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Chaharah (Calligraphy No. 19) : for 10 Solo String Instruments Score and Parts

Chaharah (Calligraphy No. 19) : for 10 Solo String Instruments Score and Parts

Châhârgâh (Calligraphy No. 19) for string quartet with optional contrabass may be performed using the Persian Traditional Tuning System. A detailed chart to set the interval measurements is included with the music. Châhârgâh (Calligraphy No. 19) is part of Reza Vali's Calligraphies series, an ongoing cycle of works based on the Persian modal system, the Dastgâh, which he has been composing since 2000. Versions for string quartet and 10 solo string instruments are available from the publisher.

SEK 1772.00
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Butler: Songpack Pupil?s Book Pack of 10

Butler: Songpack Pupil?s Book Pack of 10

Songpack is one of the most successful resources for classroom music-making on the market. The song-based package actively encourages participation and offers ideas on performing, listening and inventing, thus fulfilling requirements of the Programmes Of Study and GCSE syllabus. Forty songs ranging from pop and folksongs to film and show tunes. Titles include ?Sailing?, ?When I?m Sixty Four?, Morning Has Broken?, ?Rivers Of Babylon? and many more. Each song is prefaced by teacher?s notes, giving helpful hints on rehearsal and performance, project work and listening activities. In addition to the songs and keyboard accompaniment, there are easy parts for recorder and tuned percussion plus melody parts in Bb. The pupil?s book gives the melody line, optional counter-melody, plus guitar chords.

SEK 1574.00
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Le opere attestate in antologie compilate in vita : Vol. 10/I - Edizione critica a cura di Alessandro Borin - David Bryant (testi in italiano e

Le opere attestate in antologie compilate in vita : Vol. 10/I - Edizione critica a cura di Alessandro Borin - David Bryant (testi in italiano e

Vol. 10 of the Complete Works, articulated in two parts, contains the music found exclusively in manuscript and printed anthologies compiled prior to the great sixteenth-century Venetian composer’s death in 1585. Broadly speaking, Gabrieli’s contributions to collective anthologies fall into the following categories: 1) celebratory compositions, in several cases conceived as individual contributions to madrigal cycles by various composers in honour of more or less prominent Venetian or other personalities; 2) compositions originating in social and cultural circles close to Gabrieli; products of the composer’s habitual interaction with patrons, poets and musicians in midsixteenth-century Venice, these compositions are published in anthologies containing similar works by other composers in Gabrieli’s milieu; 3) individual madrigals inserted in generic multi-author anthologies. Vol. 10/I features eight compositions on texts in Latin, Italian and ‘stradioto’ dialect (a linguistic concoction in which words of Greek origin appear against a background of simulated Venetian dialect). These include Gabrieli’s contribution to a Corona of nine sonnets by various composers on the death of Annibale Caro, the celebrated man-of-letters whose production comprises a highly successful Italian translation of Virgil’s Aeneid. The entire Corona is edited in the Complete Works. Gabrieli’s presence in multi-author anthologies follows a predictable pattern. The young composer’s earliest madrigals appear in editions of music by well-established authors (Vincenzo Ruffo, Cipriano de Rore) or collective anthologies edited by enterprising local musicians or other cultural figures (Giulio Bonagiunta, a singer at St Mark’s; the Venetian poet, actor and musician Antonio Molino). These give way to anthologies of music by highly celebrated composers, to which Gabrieli, his reputation now secure, accedes by invitation; and, beginning in 1583, non-Italian publications (increasingly common in the years following the composer’s death).

SEK 1364.00
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IK Multimedia iRig Blueboard

IK Multimedia iRig Blueboard

Bluetooth MIDI pedalboard iRig BlueBoard is the first wireless MIDI pedalboard for iOS and Mac that allows you to control your music apps and more from the floor. Now control parameters of your favorite MIDI-compatible apps like AmpliTube wirelessly with ease. Switch between presets, change patches, turn effects on and off and control effects like volume and wah without worrying about tripping over wires. Setup is as simple as turning iRig BlueBoard on and telling it what you want to control. iRig BlueBoard features four backlit soft-touch pads housed in a sturdy, stage-worthy chassis. Two TRS expansion jacks for connecting additional MIDI controllers like expression pedals. And it's powered by four standard AAA batteries.   Take control So how does iRig BlueBoard work? It connects to your iPhone/iPod touch/iPad or Mac via Bluetooth, and when you press its foot switches, it sends out control signals that are converted to MIDI by the iRig BlueBoard app. iRig BlueBoard's latest firmware supports Apple's Bluetooth LE MIDI for iOS and OS X (read more about the firmware update here). Apple's Bluetooth LE MIDI protocol transforms all MIDI data transmitted over Bluetooth into core MIDI data for simple, plug-and-play use with any MIDI over Bluetooth compatible app on both iOS 8 and above and OS X Yosemite and above. At this point the MIDI messages are available to any iOS apps which allow MIDI over Bluetooth devices to be connected or any MIDI compatible software on your Mac. iRig BlueBoard can be used in different modes to send different kinds of MIDI control information. The first mode allows iRig BlueBoard's 4 buttons to be used to send MIDI note on/off information to apps like SampleTank or iGrand Piano. The second mode works similarly, except that it sends MIDI CC on/off information, which is perfect for triggering apps like AmpliTube, allowing users to stomp their favorite effects on and off just like a physical stompbox. In addition to these apps, iRig BlueBoard can also be used with many popular third party apps and software, like Apple's GarageBand. iRig BlueBoard works seamlessly with AmpliTube. To use them together, all you need to do is find your iRig BlueBoard device in AmpliTube's integrated BlueBoard section and you'll be ready to go. You get a PRESET mode (to browse presets), a DIRECT FX mode (to control single parameters, like switches and knobs) and a new "Global Controls" feature that lets toggle the tuner, switch banks and presets, control the recorder and a whole lot more. Pair iRig BlueBoard with the latest version of AmpliTube and get full control — all without using your hands.   Control from 10 meters away iRig BlueBoard communicates via Bluetooth technology so you can place it up to 10 meters (32.8 feet) away from your device and still maintain full control of your apps. The low-profile iRig BlueBoard is only 9.1” (23cm) wide, and it runs on 4 - AAA batteries.   Light up the night iRig Blueboard has 4 backlit control pads housed in a sturdy stage-worthy chassis. Each pad has an additional LED that lights when the pad is active, letting you know exactly which control is on. And since it’s backlit, you can easily see it on a dark stage or performance venue for quick and accurate access.   No limits iRig BlueBoard also features two expansion TRS jacks so you can add more expression to your performance. Plug your continuous MIDI controller like wah or volume style pedals into these expansion jacks to add even more control and performance versatility.   Designed by and for musicians Guitar, bass and keyboard players and singers will now be able to play and control their preferred iOS apps on stage or in studio, with the same degree of performance control offered by traditional music hardware and the freedom of not being tethered by cables. Plus iRig BlueBoard is small enough to fit in a laptop bag. iRig BlueBoard companion apps for other computer and mobile platforms will also be available the near future.   Features Bluetooth MIDI pedalboard (10m/32.8' range) 4 backlit assignable foot switches 2 1/4" inputs for assignable expression pedals or switches Can send MIDI Program Changes and MIDI Control Changes Direct integration with AmpliTube BlueBoard iOS app runs in background on mobile device or Mac, and translates Bluetooth messages to MIDI Runs on standard AAA batteries Small enough to fit in a laptop bag What’s New New Firmware update supports Apple's Bluetooth LE MIDI feature   Requirements iOS Devices Compatible with iPhone X, iPhone 8 Plus, iPhone 8, iPhone 7 Plus, iPhone 7, iPhone SE, iPhone 6s Plus, iPhone 6s, iPhone 6 Plus, iPhone 6, iPhone 5s, iPhone 5c, iPhone 5, iPhone 4s, iPod touch 6th generation, iPod touch 5th generation, iPad Pro, iPad mini 4, iPad Air 2, iPad mini 3, iPad Air, iPad mini 2, iPad 4th generation, iPad mini, iPad 3rd generation. iOS 6.1 or later is ...

SEK 1241.00
1

Consolations, Grand solo de concert and Other Work : Suppl. 10

Consolations, Grand solo de concert and Other Work : Suppl. 10

Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor.

SEK 1277.00
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