Chimings

SKU: HL.197532

UPC: 888680645991. 8.0x12.5x2.0 inches.

The resonating sound of the chime bars is quite similar to that of a glockenspiel, but with much more sustain despite not being tuned to specific musical notes. This instrument is played most conveniently when placed on a flat stable surface. We recommend IQ Plus chime bars for use in both music education programs and simply having fun at home. The IQ Plus chimes can be easily played by children with or without basic musical knowledge. • IQ Plus chime bars feature a bright sustained resonating sound • Highly resonant steel chimes mounted on a bar crafted from environmentally friendly rubber wood • Wooden playing mallet included.

SKU: CF.YPS228

ISBN 9781491157961. UPC: 680160916566. 9 x 12 inches.

Ninja is a Grade 2 piece playable by any young band, due to extensive doublings throughout. The mood of the piece is mysterious, reflecting the image of ninjas being seen one moment and gone the next. Flute 3 is not essential as it doubles the oboes, but is useful in case you have a lot of flutes or due to a limited number of oboes. If you donat have a bass clarinet, baritone saxophone or bassoons, those parts are covered in the low brass. The timpani part is optional, and the piece wonat suffer if you donat have access to that percussion. The optional F-chime and gong only play in the final measure of the piece. While adding a notable effect at the end, those instruments wonat be missed if you donat have them available. The tom-tom part can be played on a snare drum with the snares off or may be played on a tenor drum. Care should be taken that accented notes are emphasized, but never become ponderous. The half notes at the beginning of the piece should not be accented. The theme is introduced in the first twelve measures, and at m. 13 many of the instruments trade the melody for half notes and vice-versa. Be careful that the percussion section never becomes overpowering. At m. 25, care should be taken that there is quite a volume difference between ff and mp. Think of this representing the ninjas being seen one moment and being hidden the next. The double staccato figures at m. 33 should not be accented. Trumpets and trombones at m. 37 should not be overly legato, but certainly shouldnat be treated as staccatos. Being aware of not accenting notes that donat have accents will make the accents at m. 49 more dramatic. Please note that the legato notes at mm. 58 and 60 are not to be accented.
Ninja is a Grade 2 piece playable by any young band, due to extensive doublings throughout. The mood of the piece is mysterious, reflecting the image of ninjas being seen one moment and gone the next. Flute 3 is not essential as it doubles the oboes, but is useful in case you have a lot of flutes or due to a limited number of oboes. If you don't have a bass clarinet, baritone saxophone or bassoons, those parts are covered in the low brass. The timpani part is optional, and the piece won't suffer if you don't have access to that percussion. The optional F-chime and gong only play in the final measure of the piece. While adding a notable effect at the end, those instruments won't be missed if you don't have them available. The tom-tom part can be played on a snare drum with the snares off or may be played on a tenor drum. Care should be taken that accented notes are emphasized, but never become ponderous. The half notes at the beginning of the piece should not be accented. The theme is introduced in the first twelve measures, and at m. 13 many of the instruments trade the melody for half notes and vice-versa. Be careful that the percussion section never becomes overpowering. At m. 25, care should be taken that there is quite a volume difference between ff and mp. Think of this representing the ninjas being seen one moment and being hidden the next. The double staccato figures at m. 33 should not be accented. Trumpets and trombones at m. 37 should not be overly legato, but certainly shouldn't be treated as staccatos. Being aware of not accenting notes that don't have accents will make the accents at m. 49 more dramatic. Please note that the legato notes at mm. 58 and 60 are not to be accented.
Ninja is a Grade 2 piece playable by any young band, due to extensive doublings throughout. The mood of the piece is mysterious, reflecting the image of ninjas being seen one moment and gone the next.Flute 3 is not essential as it doubles the oboes, but is useful in case you have a lot of flutes or due to a limited number of oboes. If you don’t have a bass clarinet, baritone saxophone or bassoons, those parts are covered in the low brass. The timpani part is optional, and the piece won’t suffer if you don’t have access to that percussion. The optional F-chime and gong only play in the final measure of the piece. While adding a notable effect at the end, those instruments won’t be missed if you don’t have them available. The tom-tom part can be played on a snare drum with the snares off or may be played on a tenor drum.Care should be taken that accented notes are emphasized, but never become ponderous. The half notes at the beginning of the piece should not be accented. The theme is introduced in the first twelve measures, and at m. 13 many of the instruments trade the melody for half notes and vice-versa. Be careful that the percussion section never becomes overpowering.At m. 25, care should be taken that there is quite a volume difference between ff and mp. Think of this representing the ninjas being seen one moment and being hidden the next. The double staccato figures at m. 33 should not be accented. Trumpets and trombones at m. 37 should not be overly legato, but certainly shouldn’t be treated as staccatos. Being aware of not accenting notes that don’t have accents will make the accents at m. 49 more dramatic. Please note that the legato notes at mm. 58 and 60 are not to be accented.

SKU: HL.3710223

UPC: 697643106987. 5.0x5.0x0.141 inches.

SKU: HL.14036217

SKU: HL.275830

ISBN 9781574243642. UPC: 888680744946. 8.5x11.0x0.421 inches. Mario Milan & James Finnerty.

Some of the most iconic recordings ever set to vinyl were produced on the Gibson Les Paul with the “Patent Applied For” pickup which, with its glass-like chime and haunting mids, represents the heart and soul of classic rock and the foundation upon which all subsequent guitar tone has evolved. The analysis within these 4-color pages precisely examines that very heart and soul, investigating its origins, development and rise to stardom...leaving no stone unturned in a quest to understand exactly what it is about the mythology of this particular combination of wires, wood and metal that make it so appealing to the ear, and so irreplaceable to the mix. Never before has such a revealing peek behind the scenes of the “Patent Applied For” pickup been attempted, but authors Mario Milan and James Finnerty will take you on a photographic tour of the genesis of the P.A.F. pickup with expert attention to every aspect of their engineering and a precise comparison and explanation of the qualities of pickups emanating from different eras. Along the way, myths are debunked, secrets revealed, and mysteries solved, which, along with an exclusive interview with Ted McCarty offer a deep and thorough analysis of that which makes these creations so uniquely special, as well as an explanation of exactly why replication has been so elusive. Well-known pickup winders offer their own diverse and individual perspectives on the reasons for such compelling and enduring appeal.