RONDO (1964) and SQUARE AND ROUND (TWO DANCES) (1986)). ZIGZAG derives its characteristic rhythmic impulse from the establishing of simple metres (for instance four-bar patterns) that are abruptly cut off before completion, only to start over again immediately. This creates a sort of "cubistic" rhythmic effect, present also in my ISTERNIA (1979) for marimba solo and SONORA (1981) for flute and harp.Several percussion ensembles have performed SQUARE AND ROUND together with ZIGZAG, the latter played attacca as a third movement. I find the result of this combination convincing and satisfactory and I recommend it in performance ? with the title?Square, Round and Zigzag ? 3 pieces for percussion sextet? (1981/86).However, SQUARE AND ROUND as well as ZIGZAG may still be played separately.Per Nørgård

A Storybook Christmas Musical

Once upon a Christmastime ... Santa's workshop is visited by your favorite storybook characters: the Wolf, the Three Little Pigs, and Little Red Riding Hood. But wait! Little Red Riding Hood owns a health food restaurant, theThree Little Pigs are interior decorators and the Wolf is a gourmet chef? What's next? Join the fun as Santa's elves sort out the facts in this rollicking, 45-minute holiday musical, which includes 7 Unison/2-Part songs ina variety of styles with everything from Broadway-style show tunes to contemporary rap! The Teacher's Manual includes the full script, accompanied songs and a complete production guide, the Singer's Edition 5-Pak includes thescripts and vocal lines only, and the ShowTrax CD features exciting full performance and accompaniment-only versions. Easy staging, funny characters and situations, and a heart-warming ending will make this a show foreveryone to enjoy! Available: Teacher's Manual, Singer's Edition 5-Pak, Preview Cassette (full performance) and ShowTrax CD. Performance Time: 45-minutes. For Gr.3-6.

Per Nørgård: Remembering Child - Version 2013 (Score)

This is the 2013 version (reduced strings) of Per Nørgård 's Remembering Child - Viola concerto No. 1 (1986) -  Two Movements for Viola Solo (or Cello solo) and Chamber Orchestra. Programme Note: The title refers to the original meaning of the word "remembering": Making whole. The work should not be considered as a sort of requiem for Samantha Smith - the late 13 years old fighter for nuclear disarmament - but as an evocation of the childish, creative forces in all people, young and old. Therefore the work applies thematic material of a certain "dawning" quality, including two Gregorian chants, appearing intertwined in the beginning of the 2. movement.  And therefore the work also may be considered as a tribute to the still living child-heretics, fighting against the global lunacy of grown-up, such as Eamon Burke, the Australian boy, continuing, independently, the work of Samantha.  REMBERING CHILD was commissioned by St. Paul Chamber Ochestra and dedicated to Pincas Zuckerman, soloist at the premiere performance (Sept. 12, 1986).  Per Nørgård   

Magnus-Hymnen : Hymn of St. Magnus

Hymn of St. Magnus is the oldest written example of Nordic polyphony. It is dated around year 1200. It’s origin is the Orkney Islands and it’s characterized by moving, parallel thirds. The hymn is dedicated to Magnus Erlendsson (Magnus the Martyr), who was an earl at Orkney Islands at the end of the Viking age. This was obviously tough and bloody times for people in power, and Magnus was eventually cut down during a battle with a rival, which led to him being declared a saint. This arrangement describes the battle Magnus was involved in. The melody is here somewhat simplified from the original version, but with a slightly modern twist. Parts of the song is ideal to be learnt bymemory and performed with some sort of stage show. The drums in the song is supposed to be fierce war drums - the deeper, the better! The indicated drum rhythm is just suggested and may well be decorated with stylish details. It is also important that the melody is played as it would be sung in a choir, with long, beautiful phrases. The bass riff should be played like it would have been played on a rock guitar!

Wheeler Tom The Fender Archives Scrapbook Artifacts Treasures Bam Bk

Welcome to The Fender Archives – part history, part archive, part scrapbook, and part treasure chest. You are invited along on a research expedition, a sort of archeological dig through several sites: file folders in Fender's offices; the family archives of Don Randall; author/curator Richard Smith's collections; the photo galleries of John Peden and Fretted Americana; jammed metal cabinets in a sweltering warehouse near the Corona factory; and the home of the late Bob Perine in Cardiff-by-the-Sea, just blocks from the beach where he and Ned Jacoby took now-iconic photos of high school kids, surfboards, palm trees, and chrome-clad rocket-ship guitars in Shoreline Gold and Daphne Blue and Candy Apple Red. The Fender Archives looks at the company from the inside. Handwritten letters, production totals, personal logbooks, in-house memos, Leo Fender's drawing-board sketches, financial reports-such documents are freed here from long confinement in cardboard boxes and filing cabinets, dusted off, and promoted from background to spotlight. The Fender Archives sheds new light on the inspirations for revolutionary instruments and amplifiers, their sometimes difficult births and growing pains, the environment into which they were unleashed upon the world, and the motivations and personalities of key players. Includes rare and previously unseen photographs and documents from Fender's decades-long rich history. Over 30 reproduced facsimile items of historical documents, posters, and other items of interest.

Helen Grime: Seven Pierrot Miniatures (Piano Score and Parts)

For Chamber Ensemble.Commissioned by the Hebrides Ensemble and first performed on their Scottish tour in March 2010.In Seven Pierrot Miniatures, I took the Commedia dell?arte character, Pierrot as my primary source of inspiration. Other more tenuous links to Schoenberg?s Pierrot Lunaire also served as a starting point in forming the general shape of the work. The piece is cast in seven short movements, whereas the Schoenberg comprises three sets of seven movements. Although there is no part for voice, I have taken seven poems by Albert Giraud (none of them set in Pierrot Lunaire) as points of departure:1. The Clouds2. Decor3. Absinthe4. Suicide5. The Church6. Sunset7. The HarpEach movement takes its impetus from the corresponding poem, but in the piece as a whole, I wanted to explore the extreme contrasts of the multi-faceted character of Pierrot in a musical setting. There is an almost mirror-like quality to the form of the piece and a sense of ending where it has begun: movements 1, 3, 5 and 7 are closely linked, both in terms of their musical material and a sense of melancholy, dream-like quality and longing. Movements 2 and 6 are also strongly connected, with allusions to the more mischievous, violent side of Pierrot. Movement 4 serves as a sort-of pivotal point within the work, juxtaposing a surreal, shimmering calm with brutal outbursts. There is never any direct repetition, yet there is a strong sense of material returning and mutating as the work unfolds.InstrumentationFlute, doubling piccoloClarinet in Bb, doubling Bass Clarinet in BbViolin, doubling ViolaCelloPiano

Poul Ruders: Manhattan Abstraction (Score)

New York is the city which fascinates and inspires Ruders. Time and again he goes back there to work. 'Manhattan Abstraction' (1982) subtitles - a symphonic skyline for large orchestra - was conceived there. Ruders? Brittish colleague Oliver Knussen defines the piece as: - a performance of an extraordinary Morden-Times-like construction. It is a sort of symphonic sculpture, which in the composer?s own words words propels forth from one particular inspiration: the New York profile, as seen from Liberty Island, one icy cold January day with it?s open, clear sky and dazzling sun light. 'Manhatten Abstraction' appears as an amalgam of some of the compositorical habits found in present pieces. For instance, are present here compositorical ideas and melodic loans from 'Capriccio Pian?e Forte', 2nd String Quartet(1979), 'Four Compositions' (1980), and 2nd Piano Sonata(1982). The question at hand is mainly concerned with the enhanced elaboration of Ruders? use of the classic English change-ringing system: a permuting method pre-determining the order of tone-appearances and /or tone groups; a serial technique in other words. In spite of the rigidly fixed material, Ruders somehow manages to chisel out a personal expression by way of emphasising contrasting elements already existing within the material itself. The spiky, repetitive sections form a counterpart to a more human violin-solo. This dialectical tension is - as hinted by the title - a symphonic abstraction of a fascinating metropolis; the most beautiful and the ugliest. The subtitle: a symphonic skyline reflects the musical erection of the Manhattan profile, which under the clear sky, materializes into the most powerful and compelling man-made sculpture on earth. Thus 'Manhattan Abstraction' is a homage to, as well as a vision of, this giant contraption of concrete, glass, and chrome.