SKU: PR.417049100
UPC: 680160682836.
SKU: SU.80101422
Suite circulaire (2018) for organ is dedicated to Elisa Williams Bickers. The music takes a free, contemporary approach to the historical genre of circulating (or modulating) compositions, where the basic material moves through a variety of keys before returning home again. The goal is not simply to play a modulation game, but rather to construct a true musical discourse where the varied keys are an essential part of the concept. The first movement, Praeludium, is bright in character. Besides moving through varied keys, the movement is also animated with various looping patterns that provide another link to the circulating concept. The second movement, Ricercare, takes its content very literally from the title, which means to search out. Instead of being a proto-fugue, like many ricercares from the late Renaissance or early Baroque, the music searches through the keys by means of a wandering melody and a modulating accompaniment. The third movement, Toccata, is slightly manic in character. The syncopated theme heard at the start animates the movement as it moves through both tonal, modal, and bitonal/modal harmonies before reaching an excited conclusion. (When the suite is performed on an organ tuned in an unequal, circulating temperament, there is an additional circular effect provided by the quite varied key colors that are heard as the material moves through them.)Organ Duration: 14’ Composed: 2018 Published by: Zimbel Press.
SKU: HL.1341904
UPC: 665760908494. 3.5x5.0x3.0 inches.
Radius goes far beyond traditional ring modulation. With precise control over the balance and frequency ratios of both sidebands, you'll have more advanced control than with any ring mod that has come before. Organic, complex harmonic structures, bell-like tones, metallic textures, frequency shifting, soft tremolo, and bubbly phaser sounds are all on tap. Pitch tracking, a push-to-tune footswitch, and picking dynamics make it responsive and predictable in concert. In the studio, Radius has well-spaced controls for tabletop use and a full MIDI implementation for DAW integration. The 24-bit 96 kHz codec, audiophile op amps and stereo input/output make it equally at home in the studio or control room. Radius is a musical ring modulator and frequency shifter that lets you modfy the timbre of your instrument in new ways. With a multi-waveform LFO, step modulator, and MIDI-playable carrier oscillator, Radius modernizes classic electronic techniques for the future. Features: • Stereo ring modulator and frequency shifter • Continuous mix between ring modulation and frequency shifting • Selectable 2X frequency ratios for upper and lower sidebands • Frequency shifting with feedback • Three carrier frequency ranges (low, high, quantized) • Carrier frequency pitch tracking (monophonic, +/- 100%) • Pust-to-tone carrier oscillator • MIDI-playable carrier oscillator • Multi-waveform LFO (triangle, square, random, intelligent random, X mod +/-) • Step modulator (1-8 steps), programmable via front panel • Tap tempo and MIDI clock sync • Envelope follower • Envelope-triggered LFO (one-shot ramp, pulse, random, step mod) • Configurable AUX switch (tap, tune, preset, LFO) • USB and TRS MIDI • Full MIDI implementation • 96 kHz sampling rate • Web editor with preset upload/download • User-installable firmware updates (USB) Designed and assembled in USA. Requires a 9V DC 250 mA power supply (not included).
SKU: HL.49005311
ISBN 9790001057103. 9.0x12.0x0.062 inches.
Diese Anleitung, die diatonische Modulation behandelt, ist in erster Linie fur die Stegreif-Modulation gedacht, wie sie besonders im liturgischen Orgelspiel oft benotigt wird. Es werden dabei nur geringe theoretische Kenntnisse vorausgesetzt.
SKU: MB.93203
ISBN 9780871663634. UPC: 796279000222. 8.75x11.75 inches.
Now clearly at the intermediate level, Grade 4 begins by introducing the E major scale in three octaves plus the principal chords in E major. The C# harmonic and melodic minor scales are introduced followed by a wealth of carefully arranged solo and duet study material in various keys in the fourth, fifth, seventh, and ninth position. Three basic shapes for major and minor chords are reviewed through chord studies in various keys through the seventh position. Theory lessons address identification of intervals, the dominant seventh chord, and modulation. Written in standard notation only.
SKU: LM.VV147
ISBN 9790560051475.
HAENDEL G.F. : Sarabande - BACH J.S. : Polonaise - HAYDN F.J. : Andantino - SCHUMANN R. : Le poete parle - GRIEG E. : Arietta - Melodie Populaire - KABALEVSKI D. : Toccatina - BARTOK B. : Chanson a boire - Ronde - HINDEMITH P. : La Marche - LUMET D. : Ballade a 5/4 - DESORMIERES B. : Modulations - CHARTREUX A. : 18 images/secondes - LEVY K. : La petite plaisanterie - FLENDER D. : Rochers dans la brune.
SKU: BT.PWM12271010
English.
The handbook Scale, Arpeggio, Interval and Modulation Studies for clarinet is addressed to teachers and pupils of music schools. It includes suggestions for exercises based on major and minor scales, arpeggios, and intervals, inchromatic progressions from e to eb1. All the exercises are in the form of studies, which enables them to be tailored to the player's ability. Text presented in Polish and English.
SKU: LM.VV216
ISBN 9790560052168.
DESORMIERES Bernard : Modulations - Opus six - CHARTREUX Annick : 18 images par secondes - FLENDER Reinhard David : Rochers dans la brume - GAGNEUX Renaud : Carillons lointains - Signal continu - LEVY Krishna : La petite plaisanterie - LUMET Dominique : Ballade en 5/4.
SKU: PR.165001000
ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.
Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,â€giving rise to the work’s title.This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,†butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty†than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?†takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.â€Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,â€constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.†This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key†of the hymn seems to shift — until the “Lord of all, toThee we praise†melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tuneâ€heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty†with long spaces between them, but it soonchanges to a series of “Amen†cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth†contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sightâ€and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.
SKU: PR.16500100F
ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.
SKU: ST.ES27
ISBN 9790220211126.
Proceeding from the basis of simple, chromatically inflected tunes mastered in Book 1, An Introduction to Sight-Singing Book 2 extends the student's technique to encompass the performance of extensive, modulating melodies. There is further work on minor keys and chromatic notes, and stress is laid on the value of learning to sing by interval as well as by sense of key in order to pitch notes in passages of rapid and frequently changing tonality. Copiously furnished with examples and exercises, the book concludes with 50 sight-singing studies containing chromaticism and more extreme modulation, representing the most challenging standard of sight-singing technique required in the course of everyday practical musicianship.
SKU: TM.06065VS
Orch. by Liszt and Doppler. Key of D, modulating to Bb.
SKU: TM.07247SET
Key of G major modulating to C Major. Full score and parts typeset 2018.
SKU: LO.99-3407L
UPC: 000308142082.
This superb setting of a German carol opens with a jubilant fanfare. Excitement escalates as the carol appears, modulating up with the second and third verses, and the concluding fanfare provides a thrilling close. From the Celtic-inspired cantata, Stars of Glory (SATB—65/2066L), this piece is great for holiday concerts or Christmas worship.
SKU: TM.02760SET
Faint and Fainter is my Slumber; E (modulating to Db); Sc in set.
SKU: HL.269499
ISBN 9781540024954. UPC: 888680738730. 7.55x9.25x0.332 inches. Craig Anderton The Musician's Guide to Home Recording Series.
Modern amp sim software has progressed to an amazing degree, yet many guitarists have difficulty obtaining the same kind of responsive, organic sounds associated with physical amps. This book is loaded with tips on how to use amp sims not only to re-create the sound and feel of iconic amps, but also, to create sounds that were either impractical or impossible to do with traditional amps. Topics include: * Simple ways guitars can be more sim-friendly * Using processors to condition the audio prior to going through sims * Hard disk editing techniques to optimize tracks for use with amp sims * Multiband processing for exceptional dynamics and responsiveness * Parallel processing, amp stacking * Creating custom virtual cabinets instead of using the ones in the sim * Eliminating aliasing and other digital artifacts, combining amp sims and physical amps, and much more The book also includes information on how guitar can blend in perfectly with EDM and other modern musical forms through the use of software processing, and techniques like modulating guitar with drums and other instruments to give highly rhythmic overlays. Filled with illustrations and tech talk sidebars on selected topics, this book is essential reading for all guitarists - from traditional blues players who seek the ultimate tone, to experimental guitarists immersed in the world of electronics.