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Under the Surface

Kirchert: Against Surface

Below the Surface Stream

Surface Pressure : from Encanto

Groove Juice Stick Grip in Can

Spray lightly on the gripping portion of the drum stick for a non-slip surface.

Esa-Pekka Salonen: Yta 2 For Piano

Composer's Note YTA is Swedish for 'surface'; my series of three YTA's - YTA 1 (alto flute), YTA 2 (Piano), YTA 3 (Cello)- were written with particular performers/friends in mind, and in each piece I have tried to capture and explore aspects of their virtuosity and that of their instrument. Being a Finn, 'surfaces' are often snowy and icy, and the music reflects a sparkling, crystalline and sometimes blinding quality, just as a vibrating, shimmering surface reflects a shing light.Although the surface of the music is extremely busy and dispenses with traditional medlody altogether, the formal process is considerably slower and partly hidden behind the frenetic stream and gleam of fast gestures.Esa-Pekka Salonen

String Quartet No.1 ( Study Score)

. . . a world of shimmering sounds and unusual moves. That world has a chaotic surface, yet there is an undeniable internal coherence and drama that engages the attention and the imagination. . . Mr Harvey's work, with its otherworldly textures, seduces the listener.James R Oestreich, The New York Times, 23 April 1991.

Selections from ENCANTO : The Family Madrigal - We Don't Talk About Bruno - Dos Oruguitas - Surface Pressure - Waiting on a Mi

One Small Step

In July 1969, Apollo 11 completed its mission to the moon and Neil Armstrong made his famous proclamation "That's one small step..." as he stepped out onto the lunar surface. Michael Oare's descriptive work for young bands captures the drama of that moment and offers the option of using actual audio clips from the mission for a truly magical effect.

Helen Marlais: Succeeding At The Piano - Lesson And Technique Book: Preparatory (Book/CD) (2nd Edition)

Helen Marlais ’ Succeeding At The Piano: Lesson And Technique Book - Preparatory introduces basic rhythmic figures, dynamics, correct and healthy technique, notes in Middle C position and C position, reading from guide notes, basic intervals and musical terms and symbols. The Tissue Box and Drip-Drop-Roll are two touch releases reinforced throughout the entire 2nd Edition. This edition offers a cleaner look, easier student solos and teacher duets, simplified technique and terrific motivational music to build a solid musical foundation that instills love of Piano playing. The CD allows students to hear Piano music played well with correct phrasing, dynamics and inflection.

Graphic Guitars Poster

This unique poster illustrates the fine art of Paul Chase. Many of the pictured paintings have actual guitars embedded in the surface, then painted over with a contemporary "graphic guitars" design. Traditional methods such as colored pencil, pastels, mixed media, enamels and acrylic are also used to create the guitar paintings. Note: The sample for this product is an image of the entire chart. It may take a while to load.

Mighty Bright: Magnetic Light Base/Stand (Black)

Use your Mighty Bright as a free standing light with this attachment, or secure it to any metal surface with its strong magnetic base. For use with Mighty Bright XtraFlex, XtraFlex 2, HammerHead, Duet, Duet2, DoubleFlex and Stage/Pedal Board lights.Wide base holds your light in a secure, stand-up positionAttaches and detaches to the base of the light with a spring-loaded clipLarge floating magnet on bottom for securing to metal surfacesAffixes to music standsFour non-skid rubber feetMeasures 4" x 2 3/4" x 3/4"For use with HammerHead, XtraFlex, XtraFlex2, Duet, Duet2, DoubleFlex and Stage/Pedal Board lights

Encanto Easy piano : Music from the Motion Picture Soundtrack

Lin-Manuel Miranda's soundtrack to Encanto has taken the music world by storm. The catchy single We Don't Talk About Bruno has even surpassed Let It Go as the biggest Disney Billboard Hot 100 hit since 1995! The entire soundtrack also topped the album charts and the momentum only keeps growing! Our souvenir matching folio feautres eight pages of full-color art from the movie with 9 songs arranged for easy piano with lyrics. Songs include: All of You · Colombia, Mi Encanto · Dos Oruguitas · The Family Madrigal · Surface Pressure · Two Oruguitas · Waiting on a Miracle · We Don't Talk About Bruno · What Else Can I Do?

The Henry Allen Collection - Volume 6 1941-1946

The recordings on this compact disc have been transferred as far as possible from the original 78 rpm records and processed in analogue form to present all of the recorded information at correct pitch and in character approximating natural tonality of the instruments; this is done with little consideration of original surface noice which has been largely smoothed to present least distraction rather than being filtered with consquent destruction of natural 'air'. Today's transfer is likely to be tomorrow's source material and there is great promise of future technology which will make possible further reduction of unwanted noise at no expense to the music. Until that time, the listener is exhorted to perform his own filtering to taste.

Christopher Leedham: Möbius Sticks

Möbius Sticks for Clarinet, Percussion and Cello. Composed 2014, published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6), recorded by Dark Inventions. Duration: 5 minutes. Named after German mathematician August Ferdinand Möbius, a Möbius strip has only one surface and one boundary. Inspired by this phenomenon, Möbius Sticks is built around a constantly twisting but ultimately singular melodic line set in motion by the Percussion. The other instruments weave melodic strands and try to impose some sense of direction on proceedings, but all they can do is merely shed a slightly differing light on the infinitely repeating strip that runs through the centre of the piece. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House, Manchester.

Jason Bittner: What Drives The Beat (DVD)

Jason Bittner, award-winning drummer for Shadow Fall, presents a complete educational look at modern metal drumming in What Drives The Beat.Topics covered include double-bass technique, rudimental applications, blast beats, fills, two-surface riding, soloing, and more. Jason also presents his complete 'Double Bass Crash Course', a complete method for gaining technical facility with the feet. All of the exercises are clearly explained and demonstrated, and included in a complete PDF eBook, which can be printed out and used to practice along with the DVD. Foot cameras and split screen shots allow you to see everything that is played.Also included are several musical performances, a free-form solo, and bonus features including additional live solo footage, Jason's complete warm-up/stretching routine, a photo gallery, and unreleased in-concert performances.

Esa-Pekka Salonen: Yta 1 For Alto Flute

Salonen’s work YTA 1 For Alto Flute Solo is created on a different scale Altogether from the composer's Orchestral works. Arising from an early ambition to write a large collection of virtuoso solo pieces that would connect to one another, YTA 1 calls for the greatest possible artistry of the performer. The piece is scored for the entire range of the Alto Flute, making much use of the extremes. YTA, meaning ‘surface’, has a relentless, driven texture in which Salonen has scored ‘key slaps’, ‘tongue rams’ and ‘kisses’. Esa-Pekka Salonen as conductor and composer has earned the highest standing in the contemporary musical world, including his current positions as Conductor Laureate of the Los Angeles Philharmonic, of which he was Music Director for seventeen years, and as Principal Conductor and Artistic Advisor for London’s Philharmonia Orchestra. His pieces Floof and LA Variations have entered the modern canon.

Drei Volkslieder aus dem Komitat Csík

'In August [Bartók] heard the fifty-year-old Áron Balogh playing the peasant flute in Gyergyóteker patak in Csík district. He arranged three songs under the title From Gyergyó, for tilinkó [peasant flute] and piano, and the piano transcription of this occasional composition presented to Stefi Geyer as 'Three Hungarian Folksongs from the Csík District'. In all three versions Bartók retained the rich ornamentation of the flute version, and added a modal accompaniment to the melodies in a church mode. After the first two rubato melodies, notated in alternating time signatures, he concluded with a melody in strict 'giusto' rhythm. It is in this latter that the pentatonic skeletonbeneath the diatonic surface can best be felt. Bartók notated the pentatonic vocal version of this melody on this same field trip, and arranged it in the series 'Eight Hungarian Folksongs'.' (HCD 32524 Bartók New Series Vol. 24, István G. Németh)

AQUILA 104U LOW G Strings for Concert Ukulele

SUPERNYLGUT® sets: enjoy your playing with a superb new look and a better sound performance. We are proud to launch the upgraded version of our famousNylgut® strings: the Supernylgut ukulele string have a charming natural pearl color and a very smooth and polished surface feels like wax. So pleasant for your eyes and for your fingers! They are also  less stretchy than any previous Nylgut® version , this resulting in a faster setting to proper tune when new and in a tendency of easily maintaining the intonation when reached. On top of this, Supernylgut is stronger and does not suffer from sharp edges of the nuts, marks from frets or hard nail playing. And you can get all these upgrades together with the wonderful richness of tone which made our Nylgut® a success! Amazing! The low g sets come with our innovative Red Series fourth string, not with a wound one! Body Style: Concert Ukulele Specifications: Improved nylgut strings, sound very similar to gut strings Specifications II: Pearl coloured Specifications III: Tuning: GCEA (bass to treble) with low G string (wound) Features: Less sensitive to sharp edges (saddle / fingernails etc.)

Ryo Noda: Yume. Three pieces Inspired By Douanier Rousseau’s Paintings For Solo Saxophone

The Japanese Saxophonist and composer Ryo Noda , born in 1948, has placed his musical trajectory under the concept of East Meets West: a crossing of influences illustrated by Murasaki No Fuchi for Saxophone duo, in which the shakuhachi can be substituted for one of the Saxophones (AL 25 893). How could he have not felt certain elective affinities between his creation and that of Douanier Rousseau (1844-1910), whose jungle landscapes are the expression of a dreamlike exoticism? Inspired by three of the naïf master's paintings, Yume – The Dream for solo Saxophone lets the listener first succumb to the incantation of The Snake Charmer (1907): the threnody imitating the flute, imbued with mysterious sensuality, is echoed in the surrounding Nature, just like the pale moonlight reflecting on the surface of the lake. In War (1894), the charred trees and crimson clouds surround the goddess Bellone, whose cavalcade is evoked by the 'slap' technique, and the devastation by the Saxophone's harsh portamenti. The Dream (1910) shows us this woman, nude in the middle of the jungle, the state of Nature before the Fall, the incarnation of archaic innocence.

Reverie Hommage a Francis Poulenc

Poignant, evocative, wistful, playful, charming. These are just a few of the many adjectives that recount Francis Poulenc's musical craft, and perhaps, even his own personal disposition. When the musical elite begin any discussion (or argument) regarding the art of Francis Poulenc, one quote patented by noted music critic Claude Rostand seems to always bubble towards the surface: "In Poulenc, there is something of the monk and something of the rascal." How often we see that dichotomous but unifying strand of inspiration throughout his entire oeuvre! With the contrasting and complimentary ingredients of both piety and playfulness thoughtfully put in place, it is the intent ofRêverie to conjure the heart of Poulenc's musical form. Rêverie is a work that combines harmonic inventiveness, melodic poignancy and rhythms sprinkled with mischievous pulses. While the work does pay homage to the master with reverence, it simultaneously summons a fresh, new perspective of these old, familiar forms-these "ships" of our pasts. With that said, perhaps it is best to let Stravinsky take the helm: "[But] the true work of an artist is to improve upon old ships. He can only recount in his own way what has already been told." -Luke MayernikIncludes score and Alto Saxophone part. Duration: 6:30

On Recollecting

These songs were commissioned by the Mohawk Trail Concerts in Charlemont, Massachusetts in honor of Ruth Lloyd Black, their co-founder. The first performance was on August 30, 2015, soon after her death. My recollections of Ruth over some sixty years of friendship were a mixture of laughter and tears. She was a tireless advocate of chamber music, a fine musician, and possessor of a delightfully British sense of humor. Emily Dickinson has her tongue firmly in her cheek in these poems. There is serious purpose under the lyrics, but the surface is pure word-play. She juggles the terms “forgetting” and “recollecting” in each poem until they almost take each other’s meaning. The firstpoem may have accompanied a gift of flowers to a grieving neighbor: she shares the grief, but assuages it with humor. The first statement of “blithe” fingers should be happy, the second drenched in sorrow. I love the way the second poem opens like a puzzle: is she forgetting to remember, or remembering to forget? In either case, it ends with the touching image of a lost child. She continues to confuse us in the third song: is it sunrise or sunset that is “the other one?” The setting sun is her subject in many wonderful poems: here, she would rather “die divinely” in glorious color (echoes of Sarah Bernhardt?) than merely wane away. -Alice Parker

Nico Muhly: It Goes Without Saying

For a piece with such a strong electronic component, 'It Goes Without Saying' is surprisingly organic. While the electronics include chillier, metallic noises—samples ranging from a kitchen whisk to a unique set of tiny bells—most prominent are the warm, woody sounds of a harmonium and of clicking clarinet-keys, sounds that share a certain sonic DNA with the live components of the performance.The piece also develops according to organic principles. Over the initial drone of the harmonium, the rhythm track and the clarinets build the material of the piece up from small, replicating cells into a lively and elaborate texture. The minutely wrought surface is stretched over the simplest possible formal contour, the drone undergirding the piece progressing from C to F and back again. When the slowly building dissonance of the underlying harmonium chord finally reaches its tipping point, the resolution corresponds to a dramatic timbral shock: a shocking burst of industrial noise, dominating rather than complementing its acoustic surroundings. Finally, the machine noises die away and the harmonies return home, the texture warms once again—now leavened by the gentle sound of the celesta. – Program Notes © 2007 Daniel Johnson Performance Notes: The clarinet should be placed in the center of the stage. If amplification is used (which is not necessary but can help solve certain balance issues), it is recommended that there be one microphone traditionally placed, and another close to the side of the instrument, gently amplifying the natural sound of the keys clicking.

Pure Tone: Digital Guitar Tuner

With the  Pure Tone: Digital Guitar Tuner , your strings will always be in tune, whether you want standard tuning, drop D or something even more out there, this Chromatic tuner will get your Guitar, Bass or Violin hitting all the right notes. With an easy to read and easy to use design, the Digital Guitar Tuner  will light up with the central green light when you're perfectly in tune, or the red lights either side will flash if you're slightly sharp or flat. With its built in microphone, you can tune up using the sound, or you can plug right in to get the most accurate tuning possible. As well as a microphone, the Tuner  can also emit an audible chromatic note to help you understand the sound you are trying to achieve. The large LCD display will display note names so if you're trying to tune to those strange tunings that Joni Mitchell or Robert Fripp of King Crimson use, you can with ease. A really helpful digital tuning needle will also appear so you can see exactly how sharp or flat you are, helping you to train your ear in the process. There is also a useful prop that folds out so that it will stand up on any flat surface to allow hands-free tuning for ultimate convenience. The Pure Tone: Digital Guitar Tuner allows precise tuning for the best possible sound from your string instrument. Get the sound you need with this quick and accurate Tuner  that also happens to be fantastic value for money. Please note that this Guitar Tuner takes 2 x AAA batteries.

Eric Whitacre: Three Flower Songs (SATB)

Written early in Whitacre's career whilst at the University of Nevada in Las Vegas. Arranged for SATB choir, includes a Piano line for rehearsal purposes.I Hide MyselfJust a simple song, really. All of the musical suggestions come from a careful study of the poem, a quiet, passionate soul occasionally speaking a little bolder than the age will allow. She loves almost to the point of distraction, and this mood must prevail in the performance: shy and sullen, her passion surging to the surface only to sink back into the silence that is herself.Go, Lovely RoseThe piece is structured around the cyclical life of a rose, and is connection throughout by the opening 'rose motif', a seed that begins on the tonic and grows in all directions before it blossoms, dies and grows again. Each season is represented: spring begins the piece, summer appears at bar 13, autumn at bar 26, winter at bar 39 with spring returning at bar 49. The form is based on the Fibonacci sequence (the pattern found in plant and animal cell divisions) - its fifty five bars are a perfect Fibonacci number. The Golden Mean appears at bar 34 as all parts are reunited to complete the flower before its final blossom and inevitable cycle of death and rebirth.Each performance should be approached with a child-like innocence and naivety that allows us to marvel at the return of the rose each spring. The szforzandos throughout must be light and gentle.With A Lily In Your HandWater and Fire. If the performance of this piece connects these contrasting elemental ideas, its success is guaranteed. Water: At bar 30, this ostinato should be fluid and gentle, only interrupted at bar 32 as the butterflies momentarily spring out of the texture; bars 35-38 the water should slowly transform back to fire. Bar 44 should be tiny bell-tones motivating the next nine bars, another patient, sensuous transformation back to fire. Fire: Everything else.