Satie, Erik3 Morceaux en forme de Poire für Klavier zu vier HändenIn 1903, Satie composed his famous cycle for piano duet with the provocative and ambiguous title ´´3 Morceaux en forme de Poire”. (In French, ´´poire” means ´´pear” but also ´´dimwit”). It is a detached and ironic commentary on the constraints of musical form.Now this cycle is being published in a scholarly-critical Urtext edition for the first time. Convenient page turns, a score format, translations of the French expression and tempo markings, Satie’s enigmatic introduction, performance suggestions by the Satie specialist Steffen Schleiermacher and a detailed foreword by the renowned musicologist Jens Rosteck make the study and performance of these pieces a true pleasure.• First scholarly-critical Urtext edition• Of an easy to moderate level of difficulty• Includes translations of all expression and tempo markings (Fr/Ger/Eng)• Detailed foreword (Ger/Eng) and Critical Commentary (Eng) DetailsEdition no.: BA 10809ISMN: 9790006541188Editor: Rosteck, JensLanguage(s) of text: German, EnglishProduct format: Performance score(s), Urtext editionIncludes the following individual parts: Piano (4 hands)Binding: StapledPages / Format: XV, 37 S. - 31,0 x 24,3 cm
DescriptionStevie Ray Vaughan was a one-man Blues revolution - a true Texan original that totally reinvigorated the blues guitar and made it relevant and exciting for the Van Halen generation. Combining the power and virtuosity of Hendrix with a life-long love of Albert King, Kenny Burrell and the Texas blues greats, SRV possessed a style that was all his own, charging the blues with all the energy and invention of rock.In this double-DVD tutorial, Jamie Humphries provides a detailed guide to five Stevie Ray Vaughan favourites, with note-by-note explanations across a wide range of styles. Learn for yourself the stunning impassioned blues of The Sky Is Crying, the stomping shuffle of Pride And Joy, the sleazy funk of Cold Shot and the fret-melting fireworks of Scuttlebuttin´.SonglistCold ShotPride And JoyScuttle Buttin´Texas FloodThe Sky Is Crying
This book and accompanying video provide a thorough introduction to flamenco guitar. What are the essential elements and techniques of flamenco guitar playing? How does one capture the real essence of authentic flamenco guitar? These are questions that Juan Martin, celebrated virtuoso flamenco guitarist and teacher, addresses in this first book of a projected three-volume series. The method is designed for the complete beginner and requires no prior knowledge of the guitar or flamenco music. It also provides invaluable insight and material for more advanced players who want to capture the essential sounds, rhythms and emotional power of true flamenco.The series begins with in-depth demonstrations of how the basic building blocks of flamenco guitar technique are used in actual flamenco music. The material then progresses to a detailed exploration of the individual rhythmic forms - the palos. In this book, the fundamental palos of Solea and Alegrias are presented to emphasize the basic rhythms and provide examples of falsetas - the melodic passages. Martin then shows how to apply these when collaborating with a dancer and singer. The music is transcribed in standard notation and tablature (cifra), and the two DVDs contain over 3.5 combined hours of explanation and demonstrations. The first DVD provides a detailed introduction to basic techniques, using examples of authentic flamenco to show these techniques in action. The second DVD progresses to demonstrations of the Solea and Alegrias, including music for the soloist and the guitar accompanying the dancing and singing.
Edition no.: BA9026ISMN: 9790006540846Editor: Del Mar, JonathanLanguage(s) of text: English, GermanProduct format: Score, Anthology, Urtext editionIncludes the following individual parts: Violin Solo, OrchestraBinding: StapledPages / Format: VIII, 38 Seiten - 31,0 x 24,3 cm Beethoven’s Romances are performed all over the world, yet how many conductors, performers and listeners are aware that op. 50 which was incidentally composed before op. 40, comes down to us in an unfinished form? The autograph score contains little to no articulation or dynamics and to the present day the work has existed only in highly over-edited publications. The performer has no way of knowing what was originally intended by the composer.Bärenreiter’s new Urtext edition of opp. 50 and 40 offers the score to op. 50 twice; the first score reflects the state of Beethoven’s autograph with editorial markings clearly indicated, the second score has been edited based on other works by Beethoven from that period. This manner of publishing remains true to the sources and at the same time offers musicians a reliable transparent score for performances.In addition to the Urtext solo part, a second solo part with fingering and bowing by Detlef Mahn is also included in the piano reduction.- Piano reduction which includes an Urtext solo part as well as an additional solo part with fingering and bowing- The score to op. 50 available in two versions- Detailed critical commentary (Eng)
The skulpter 500 is the ultimate recording front end. Its audiophile preamp is based on single resistors controlling a fully discrete Class-A amplifier capable of complementing any microphone with a remarkably true and natural sound. If additional mojo is needed, two variable saturation/filter stages and an intelligent onboard compressor make voices and instruments sound like a finished record right from the start.Whether clean or colored, the sonic bliss does not stop at your mic locker. The skulpter 500 provides a balanced DI input with significant headroom, so just about any signal coming from guitars, basses, synths and effects will benefit greatly from the skulpter 500’s pristine amplification and versatile processing qualities.Way more than just a preamp, the skulpter 500 is a complete recording solution – everything you’ll ever need in front of your DAW.• 100% Discrete Class-A Topology Pristine audio path and signal processing.• Audiophile Gain Staging Natural and incredibly detailed sound.• Dual Sound Shaper Mojo machine with filters and harmonics.• Intelligent Onboard Dynamics Smart controlled musical compression.• Variable Low Cut Filter Flexible low frequency clean up.• Balanced DI Instrument input with massive headroom.• Multifunction Meter Level, gain, compression and clipping.• Stepped Controllers Exact and repeatable settings.
Ideal for acoustic and percussive instruments, featuring one M60 FET amplifier paired with a TK60 cardioid polar pattern capsule.With over a year and half of development and beta testing with top recording engineers, the newly designed M60 FET (Field Effect Transistor) small diaphragm microphone is TELEFUNKEN Elektroakustik´s first non-vacuum tube, FET-based solid-state condenser microphone. The M60 FET Series is designed to utilize the same interchangeable TK6x capsules as the TEC Award-winning ELA M 260 small diaphragm tube microphone.The M60 FET Cardioid package includes one M60 amplifier paired with a TK60 cardioid polar pattern capsule. The TK60 features a 6-micron gold-sputtered membrane measuring 15mm in diameter, with a surprisingly full low end, and a quick and accurate transient response. The frequency response is flat from 150 Hz to 7 kHz, with a smooth, airy presence peak at 8 kHz making it ideal for drum overheads, hi-hat and ride cymbals, piano, acoustic guitar, and other acoustic instruments.Utilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20 Hz to 50 kHz. The output is matched with a custom American-made transformer that offers an especially low self-noise and a typical THD+N of 0.015% or better, making it ideal for critical recording applications.The M60 FET´s incredibly quick transient response captures nuances and subtleties with impressive precision and clarity. This results in an extremely detailed sonic image with definition and presence, perfectly suited for the complex character of stringed instruments and percussive sources.The M60 FET amplifier body is finished in a durable, lightly textured black powder coat adorned with the historic TELEFUNKEN diamond badge. The microphone´s XLR connector shell complements the look with a matte black nickel-plated finish engraved with the model and serial number. The TK6x capsules feature a bright nickel-plated enclosure with a fine gold mesh pattern.The M60 FET Cardioid system ships complete with an SGMC-5R 5-meter XLR cable with right angle female connector, M761 elastic shock mount, and a foam windscreen, all packed in an FC61 zipper carrying case.Specifications- Type: Condenser Pressure Gradient- Capsule: TK60- Frequency Range: 20Hz / 20kHz- Polar Pattern: Cardioid- Sensitivity: 8.6mV/PA +/-1db- THD at 1kHz at 1Pa: - Maximum SPL: 130db SPL (1%THD)- Self Noise: - Size: 5 1/2 (140mm) length x 13/16 (21mm) diameter- Weight: 4.2 oz (119g)- Powering Alternative: Phantom Power- Supply Current: 48 volts- Connected Via: XLR-3- Supplied Accessories: M761 Elastic Mount, SGMC-5R XLR cable- Optional Accessories: FC61 Molded Zipper Case
Monteverdi’s opera ´´L’Orfeo”, based on the legend of Thracian singer Orpheus and his love of Eurydice, is a masterpiece of musical declamation and ornamentation. It was first performed during the 1607 carnevale in the ´´Palazzo Ducale” in Mantua.When an edition remains true to its sources, this certainly does not mean that it is not also practical to use, as is demonstrated in this Bärenreiter edition of Monteverdi’s ´´L’Orfeo”. Edited by Rinaldo Alessandrini, the new publication follows the Bärenreiter edition of Monteverdi’s ´´Il ritorno d’Ulisse in patria”.Two contemporary prints of ´´L’Orfeo” from the years 1609 and 1615 have been passed down to us. Four copies of each of these prints still survive today in public libraries. The later print includes many corrections to the earlier edition and was accordingly used as the primary source for this Bärenreiter edition. However, when solving musical problems the editor frequently follows the more coherent style of the earlier print. The numerous interesting variants, not only between the two editions but also amongst the eight surviving copies, are listed in the critical commentary.This edition of ´´L’Orfeo” offers in addition to Monteverdi’s somewhat sparse original figures also figures added to the bass line by the editor. The continuo player should, however, feel free to follow his own judgment. The notation has been, when necessary, adapted to suit modern practice, for example with regard to the clefs. The sections that were originally written in ´´chiavetta” have been transposed a fifth lower. In the appendix these sections also appear in their original notation in facsimile as well as transposed a fourth lower.- Detailed introduction by the editor (Ital/Eng/Ger) on the work’s genesis and performance practice- Comprehensive critical commentary (Eng) in the score- Idiomatic piano reductionEdition no.: BA 8793-90ISMN: 9790006533121Composer / Author: Monteverdi, ClaudioTitle: L´Orfeo Favola in musica in one prologue and five actsDetailed instrumentation: Soprano solo (7), Tenor solo (4), Bass solo (3), Mixed choir: SSATTB, Male choir: TTBBB, OrchestraLibrettist: Striggio, Alessandro (junior)Editor: Alessandrini, RinaldoForeword / Introduction: Alessandrini, RinaldoProduct format: Piano reduction, Urtext editionLanguage(s) of work: ItalianLanguage(s) of text: German, Italian, EnglishPublisher: BärenreiterBinding: PaperbackPrint run: 1st printing 2012Pages / Format: XIV, 143 S. - 27,0 x 19,0 cmWeight: 428 g
Chédeville, NicolasIl Pastor FidoSix Sonatas for Musette, Hurdy gurdy, Flute, Oboe or Violin and Basso continuoattributed to Antonio VivaldiEditorSardelli, Federico MariaLanguage(s) of textGerman, EnglishIt was in 1990 – more than 250 years after the publication of Il Pastor Fido – that the masterful forgery was exposed: not Antonio Vivaldi but in fact the French composer Nicolas Chédeville (1705–1782) turned out to be the true author of this sonata collection, which was subtly foisted upon the unsuspecting Parisian public in the middle of the 18th Century, at the height of Vivaldi´s popularity in France. Vivaldi himself never came to know anything of the misuse of his name and musical intellectual property.Il Pastor Fido offers a ‘Mélange‘ of very simple, movements and gallantries in the French style, as well as some throughout original movements of exceptionally fine music and powerful compositional ideas. Approximately ninety percent of ´´Il Pastor Fido” is Chédeville´s own work; for the remainder, he adopted and built upon themes (or those which he thought to be) by Vivaldi, all the while demonstrating a thorough understanding of the style that he was striving to imitate.As with all of Chédeville´s other works and numerous other collections from the time, the original title mentions a series of instruments, all of which are suitable for performing these sonatas: the musette, hurdy-gurdy, flute, oboe and violin. Whilst the first two, which were popular instruments at the time and corresponded to the Arcadian sensibilities of the Age of Enlightenment, have long since been out of fashion, the flute is particularly well suited today to reflect the pastoral character – noted in the title of the collection (´´Il Pastor Fido”: the Faithful Shepherd) – of the music.The Bärenreiter Urtext edition was edited by the reputable Vivaldi scholar and conductor Federico Maria Sardelli. In addition to the musical text of the six sonatas, it contains a detailed preface (German / English), which not only tells the enthralling story of the forgery and reveals the ingredients” required for such a composition. It also contains inspiring information on performance practice, whilst presenting a critical report with references to readings and editorial decisions.- Bärenreiter Urtext edition by Federico Maria Sardelli- Preface (German/English) and Critical Report (English)- Inspiring information on historical performance practice
New digital 14” snare with latest multi-sensor triggering Roland is revolutionizing electronic drums – our trigger pads are no exception. Our brand new digital trigger pads work with the TD-50 sound module to provide the ultimate in expressive drumming. Never before have electronic drums been so true-to-life.The new Roland PD-140DS Digital V-Pad combines snare tradition with the latest triggering technology. A brand new three-layer mesh head is fitted to a standard size 14” shell for natural rebound and feel and is instantly familiar to play. But now, thanks to Roland’s newly developed multi-element sensor system, your hits across every area of the pad are more closely detected, and your playing dynamics captured in minute detail. Rim shots and cross-sticks are automatically detected as the pad senses your hand and adjusts accordingly, producing a sound that is natural, detailed and bursting with character. To enjoy the optimum performance from this groundbreaking digital drum pad, it must be paired with the processing power and digital trigger inputs of Roland’s new flagship TD-50 sound module. - High-resolution sound triggering with accurate positional detection- Compatible with flagship TD-50 sound module for optimum performance- Play cross sticks or rim shots using traditional technique, with no need to adjust settings inside the module - 3-ply mesh head provides natural rebound, playing feel and response- Standard acoustic-style 14” size offers a familiar look, presence and playability- Reflective steel shell makes a visual impression on the stageSpecifications:-Pad size14 inches-Shell depth4.3 inches-Tension rods8-Head3-ply mesh head (Floating mid-layer structure)-Available playing methods (Triggers)Head shot (High resolution positional detection, Wide dynamic range)Rim shot (Depth detection, Wide dynamic range)Cross stick (Automatic switching)Brush sweep-Sensor systemMulti element sensor systemHead sensorPosition sensors x 3Rim sensorCross stick sensors x 3Built-in sensing processor-Supported covering size98 (width) x 1,060 (length) mmThickness: 1 mm or less-ConnectorDIGITAL TRIGGER OUT plug(compatible with Roland drum sound module equipped with DIGITAL TRIGGER IN port)-Power supplySupplied from DIGITAL TRIGGER IN port (DC 5 V)-Current Draw90 mA-Dimensions380 (W) x 380 (D) x 160 (H) mm15 (W) x 15 (D) x 6-5/16 (H) inches-Weight4.9 kg10 lbs 13 oz-AccessoriesOwner´s manualConnection cableDrum key