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Vous avez sélectionné:
The Thumb: String Bass
Partitions à imprimer
45 partitions trouvées
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Triangulation of Fingering Systems for the Double Bass (A Complete Method), Vol. 1
Contre Basse
Double Bass,String Bass Solo - Level 2 - Digital Download SKU: A0.1284486 Composed …
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Double Bass,String Bass Solo - Level 2 - Digital Download SKU: A0.1284486 Composed by Thomas B. Gale. Arranged by Edited by Mark Morton. Classical,Instructional. Individual part. 66 pages. Basso Profóndo Publications #875658. Published by Basso Profóndo Publications (A0.1284486). The first volume (of two) of a complete method that examines three systems of left hand technique on the double bass: 1) Closed Hand (Simandl 1-2-4), 2) Open Hand (extension fingering 1-2-3-4), and 3) Thumb Positions. Vol. 1 focuses primarily on on the foundational double bass technique of Closed Hand (Simandl). 66 pages.
$14.99
13.52 €
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Contre Basse
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Thomas B
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Edited by Mark Morton
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Triangulation of Fingering Systems for the Double Bass
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Basso Profóndo Publications
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SheetMusicPlus
Six Sonatas for Violoncello Solo and Basso Continuo, Op. 1
Violoncelle, Contrebasse (duo)
Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 2 - Digital Download SKU:…
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Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 2 - Digital Download SKU: A0.841374 Composed by Benedetto Marcello. Arranged by Artistic Score Engraving by Michele Galvagno. Baroque,Concert,Instructional,Standards. Score and parts. 98 pages. Artistic Score Engraving di Galvagno Michele #6856461. Published by Artistic Score Engraving di Galvagno Michele (A0.841374). The Six Sonatas for cello solo and basso continuo by Benedetto Marcello, are a staple of the repertoire for growing cellists and for historical performers all around the globe. They are perfect for students who just learned to read the tenor clef and are looking forward to test their embryonal thumb position skills. Besides all technical aspects, they are universally recognised for their beauty, and are a must-have in every cellists’ collection. This edition is based on the first printed appearance of the Six Sonatas, in Amsterdam, in 1732, and it is therefore an Urtext edition. It is made up of a 98-page book containing: the full score, a cello part, a basso part, and a supplemental cello part dedicated to paper printing. It will soon be enriched with additional cello parts containing bowing and fingering suggestions dedicated to both beginner and more advanced performers. It is available in a bundle containing all files in PDF and EPUB format, or as a score only or parts only version, in PDF format only. I hope you will enjoy this incredibly poignant and soaring music!
$20.00
18.04 €
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Violoncelle, Contrebasse (duo)
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Benedetto Marcello
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Six Sonatas for Violoncello Solo and Basso Continuo, Op. 1
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
50 Modal Slap Bass Workouts
Basse electrique
By Chris Matheos. For Electric Bass Guitar. Rock and Jazz. 48 pages. Published by Mel Bay …
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By Chris Matheos. For Electric Bass Guitar. Rock and Jazz. 48 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781610659352. This book was created for the bassist who has mastered the basics of slap bass and wants to expand his or her skills. Many of this book's examples were written to fine tune individual string control -- the ability to thumb or pop on any string at any time. Individual string control is one of the most common weaknesses with slap bass students. Some of this book's examples are common fingerstyle workouts that are arranged for slapping. Developing the ability to slap finger style bass lines gives the bassist an amazing skill. This book covers some very advanced slap techniques, including triple pops and the flamenco thumb technique. Written in tablature only for the four-string bass. Includes access to online audio.
$12.99
11.72 €
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Basse electrique
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Chris Matheos
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50 Modal Slap Bass Workouts
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.32 €
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Guitare
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Richard Strauss
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Rod Whittle
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Excerpt from the Last Part of Ariadne Auf Naxos
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Maggie Creek Music
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SheetMusicPlus
Thumb Position Melodies from Southern Harmony
Contrebasse, Piano (duo)
Double Bass,Piano,String Bass - Level 2 - Digital Download SKU: A0.909719 Arranged …
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Double Bass,Piano,String Bass - Level 2 - Digital Download SKU: A0.909719 Arranged by Andrew Kohn. Folk,Instructional,Sacred. Score and part. 51 pages. Andrew Kohn #6306485. Published by Andrew Kohn (A0.909719). Twenty-eight shaped-note melodies arranged to introduce double bassists to thumb position. Includes various finger spacings, extension to D harmonic, bridge fingerings, variable spacing. Includes piano accompaniment and two copies of bass part: in treble and in tenor clef. Each is 2-4 lines long.
$20.00
18.04 €
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Contrebasse, Piano (duo)
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Andrew Kohn
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Thumb Position Melodies from Southern Harmony
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Andrew Kohn
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SheetMusicPlus
Six Sonates d'un genre facile et agréable à violoncello et basso, op. 28
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: A0.841356 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele Galvagno. Classical,Instructional,Standards. Score and parts. 106 pages. Artistic Score Engraving di Galvagno Michele #6029285. Published by Artistic Score Engraving di Galvagno Michele (A0.841356). Jean-Baptiste Sebastien Bréval (1753-1823) was a French cellist and composer, who is, perhaps, best known for his cello sonatas, namely the ones in C major (Op. 40, No. 1) and G major (Op. 12, No. 5). Bréval was one of the last students of the cellist and composer Martin Berteau (1691-1771), continuing his teacher’s tradition of composing sonatas for cello with bass accompaniment. With both composers, the bass part was to be played by a second cello, very likely by the cello teacher. Many cellists opt in to have Berteau’s unfigured bass part realised by a harpsichord. However, the two-cello layout was common in the late Classical Era, especially in method books, such as Bréval’s own Traité du violoncelle (where Bréval states that the bass and the cello are one and the same), as well as Romberg’s, Dotzauer’s, et al. Romberg and Dotzauer even composed sonatas for cello and basso (second cello) accompaniment as well, Op. 43 and Op. 103, respectively. Our current publication presents student cellists with a beautifully engraved edition of Bréval’s 6 Cello Sonatas, Op. 28 and Air de Malborough, Op. 13. Bréval composed the Sonatas in c1795, most likely in conjunction with Op. 40, since Op. 28, No. 1 picks up right where Op. 40, No. 6 leaves off. Whereas Op. 40 and Op. 28, Nos. 1-4 are in two fast movements, Op. 28, Nos. 5 and 6 include a slow middle movement, No. 6 even using the thumb. The autograph, which the editor used as the primary source, and the first edition both present each sonata on four pages in score form. Our volume includes a score and parts for each player. The cello part includes fingering and bowing suggestions by Yuriy Leonovich. Each sonata begins with an Allegro movement in sonata form. The finales vary from five-part rondos (Nos. 1, 3, 5), to sonata form (Nos. 2, 6), to theme and variations (No. 4). The slow movement of No. 5 is in simple binary form, and No. 6 is in simple ternary. The six keys Bréval used for Op. 28 are the same as the ones he used for Op. 40, only in a different order. Op. 40 uses the following order: C, F, G, B-flat, A, D. Op. 28 uses the following order: D, C, A, G, B-flat, F. The Op. 28 sonatas are primarily written in tenor clef, whereas Op. 40 is primarily written in bass clef. The playing range is identical for both sets, with the exception of the high B-flat in m. 46 in the slow movement of No. 6, and high B and C in m. 37 of the finale of No. 6. Bréval explores more advanced bow techniques as well.
$24.95
22.51 €
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Violoncelle, Contrebasse (duo)
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Jean-Baptiste Breval
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Six Sonates d'un genre facile et agréable à violoncello et basso, op. 28
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Medley for Double Bass
Contrebasse, Piano (duo)
Double Bass,Piano,String Bass - Level 2 - Digital Download SKU: A0.809833 Composed …
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Double Bass,Piano,String Bass - Level 2 - Digital Download SKU: A0.809833 Composed by Various. Arranged by Robert E. Proctor. Christian,Contemporary,Instructional,Sacred. Score and part. 12 pages. R. E. Proctor #3505243. Published by R. E. Proctor (A0.809833). This music is a study for double bass in thumb position. It also asks the performer to use various bowing techniques. Based on three hymns, it is suitable for church as well as learning to play in the upper register of the instrument.
$2.95
2.66 €
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Contrebasse, Piano (duo)
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Various
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Robert E
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Medley for Double Bass
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R. E. Proctor
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SheetMusicPlus
Tatanka (Waltz For the Bison) - with piano accompinament
Contrebasse, Piano (duo)
Double Bass,Piano,String Bass - Level 1 - Digital Download SKU: A0.1207234 Composed…
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Double Bass,Piano,String Bass - Level 1 - Digital Download SKU: A0.1207234 Composed by Jo Asker. Chamber,Classical,Instructional,Multicultural,World. Score and part. 3 pages. Jo Asker Publishing #805415. Published by Jo Asker Publishing (A0.1207234). This easy, short, and lighthearted solo double bass piece with piano accompinament is a great musical primer for thumb position handshapes and 3/4 time. Featuring a bouncy, singable main melody and a lyrical middle section, the piano part makes bass players of any level soar.
$3.00
2.71 €
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Contrebasse, Piano (duo)
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Jo Asker
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Tatanka
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Jo Asker Publishing
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SheetMusicPlus
J. S. Bach, Contrapunctus No.1 From "The Art Of The Fugue". Transcribed and - Double Bas
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Double Bass,String Quartet - Digital Download SKU: A0.892509 Compose…
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String Quartet Double Bass,String Quartet - Digital Download SKU: A0.892509 Composed by Johann Sebastian Bach. Arranged by Joel DiBartolo. Baroque. Score and parts. 14 pages. Mesa Music Publishing #5354253. Published by Mesa Music Publishing (A0.892509). This is a very good introductory piece for bass quartets who are just starting to play together. The first part goes as high as a C in thumb position, the other three parts do not go into thumb position at all. The principal challenge is balance and rhythm. p { margin-bottom: 0.1in; line-height: 115%; }
$17.60
15.88 €
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Quatuor à cordes: 2 violons, alto, violoncelle
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Johann Sebastian Bach
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Joel DiBartolo
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line-height: 115%
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J. S. Bach, Contrapunctus No.1 From "The Art Of The Fugue". Transcribed and - Double Bas
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Mesa Music Publishing
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SheetMusicPlus
Just A Girl
Basse electrique
Bass Guitar - Level 4 - Digital Download SKU: A0.950672 By No Doubt. By Gwen Stefan…
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Bass Guitar - Level 4 - Digital Download SKU: A0.950672 By No Doubt. By Gwen Stefani and Thomas Dumont. Arranged by Daniel Roberts. 20th Century,Latin,Pop,Rock. Score. 6 pages. Daniel P Roberts #556397. Published by Daniel P Roberts (A0.950672). Arranged for 4 string bass in Drop D tuning with TAB Take this pink ribbon off my eyes I'm exposed and it's no big surprise Don't you think I know exactly where I stand? This world is forcing me to hold your hand 'Cause I'm just a girl, oh, little old me Well, don't let me out of your sight Oh, I'm just a girl, all pretty and petite So don't let me have any rights Oh, I've had it up to here The moment that I step outside So many reasons for me to run and hide I can't do the little things I hold so dear 'Cause it's all those little things that I fear 'Cause I'm just a girl, I'd rather not be 'Cause they won't let me drive late at night Oh, I'm just a girl, guess I'm some kind of freak 'Cause they all sit and stare with their eyes Oh, I'm just a girl, take a good look at me Just your typical prototype Oh, I've had it up to here Oh, am I making myself clear? I'm just a girl I'm just a girl in the world That's all that you'll let me be Oh, I'm just a girl, living in captivity Your rule of thumb makes me worrisome Oh, I'm just a girl, what's my destiny? What I've succumbed to is making me numb Oh, I'm just a girl, my apologies What I've become is so burdensome Oh, I'm just a girl, lucky me Twiddle-dum, there's no comparison Oh, I've had it up to Oh, I've had it up to Oh, I've had it up to here.
$4.99
4.5 €
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Basse electrique
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No Doubt
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Daniel Roberts
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Just A Girl
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Daniel P Roberts
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SheetMusicPlus
Three Pieces for Beginner Guitarists (Acoustic or Electric)
Guitare notes et tablatures
Easy Guitar (with TAB) - Level 1 - Digital Download SKU: A0.1047465 By Dan Jones (w…
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Easy Guitar (with TAB) - Level 1 - Digital Download SKU: A0.1047465 By Dan Jones (www.danjonesguitarist.com). By Dan Jones. Blues,Folk,Rock. Tablature. 5 pages. DanJonesGuitarist #652027. Published by DanJonesGuitarist (A0.1047465). Three Pieces for Beginner Guitarists (Acoustic or Electric) by Dan Jones Presented in notes, TAB and easy chords (www.danjonesguitarist.com) As an active guitar teacher, I find that many beginner pupils want to learn either acoustic (steel string) guitar or electric guitar. I have also found a lack of quality resources in these styles which have musical interest, and which lay out some of the necessary technical and musical foundations for future learning. I composed these three little pieces for my own young students. They are played by those using their right-hand fingers, and a plectrum and I’ve found them to be very popular in both lessons and performance. The pieces can be learnt in any order (I have a slight preference for starting my pupils with D-Day Rock - the third in the collection). Below is an outline of the pedagogy behind them (1) Sore Finger Blues This is a simple twelve-bar blues which uses a combination of open strings and notes at the third and second frets. It can be played with a straight or swung rhythm. It is effective at a slow tempo for those needing time to place the fretting hand fingers. The main technical challenge is in bars 10 and 22 where the player moves the third finger between the G and A on string 1. Although this is traditionally an advanced technique, I’ve found my students find it comfortable, as long as the fingering outlined in the notes is followed. The chords are dominant (with major thirds). These clash against the minor pentatonic scale in a way which is typical of the style. The chords are quite simple for beginners. I have opted for a D5 power-chord in bars 9 & 21 which is easier than the usual D chord (which also works perfectly well). Plectrum players should be sure to anchor the plucking hand, either with the side of the hand resting on the bridge, or a finger against the scratch plate of the guitar. Fingerstyle players can anchor either with a finger touching the scratch plate of the guitar, or by resting the thumb on a bass string when the fingers are plucking, or vice versa. This is more typical of classical style. (2) Cross-String Traffic This piece was conceived as a fingerstyle piece, although it can be played using a plectrum. The challenge for plectrum players is to cross the strings smoothly. It is for this reason that the fretting hand is relatively simple so that learners can concentrate on the plucking hand. Players are also encouraged to press down the index finger on string 2 at the correct angle to allow the first string to resonate. Chords have once again been chosen to suit less-experienced fingers; therefore, I have opted for Dm6 instead of the more common Dm (a very tricky chord for beginners). Players should go for maximum resonance and notes played at fret 3 could be fretted with either fingers 3 or 4. (3) D-Day Rock This piece is made nearly entirely of open strings and third fret notes. Where there is string crossing, the music allows the player ‘thinking time’ to change accordingly. Teachers and learners can decide with which finger to press the third fret notes. The rhythmic complexities from bar 13 to the end pose no problems once players have the sound of the piece in their ear. Once again, chords have been selected for ease of playing. The Gm/D chord can be played with a 3-string barre (often quite easy for beginners where no fretted bass note is required) or using three separate fingers. The pedal D sounds effective musically. I have presented these pieces as ensemble works with large groups of beginners. Players and audiences alike have been very receptive! For a wealth of music for beginners, ensembles and advanced players, please visit www.danjonesguitarist.com. A YouTube link to a film of the pieces will be uploaded before the end of June 2022.
$4.95
4.47 €
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Guitare notes et tablatures
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Dan Jones
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Three Pieces for Beginner Guitarists
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DanJonesGuitarist
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SheetMusicPlus
A Northumbrian Folk Song Suite: String Bass
Contrebasse (partie séparée)
Full Orchestra - Digital Download SKU: AX.00-PC-0016952_SB String Bass. Arra…
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Full Orchestra - Digital Download SKU: AX.00-PC-0016952_SB String Bass. Arranged by R. J. Hume. Folk. Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0016952_SB. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016952_SB). UPC: 038081507057.Northumberland is the most northerly county in England with a diverse landscape of ancient moorlands and magnificent coastlines. It has been at the centre of much conflict, latterly between the Scots and the English. This charming suite captures a flavour of its rich musical heritage. (6:30)Concert/Contest; Festival.
$3.00
2.71 €
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Contrebasse (partie séparée)
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R
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Festival.
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A Northumbrian Folk Song Suite: String Bass
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
The Thumb: String Bass
Jazz Ensemble - Digital Download SKU: AX.00-PC-0019171_SB Composed by John L. Wes M…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0019171_SB Composed by John L. Wes Montgomery. Arranged by Terry White. Instructional. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0019171_SB. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0019171_SB). UPC: 038081580111.
$3.00
2.71 €
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John L
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Terry White
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The Thumb: String Bass
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Dusk Departure - Full String Ensemble
Orchestre à Cordes
String Orchestra - Level 2 - Digital Download SKU: A0.923572 Composed by Lisa Camer…
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String Orchestra - Level 2 - Digital Download SKU: A0.923572 Composed by Lisa Cameron. 20th Century,Contemporary,Film/TV,Instructional. Score and parts. 23 pages. Lisa Cameron #3418465. Published by Lisa Cameron (A0.923572). Duration 4:08. Based around 8 bar loops, this composition is ideal for secondary students and adult groups. Strongly filmesque and emotive. Parts vary in difficulty with the bass part carrying the harmonic structure. Technique building for string crossings, extension into thumb position for cello 1. For alternate arrangements, please contact me on lisa@yellowspace.net.
$14.99
13.52 €
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Orchestre à Cordes
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Lisa Cameron
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Dusk Departure - Full String Ensemble
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Lisa Cameron
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SheetMusicPlus
The Old Balladeer
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1249738 Composed by Doug Smith. 20…
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Solo Guitar - Level 3 - Digital Download SKU: A0.1249738 Composed by Doug Smith. 20th Century,21st Century,Classical,Folk. Individual part. 5 pages. Doug Smith Guitar Studio #844129. Published by Doug Smith Guitar Studio (A0.1249738). An Old Balladeer expresses the mystery, beauty and joy of memories told about the times that came before us. The music uses a low D tuning.The piece uses arpeggios on the bass strings played with the thumb. Over the top of the arpeggios is woven a beautiful harmonized melody that is played with a soft touch. Half way through, a dance like groove in the bass adds motion and the music gently winds its way to an ending with a soft strum of a full D Chord across all six strings.
$1.99
1.8 €
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Guitare
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Doug Smith
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The Old Balladeer
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Doug Smith Guitar Studio
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SheetMusicPlus
The Addams Family Theme
4 Violoncelles
String Quartet Cello,String Quartet - Level 3 - Digital Download SKU: A0.905258 Com…
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String Quartet Cello,String Quartet - Level 3 - Digital Download SKU: A0.905258 Composed by Vic Mizzy. Arranged by Catherine A. Schulzke. Film/TV. Score and parts. 8 pages. Catherine A. Schulzke #3603451. Published by Catherine A. Schulzke (A0.905258). A Halloween arrangement for a cello choir of four cellos.Cello 1 should be able to read treble clef in thumb position.Cello 2 and 3 should be comfortable with shifting in bass clef.Cello 4 is entirely in first position, with one extension.
$12.99
11.72 €
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4 Violoncelles
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Vic Mizzy
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Catherine A
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The Addams Family Theme
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Catherine A. Schulzke
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SheetMusicPlus
Anitra's Dance (for String Orchestra/Quintet)
String Ensemble,String Quintet - Level 4 - Digital Download SKU: A0.945356 Composed…
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String Ensemble,String Quintet - Level 4 - Digital Download SKU: A0.945356 Composed by Edvard Grieg. Arranged by Wendy Hellmann. Romantic Period. Score and parts. 17 pages. Gwendolyn Hellmann #6455865. Published by Gwendolyn Hellmann (A0.945356). Anitra's Dance from Grieg's Peer Gynt Suite is an exciting, challenging arrangement for an intermediate to advanced string quintet or string orchestra. Violin I and cello require proficiency in higher positions. There are some shifts and double stops in both violin II and viola. Double bass requires some thumb position. The cello and double bass parts are unique. The PDF download contains a full score and all five parts, Violin I and II, Viola, Cello, and Bass.
$9.49
8.56 €
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Edvard Grieg
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Wendy Hellmann
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Anitra's Dance
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Gwendolyn Hellmann
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SheetMusicPlus
Dr. Who Theme
String Ensemble Cello - Level 3 - Digital Download SKU: A0.1458568 Composed by John…
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String Ensemble Cello - Level 3 - Digital Download SKU: A0.1458568 Composed by John Cardon Debney and John Sponsler. Arranged by Dina H. L. Slechta. Film/TV. 35 pages. Dina H. L. Slechta #1037498. Published by Dina H. L. Slechta (A0.1458568). This arrangement of Dr. Who Theme Song is a three-part piece for cello trio to mixed level cello choir with optional cello 4 open string part to allow participation by beginners, arranged here by ArrangeMe.com arranger, Dina H. L. Slechta. The cello 3 part requires distinction between second and third fingers, but can be played entirely in first position, with some quick string crossings, making it accessible to a late Suzuki Vol 2 level cellist. The cello 2 part has a bit of shifting into lower third or fourth positions, and requires playing on the off beat, making it accessible to a Suzuki Vol 3 level cellist. The cello 1 part requires shifting into thumb position, and is written in bass, tenor, and treble clefs, requiring a Suzuki Vol 6 or later level cellist. The cellists get to have some fun providing percussion in stomps, claps, knee slaps, and snaps, as well as the use of col legno, harmonics, ponticello, and glissandos.Comes with one score and three copies of each part - enough for a trio, a quartet, or up to a twelve cello ensemble, altogether 35 pages.
$14.99
13.52 €
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John Cardon Debney and John Sponsler
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Dina H
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Dr. Who Theme
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Dina H. L. Slechta
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SheetMusicPlus
Esperanzada
Contre Basse
Double Bass,String Bass Solo - Level 3 - Digital Download SKU: A0.1386288 Composed …
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Double Bass,String Bass Solo - Level 3 - Digital Download SKU: A0.1386288 Composed by Rachel Plummer. Contest,Festival. Individual part. 2 pages. Plummer Music LLC #970211. Published by Plummer Music LLC (A0.1386288). Difficulty level: intermediate. This unaccompanied string bass solo is a lyrical piece where students can develop vibrato across the range of the instrument. This piece includes some thumb position work and the use of harmonics. This solo would be useful to teach and allow students to showcase musical expression.
$12.50
11.28 €
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Contre Basse
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Rachel Plummer
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Esperanzada
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Plummer Music LLC
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SheetMusicPlus
Major Thumb Blues - Guitar Solo
Guitare notes et tablatures
Guitar - Level 2 - Digital Download SKU: A0.892614 Composed by Ben Garraway. Blues,…
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Guitar - Level 2 - Digital Download SKU: A0.892614 Composed by Ben Garraway. Blues,Concert,Instructional,Jazz. Guitar Tab. 1 pages. Music Lesson Downloads #6233697. Published by Music Lesson Downloads (A0.892614). A finger picked blues in E for either acoustic of electric guitar. It uses a swung bass line accompanied by a pentatonic open string style melody. 1 page long and written for TAB and standard notation.Part of a series of Robert Johnson style blues solos designed to combine accompaniment with soloing.
$3.99
3.6 €
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Guitare notes et tablatures
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Ben Garraway
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Major Thumb Blues - Guitar Solo
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Music Lesson Downloads
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SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
6.32 €
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Guitare
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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'A golden time ...' from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.32 €
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Guitare
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Richard Strauss
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Rod Whittle
#
for solo classical guitar
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Overture from Ariadne auf Naxos
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Maggie Creek Music
#
SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitare
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
6.32 €
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Guitare
#
Richard Strauss
#
Rod Whittle
#
for solo classical guitar
#
Chorus and Aria from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Giulio Taglietti (1660-1718), Three Arias Opus 3 (1703) transcribed and edited by Klaus Stoll.
Violoncelle, Contrebasse (duo)
Instrumental Duet Cello,Double Bass,Instrumental Duet - Digital Download SKU: A0.892499…
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Instrumental Duet Cello,Double Bass,Instrumental Duet - Digital Download SKU: A0.892499 Composed by Giulio Taglietti (1660-1718). Arranged by Klaus Stoll. Baroque. Score and parts. 16 pages. Mesa Music Publishing #5200653. Published by Mesa Music Publishing (A0.892499). In three movements, Adagio – Allegro moderato – Presto (gigue). Although these pieces are in the baroque da capo aria form they are actually very attractive dances. The bass part goes high into thumb position but the pieces are otherwise not difficult.
$14.70
13.26 €
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Violoncelle, Contrebasse (duo)
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Giulio Taglietti
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Klaus Stoll
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Giulio Taglietti
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Mesa Music Publishing
#
SheetMusicPlus
Mele Kalikimaka
Contrebasse, Piano (duo)
Double Bass,Piano,String Bass - Level 3 - Digital Download SKU: A0.1292104 By Jake …
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Double Bass,Piano,String Bass - Level 3 - Digital Download SKU: A0.1292104 By Jake Owen. By R. Alex Anderson. Arranged by Wendy Hellmann. Christmas,Holiday,Pop. Score and part. 5 pages. Gwendolyn Hellmann #882697. Published by Gwendolyn Hellmann (A0.1292104). This Hawaiian-themed Christmas song will transport you to an island paradise this winter! It is arranged for solo double bass with piano accompaniment. It has been transposed down a step to the key of C Major. The bass part requires comfort in shifting up to 4th position, with some playing in thumb position. Thoughtful bowings have been included for ease of playing. This makes an excellent addition to any holiday recital program! Â The PDF download contains both a full score and a set of individual parts - Bass and Piano. Each individual part is formatted to avoid any page turns, and the full score is formatted on 2 pages.
$4.99
4.5 €
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Contrebasse, Piano (duo)
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Jake Owen
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Wendy Hellmann
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Mele Kalikimaka
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Gwendolyn Hellmann
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SheetMusicPlus
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