from 2012-ABRSM: Double Bass Scales And Arpeggios - Grades 1-5 (From 2012) contains all the scales and arpeggios required for ABRSM's Grades 1-5 Double Bass exams.Key features:all scales and arpeggios for the revised syllabus from 2012 with bowing patternshelpful introduction including advice on preparing for the examuser-friendly format and clear page layout

from 2012 ABRSM Grades 15-ABRSM: Double Bass Specimen Sight-Reading Tests - Grades 1-5 (From 2012) contains valuable practice material for candidates preparing for ABRSM Double Bass exams Grades 1-5.Key features:specimen tests for the revised sight-reading requirements from 2012written in attractive and approachable stylesrepresentative of the technical level expected in the exam

Revisione di Piermario Murelli. Par BOTTESINI GIOVANNI. Giovanni Bottesini (1821-1889) is certainly the most famous of all double bass virtuosi; his compositions are an essential pillar of the literature on this instrument. His Metodo, published in 1870 by Ricordi, is remarkable for the exceptional beauty of its studies which, with effectiveness, good taste and imagination, develop an extraordinarily modern pedagogical vision. For this reason, on the bicentenary of the composer\'s birth, it seems most opportune to re-propose the studies in the method, appropriately fingered according to the current system, which is different from the one used in Italy in the mid-19th century. These short pieces not only help the student to acquire an excellent technique in a short time, but they are also extremely useful to better understand the instrumental language of Bottesini; in particular the second part, constitutes an excellent propaedeutic base for the study of his famous pieces./ Etude / 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

In this information-packed DVD bassist Ed Friedland reveals the technical and stylistic details behind professional jazz upright performance. Through live band demonstrations and detailed step-by-step analysis Ed shows you how to: develop stylistic left and right-hand techniques for maximum tone and sustain; arrange scale and arpeggio patterns for greater range and efficiency whether walking or soloing; deal with typical live performance challenges performance protocol stock intros endings trading fours and more; play classic stylistic variations including Latin jazz up-tempo tunes the ?two-feel ? ballads 3/4 time and more. Ed's practical direct teaching style offers easy-to-understand explanations and methodical demonstrations of each topic. The accompanying booklet includes notated versions of each example for added clarity.

Get a Better Grip on Neck Navigation!-Mastering the bass neck has always been a challenge even for very experienced players. The diagrams in Bass Fretboard Atlas will help you quickly memorize scales and arpeggios that may have previously seemed impossible to grasp. You'll be able to easily see and understand how scale and arpeggio shapes are laid out and how they connect and overlap across the neck. The material in this collection is presented in all 12 keys using complete 17-fret neck diagrams with color-coded displays of the most common fingerings.

The legendary jazz bassist Ray Brown reveals his lessons and teaching philosophy in this in-depth book which features solo exercises and arpeggios music fundamentals right- and left-hand positions scales chords exercises intenths rhythm patterns with 'drops' diminished chords runs and variations blues patterns and extension scales and exercises.This book boasts beautiful black and white photos showing the various hand positions described inthe text.

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format 25.5 cm x 32.5 cm.?Prélude A L?Aprés-Midi D?Un Faune? often referred to as the first composition of the ?modern? era is one of Debussy?s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources and several important ones are drawn upon for the first time in Bärenreiter?s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which however contains many engraver errors.When the corresponding orchestral parts are also taken into consideration countless discrepancies are revealed.Bärenreiter?s Urtext edition incorporates readings of a printed copy of the score from c. 1908 which shows corrections and emendations by the composer. These important changes found in no other source include metronome markings different pitches and additional notes as well as added tempo and articulation markings which all subtly enhance Debussy?s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.

Hob. I:91-This four-movement work with a slow introduction is Haydn?s last symphony for ?Small? Orchestra i.e. without Trumpets and Timpani. However it has long passages for solo Violoncello and is also scored for two Bassoons. The editor of this edition recommends a performance with low Horns (additionally included in the wind set) to prevent the musical character of the Andante from being compromised by the predominantly high registers.Continuing the collaboration between Bärenreiter and the Henle publishing company in the areas of large choral works operas and symphonies this edition is appearing based on the Henle Complete Edition of theWorks of Joseph Haydn. The complete performance material for several of Haydn?s Sturm und Drang symphonies and all the London and Paris symphonies has already been published.- Based on the Henle Complete Edition of the Works of Joseph Haydn.- Orchestral parts in a large format (25.5 × 32.5 cm).- Full score & performance material (BA10978) available for sale.

This Bass Part book is ideally complimented by the Suzuki Bass School Volume 3 Piano accompaniment book catalogue number 0874873770. The Suzuki Method of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability and that man is the son of his environment. According to Dr. Suzuki a world-renowned violinist and teacher the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the 'mother-tongue' approach.

This material is part of the worldwide Suzuki Method of teaching. Companion recordings should be used with these publications. In addition there are piano accompaniment books that go along with this materia.