This work which gives a musical interpretation of the Last Discourse of Christ after the Last Supper was commissioned by Lord and Lady Marks for the Byzantine Festival in London 1998. It was first performed in March 1998 at St. Paul's Cathedral London by Patricia Rozario Stephen Richardson Barry Guy the Choir of St. Paul's Cathedral; and the Choir of the Syrian Orthodox Patriarchate of Antioch conducted by John Scott.Double Bass part. Duration c. 20mins.

Vivez la musique excitante de la tradition Marichi! Tout au long de mariachi interprète et pédagogue John Nieto rejoint Bob Phillips de fournir authentiques paramètres d'orchestre de familiers, des airs traditionnels pour orchestre à cordes seules, groupe de mariachis seul ou orchestre à cordes et bande de mariachi ensemble. Trompette livres et d'accompagnement sont disponibles pour fournir des pièces optionnelles pour trompette, guitare, Guitarron, vihuela, piano et harpe. Historique idées de fond et la disposition sont fournis dans le manuel de l'enseignant. / Contrebasse

For Violone-Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e. unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period some of which are dated 1698.The sonatas are both inscribed on the title page Sonata Violone Solo. Col Basso per l'Organo o Cembalo. A third sonata bears the words Sonata Violino e Violoncino … di Giovannino del Violone. Giovannino (=Little or Young John) musthave been a performer and although the third sonata has been copied by a different hand it is conceivable that Giovannino is a connecting link between the three. He cannot however be assumed to be their author.The Violone was a six-stringed instrument with frets and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family which means that the sonatas might well have been written for a tenor or a bass Viol and not necessarily a Violone as such. Indeed when they are played on a Violone or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument to prevent inversion of the intended harmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether a Violone player owing to the very nature of his instrument would have used any but the simplest melodic decorations. Nevertheless the performer should acquaint himself thoroughly with those seventeenth century traditions that are known today (see Dart

16 funky pieces for the beginner Jazz Bass player with CD backing tracks and further listening suggestions. 2 Examples include 'Bass by the Bay' (Calypso 145 bpm - Listen to St. Thomas on Sonny Rollin's album 'Saxophone Collosus') and 'Ol' Orleans'(New Orleans Second Line feel 149 bpm - listen to Dr. John's album 'Gumbo').

Includes added material and CD with selected exercises play-along tunes and demos. A complete approach to improvising arco jazz with step-by-step instructions exercises and diagrams. Transcriptions of Slam Stewart Jimmy Blanton Paul Chambers Eddie Gomez and John Goldsby. Includes compositions by and for famous bass players. Highly recommended!

Approuvé par Eddie Gomez, Jimmy Haslip, John Goldsby, Ben Allison, etc.. L'un de la méthode quelques livres qui se concentre exclusivement sur la façon de créer des lignes de basse marche authentiques et de son. Conçu pour les joueurs de début ou toute personne voulant une basse de jazz foning solide. Contient des discussions détaillées sur : les quatre principes cruciales de construction de la ligne basse marche - Comment à toujours rendre choix de bonne note - conseils sur la création de feel good time - une douzaine supplémentaires walking bass techniques, une fois les bases ont bstered. Le long de jeu CD a Ed Fuqua et sa section de rythmique NY swinging jouant simple blues et norme tunes. Voie basse peut être désactivée, si désiré.Comprend les transcriptions de chaque note Ed joue sur le CD, pour l'étudiant à analyser, le long de jeu wnd utilisation de construire un vocabulaire des lignes de basse de la marche. / Guitare Basse

A String Method for Class or Individual Instruction. Paul Rolland`s Approach to String Playing-Double Bass. Rolland P

This new book from one of the most popular bass players in the business brings players great tools to improve their skills. Bass players can advance their knowledge of the fingerboard, improve intonation and time, develop flexibility and work though modes and scales presented in the book. This work combines music and technique in one powerful package! Langue : en anglais