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Vous avez sélectionné:
Let Her Go - Violin and Double Bass Duet
Partitions à imprimer
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Let Her Go
2 Contrebasses (duo)
Instrumental Duet Double Bass,Instrumental Duet - Level 3 - Digital Download SKU: A0.85…
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Instrumental Duet Double Bass,Instrumental Duet - Level 3 - Digital Download SKU: A0.851958 By Passenger. By Michael David Rosenberg. Arranged by Caroline McCaskey. Rock. Score and parts. 9 pages. AltStrings #2150775. Published by AltStrings (A0.851958). This arrangement of Let Her Go features the first bass. It includes some syncopation, and is appropriate for intermediate players.
$4.99
4.57 €
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2 Contrebasses (duo)
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Passenger
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Caroline McCaskey
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Let Her Go
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AltStrings
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SheetMusicPlus
Let Her Go
Violoncelle, Contrebasse (duo)
Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 3 - Digital Download SKU:…
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Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 3 - Digital Download SKU: A0.851954 By Passenger. By Michael David Rosenberg. Arranged by Caroline McCaskey. Rock. Score and parts. 9 pages. AltStrings #2150751. Published by AltStrings (A0.851954). This arrangement of Let Her Go features the cello. It includes some syncopation, and is appropriate for intermediate players.
$4.99
4.57 €
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Violoncelle, Contrebasse (duo)
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Passenger
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Caroline McCaskey
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Let Her Go
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AltStrings
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SheetMusicPlus
Let Her Go
Contrebasse, Piano (duo)
Double Bass,Piano,String Bass - Level 3 - Digital Download SKU: A0.851962 By Passen…
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Double Bass,Piano,String Bass - Level 3 - Digital Download SKU: A0.851962 By Passenger. By Michael David Rosenberg. Arranged by Caroline McCaskey. Rock. Score and part. 12 pages. AltStrings #2150789. Published by AltStrings (A0.851962). This arrangement of Let Her Go for bass solo includes piano accompaniment. It includes some syncopation, and is appropriate for intermediate players.
$4.99
4.57 €
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Contrebasse, Piano (duo)
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Passenger
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Caroline McCaskey
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Let Her Go
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AltStrings
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SheetMusicPlus
Merry-go-round Of Life
Contrebasse, Piano (duo)
Double Bass,Piano,String Bass - Level 2 - Digital Download SKU: A0.1300935 By Kumik…
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Double Bass,Piano,String Bass - Level 2 - Digital Download SKU: A0.1300935 By Kumiko. By Joe Hisaishi. Arranged by Glauco Fernandes. Chamber,Film/TV,Wedding. Score and part. 11 pages. Glauco Fernandes #890615. Published by Glauco Fernandes (A0.1300935). Offer a captivating musical experience with our intermediate arrangement of The Merry-Go-Round of Life from the movie Howl's Moving Castle for double bass and piano, complete with chord symbols.Title: The Merry-Go-Round of Life Sheet Music for Double Bass and Piano with Chord SymbolsImmerse yourself in the enchanting world of Howl's Moving Castle as you play this iconic melody on the double bass and piano. Our meticulously crafted sheet music offers:- Precise musical notations for both double bass and piano.- Chord symbols for easy harmonization.Whether you're a double bassist, pianist, or both, with an affinity for film soundtracks, this arrangement is your ideal choice. Transport yourself to the skies of a moving castle and bring this captivating music to life.Elevate your musical interpretation to the next level with our The Merry-Go-Round of Life sheet music. Purchase it now and embark on a magical musical journey inspired by the world of Howl's Moving Castle..
$4.99
4.57 €
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Contrebasse, Piano (duo)
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Kumiko
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Glauco Fernandes
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Merry-go-round Of Life
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Glauco Fernandes
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SheetMusicPlus
Gymnopédie No. 1 - 'cello/bass ensemble
Violoncelle, Contrebasse (duo)
Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - Digital Download SKU:…
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Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - Digital Download SKU: A0.800220 Composed by Erik Satie. Arranged by Samantha J Bramley - stringspirational@gmail.com. Romantic Period,Wedding. Score and parts. 10 pages. Samantha Bramley #6014499. Published by Samantha Bramley (A0.800220). Gymnopédie No. 1, by Erik Satie for ‘cello quartet plus continuo (‘cello or bass) This iconic piano piece is one of the most recognisable and widely used classical pieces in the popular repertoire. It is both beautifully simple and elegant making this arrangement accessible to ensembles of beginner/early intermediate standard. Each of the 4 'cello parts has a turn at the melody, and the very easy ‘continuo’ can be played by either ‘cello or double bass. All parts are written in bass clef and none go above 4th position making it perfect for student groups. I like to play it with all ‘cello parts muted (con sordini) but mutes are generally not used on double bass. If playing with both ‘cello 5 and bass, try sempre pizzicato in the bass part for an interesting effect. Note from the arranger: All my arrangements for 'cello quartet, quintet and sextet are conceived specifically with the range and technical capabilities of the 'cello in mind - no simple transpositions or re-orchestrations of string quartet scores. They are therefore both easily playable and enjoyable by any intermediate to advanced 'cello ensemble. Most parts do not go beyond 4th position, making them equally suitable for student, mixed ability groups or ‘cello choirs. A complete score and set of individual parts is included. I also specialise in string arrangements giving the ‘cello and viola a fair share of the limelight! Contact Samantha at stringspirational@gmail.com for more information.
$5.99
5.48 €
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Violoncelle, Contrebasse (duo)
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Erik Satie
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Gymnopédie No. 1 - 'cello/bass ensemble
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Samantha Bramley
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SheetMusicPlus
Let Her Go
Instrumental Duet Double Bass,Instrumental Duet,Viola - Level 3 - Digital Download SKU:…
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Instrumental Duet Double Bass,Instrumental Duet,Viola - Level 3 - Digital Download SKU: A0.851953 By Passenger. By Michael David Rosenberg. Arranged by Caroline McCaskey. Rock. Score and parts. 9 pages. AltStrings #2150747. Published by AltStrings (A0.851953). This arrangement of Let Her Go features the viola. It includes some syncopation, and is appropriate for intermediate players.
$4.99
4.57 €
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Passenger
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Caroline McCaskey
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Let Her Go
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AltStrings
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SheetMusicPlus
The Arban Manual (Pre 2013)
Trompette
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Down…
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 75 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.<br> <br> Description<br> The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.<br> Why<br> Arban’s Complete Conservatory Method for Trumpet andArban’s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.<br> <br> How<br> A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.<br> <br> Range Considerations<br> Students who are ready to play from Arban should have a “usable range” up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today’s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.<br> If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don’t rush your progress.<br> <br> Warming Up<br> One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.<br> <br> Performance Etudes<br> I’ve designated some of the more melodic and well balanced etudes as “performance etudes”. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.<br> <br> All of the characteristic studies and celebrated fantaisies are considered performance pieces.<br> <br> Models<br> Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban’suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.<br> <br> The Hard Stuff<br> At some point in your study of Arban you may come across something that you just can’t play, or play at tempo. This often involves triple or double tonguing. Don’t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world’s top players can’t play everything in the Arban book.<br> <br> Multiple Tonguing<br> Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends “tu ku”, many have had success using “tuh kuh”, “duh guh”, “tee kee” and many others. Finding your best syllables may take some experimentation.<br> <br> Extending Exercises<br> Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.<br> <br> Transposition<br> Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.<br> The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.<br> <br> Songs and duets<br> Some teachers love these and others don’t. I suggest you try them and if you’d like to supplement other pieces that you need to work on, please feel free to do so.<br> <br> For bass clef instruments<br> Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.<br> <br> The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
$16.95
15.51 €
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Trompette
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Eric Bolvin
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The Arban Manual
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SheetMusicPlus
The Arban Manual - Hooten Edition
Trompette
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Downloa…
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 76 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer. Why Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology. How A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can. Range Considerations Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129. If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress. Warming Up One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson. Performance Etudes I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance. All of the characteristic studies and celebrated fantaisies are considered performance pieces. Models Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons. The Hard Stuff At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book. Multiple Tonguing Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation. Extending Exercises Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models. Transposition Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice. The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part. Songs and duets Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so. For bass clef instruments Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments. The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone. About SMP Press
$16.95
15.51 €
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Trompette
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Eric Bolvin
#
The Arban Manual - Hooten Edition
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SheetMusicPlus
Variations on a Theme in D Flat
Orchestre d'harmonie
Concert Band - Level 2 - Digital Download SKU: A0.1335323 Composed by Kendra Brown.…
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Concert Band - Level 2 - Digital Download SKU: A0.1335323 Composed by Kendra Brown. 21st Century. 26 pages. Kendra Brown #921147. Published by Kendra Brown (A0.1335323). The main theme is inspired by the introduction of the piece. Delicate and child-like. The ostinato in the beginning of the piece that double reeds have displays the feeling of a “child-like†waltz. The pattern is in 3 but it should be played as if it is in 6/8, with emphasis on beats 1 and 3. There should be weight to the sound but it should not be heavy. Sometimes in life, (as both teens and adults) we tend to get caught up in stress or worries and we forget to take a break, relax and destress a little. This piece reminds us to go back to our childlike roots. As the theme in Section A expands, it takes a turn in Section B where the tempo picks up. (Players are encouraged to have as much fun as they can with this part.) At and after the exposed bassoon part at m.50, in the words of my old high school band director, “Let it rip potato chip!†(Meaning give it all you’ve got and have fun). Brass are encouraged to play the dynamics as written in this section but listen to each other. Section C is a bridge to the 7/8 in Section D. Section D, reintroduces the theme in the form of a trumpet solo while brass and some of the woodwinds have the ostinato. Be careful euphonium & tuba because you’re missing a beat on purpose! Section E is the “Medley†of all the parts that were previously played with only tuba playing in the relative minor so it sticks out at the bottom of the ensemble. This is symbolic of the piece itself, showing that the pressures of life can be overcome by keeping a good attitude and persevering through those tough times that you encounter. Section F is another “bridge†beginning with the flute solo reiterating the theme one last time before the “descent and climb†(starting at m.137) to the final destination: Section G. Section G should be played like an overture. Full and with joy and a “coming alive-ness†to it therefore bringing life to the once dead emotions that once were. The ending with the oboe/bassoon duet should be played as quietly as possible & as in tune as possible.
$10.00
9.15 €
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Orchestre d'harmonie
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Kendra Brown
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Variations on a Theme in D Flat
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Kendra Brown
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SheetMusicPlus
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