Ideal for a popular school or informal concert. Programme note by Rodney Slatford 2008:Jack Snow Hester was born on 2 March 1907 in Chorlton Lancashire and joined the music profession as a double bass player when he was seventeen. His father Arthur Darrell Hester appears on his birth certificate as 'Manufacturer (chemicals)'; his mother was Minnie Frances Hester formerly Stamp and the family lived in South Manchester. During the 1930s as Norman Hester he worked at Daly's Theatre the Piccadilly Theatre the Palace Theatre and other London variety houses in West End productions. He married Isabella Dawson Davidson on 1 July 1940 in Worcester and shedied in 1973. He died in 2001 after a long period of ill health.During the 1960s Norman was an active freelance player working as an extra bass player with the London symphony orchestras including the BBC. Quite when The Bull Steps Out was written isn't certain but Norman sent me a copy to consider for republishing – it is assumed that the original publication appeared sometime during or just after the war. It was a 'one off' that he probably played for light music evenings in the theatres.The piece has been very popular and has been used for examinations on various syllabuses around Grade 7 level.An unpublished manuscript copy of a double bass 'method' is on file that Norman Hester wrote when he retired but it is mainly a compilation of various scales and exercises similar to many that were published in the early 20th century. A photograph of him as a young man is held at the Royal Society of Musicians in London which he joined in 1930 and of which he was a loyal supporter until he died.

Studies for Bass - Based on the Violin Studies of Franz Wohlfahrt-The goal of Mastering The Bow Part 1 is to help bassists expand their tonal vocabularies: to learn to make a wide variety of colours and shapes with music. The left hand makes no sound; it is the bow that creates articulations rhythms and rises and falls within a phrase. Using the famous Franz Wohlfahrt Studies for Violin as the basis Gaelen McCormick has selected and edited these etudes to teach and reinforce bowing techniques for the bass. Quite simply there is no other book out there for string bass players that addresses bow technique in this manner and Mastering the Bow will greatly enhance the pedagogical repertoire for theinstruction of the bass. All bassists should have this as part of their study materials. For beginning to intermediate players.

Par STORY MICHAEL. Movie Quartets for All is a versatile, educational, and fun series intended for like or mixed instruments to perform in any size group or combination of instruments. All books are in score format with each line increasing in difficulty from Grade 1 to Grade 3--4. Perfect for concerts with family and friends, recitals, auditions, and festivals. Available for brass, woodwinds, strings, and percussion. Titles: Hedwig's Theme * Over the Rainbow * And All That Jazz * The Magnificent Seven * Theme from A Summer Place * Eye of the Tiger * There You'll Be * Blues in the Night * The Pink Panther * You're a Mean One, Mr. Grinch * Parade of Charioteers * Hakuna Matata. / Ensemble Music, Miscellaneous, Scores / Recueil / Violoncelle et Contrebasse

Performed by Matt Perrine bass and Sousaphone Accompaniment: Tim Laughlin's New Orleans All-Stars Many people consider New Orleans the birthplace of jazz. After all Louis Armstrong was born and played there as well as Joseph King Oliver the Dodds Brothers Sidney Bechet and a roster of players to fill not one but many all-star bands. Louis Prima was a 'child of the Crescent City' as is Harry Connick and Wynton Marsalis. The whole Marsalis clan was raised there and are all acknowledged jazz masters so its reputation as the seminal jazz town has long been acknowledged. We assembled a band of New Orleans' best players for our times veterans all of many street parades andsteamboat gigs and asked them to put together a typical program of New Orleans classics. Under the direction of Tim Laughlin clarinetist supreme and led by Connie Jones Jr. one of the great hornmen of this city which boasts so many great players they put together an album of must-hear must-have songs that every traditional jazz player cherishes. Hear them now in these perfect renditions. Then join the band on your own instrument be it clarinet trumpet trombone tenor piano bass or drums as they swing through the French Quarter of New Orleans.

C-Bass Instruments-This CD (including music booklet) has not especially been worked out for the use in musical education. It is on the contrary an audio CD which has been recorded for sale as a trio CD under my name. Mixing the recordings at the studio however gave us the idea to offer this CD Legal Paradizer also as a play along CD. For this reason I have never taken a pedagogic approach to the musical conception of the pieces performed which in my opinion is exactly what makes these recordings so unique. The structure of none of the pieces is for instance as simple as that of the tunes on some other play along CDs. Therefore I have taken the liberty of adding a short explanationand/or comment on every piece meant to make it easier for you to follow the road map of the tunes. Additionally I have explained some stylistic features to help you interprete the individual pieces. Working with my students has shown me how much fun it can be to also offer groove and funk oriented music on a CD to play along. In most of the pieces you do not necessarily have to follow the changes; you should rather develop simple ideas in time. A real strong emphasis is here placed on the term groove.

Essential Tools for Jazz Improvisation. Sher Music Co.?s highly-regarded book, The Blues Scales: Essential Tools for Jazz Improvisation is now available in bass clef. As Michael Brecker said, ?This is an excellent addition to the growing number of books dedicated to mastering the art of jazz improvisation. Useful to beginners as well as advanced players, The Blues Scales admirably addresses the vocabulary of the blues ? the ?root of jazz.? ? Step-by-step exercises to get beginning students able to quickly solo using the two basic Blues Scales. ? Extensive dictionary of classic Major and Minor Blues Scale phrases. ? Help with transposing the ideas learned into other keys. ? Numerous ways to expand the Blues Scales to make them even more useful. ? Appendices for advanced players showing how the masters of jazz use the Blues Scales in their own playing.

The Suzuki Method® of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability, and that people are the product of their 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 are taught using the 'mother-tongue' approach. Now available as a book and CD kit. / Contrebasse

Good work for examinations and recitals by an important British composer. Duration c.6'. AMEB (Australian Syllabus) 2004. Programme notes as follows:Lennox Berkeley was born in 1903 and died in 1989. After reading modern languages at Oxford he had no intention of becoming a composer until he met Ravel in 1926 who encouraged him to study in Paris with Nadia Boulanger. He stayed in Paris until 1932 developing his own musical language. In 1936 after the death of his mother he went to Barcelona for the International Society for Contemporary Music festival where he met Benjamin Britten. The two lived together at Snape in Suffolk for a while until the outbreak ofwar before Berkeley moved back to London to work for the BBC. Here he met his future wife Freda Bernstein. He taught at the Royal Academy of Music in London from 1946 until 1968 where his pupils included Richard Rodney Bennett Nicholas Maw and John Tavener among others. He was knighted in 1974. In early February 1971 I was playing in a concert at St. John's Smith Square London then only relatively recently restored as a superb venue for music. The programme which I believe was being broadcast included Berkeley's Serenade Op.12. It was a work I had always enjoyed playing and was standard string orchestra repertoire at the time. There was initially no platform at St. John's and so the audience sat virtually on top of the performers. So close were they on this occasion that I had to ask for a little more room in order to play. At the end of the piece the orchestra acknowledged the applause and the gentleman who I had all but practically decapitated with my over-enthusiastic playing stood up and took a bow. I had been almost playing in Lennox Berkeley's lap! The opportunity was too good to miss and I wasted little time in introducing myself. Mr Berkeley said that he had been fascinated by my playing and asked me to write to him about a possible commission.This I did on 6 February mentioning that

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

Par ELLIOTT CATHERINE. The award-winning \'Essential String Method\' offers an exciting advance in the teaching of stringed instruments, integrating musical awareness, creativity and technical development from the outset. Making their way through the series, pupils encounter an attrractive selection of new tunes and arrangements on which to build their repertoire. The material is presented as a logical progression of musical activites involving both the instrument and the voice. These make learning fun and are easily incorporated into instrumental lessons, simultaneously developping the pupil\'s technical and musical abilities while reinforcing aspects of the school music curriculum. Developed by leading string teachers, \'The Essential String Method\' provides a proven framework that draws on recognised concepts in good teaching practice, laying reliable foundations for future musical development. / Date parution : 2023-01-07/ Méthode / Contrebasse

The Alfred Jazz EASY Play-Along series for Rhythm Section goes beyond the other play-alongs. The rhythm section book has written out parts for piano, bass, and drumset to show comping suggestions. In addition, each of the nine jazz standards includes the melody and a sample written-out jazz solo for you to listen to, play, and practice. The included MP3 disk has a demo track and a play-along track for each tune for piano, bass, and drums. The demo track, featuring a pro rhythm section with a horn player, is a learning tool for the melody, piano comping, bass lines, drum parts, and improvisation. The play-along track allows each player to practice with the rhythm section as individuals with their part removed from the mix. In addition, the rhythm section parts in the book can be used as small group arrangements. Each jazz standard has specific improvisation tips and suggestions. The written out comping examples and melody along with the written out sample solos are all invaluable assets that makes learning how to improvise easier. Nine great tunes=great jazz! Titles: After You've Gone * Blues March * Lazy Bird * Lester Leaps In * Mr. PC * Road Song * Scrapple From the Apple * St. James Infirmary * Summertime. - See more at: http://www.fabermusicstore.com/Easy-Standards-Play-Along-2-Rhythm-CD-36090.aspx#sthash.66bVow8j.dpuf

Bass Clef Edition-Bass Clef Edition. Exercises and Etudes for the Jazz Instrumentalist is a collection of original pieces by master trombonist and composer J.J. Johnson. Designed as study material and playable by any Bass Clef instrument these pieces (the harmonies of which are based on well-known standards) run the gamut of the jazz experience featuring common and uncommon time signatures and keys and styles from ballads to funk. They are progressively graded so that both beginners and professionals will be challenged by the demands of this wonderful music. Published in both treble and bass clef editions this book also includes text to guide the player as well as a biographyof Johnson.

Piano Reduction and Parts for Quintet-It is a bit of a paradox: one of Dragonetti?s favourite pieces and also his showpiece The Famous Solo originally for Double Bass and Orchestra is largely unknown today. This cannot be down to thevirtuoso work itself but is more likely due to the unclear source situation with its different versions.In this edition Tobias Glöckler presents Dragonetti?s autograph arrangement for Double Bass and StringQuartet for the first time. For those who would like to study the orchestral version there is also a Piano reduction based on a contemporary model. Using this edition The Famous Solo can be performed as neededin the solo and orchestral tuning Piano scores and quartet parts in e minor and f sharp minor are also included.