It is rare in music pedagogy that something truly revolutionary comes along. Progressive Repertoire is the first English language method for beginning Double Bass to incorporate the innovative division of the Bass fingerboard into six positions developed by renowned French bassist Fran?ºois Rabbath in his three volume Nouvelle Technique de la Contrebasse. Mr. Vance has created a method that introduces these revolutionary ideas in a progressive manner using familiar folk and classical material to produce studies and pieces that will appeal to novice Basses of all ages. In addition a Compact Disc is included with each of the primary books containing all the music performed byFran?ºois Rabbath with Elizabeth Azcona-Hartmark piano.Progressive Repertoire for Double Bass will introduce American teachers and students to the most important techniques developed for the instrument.

Par STANCZYK MARCIN. In the mid-twentieth century, Wladyslaw Strzeminski painted a series of solaristic pictures entitled Powidoki swiatla (?Afterimages of light?), illustrating the optical impressions triggered by gazing at the sun. They can be observed when we look at the sun and then suddenly turn our eyes to a white sheet of paper. We then see a reflection of the light ? a trail in blue, contrasting with the yellow. The reflection of the notes in this work are their harmonics. The three movements are formed from the relationship between the fundamental pitches and their overtones. The first is built on the principle of the mutual contrast between the sounding ?light? and its ?afterimages?. In the second movement, the transitions between the ?lights? and their ?afterimages? are smooth, while in the third, the juxtaposing of fundamentals and overtones is initially smooth, but then alters in the direction of the contrast from the beginning of the work. / Date parution : 2022-12-12/ Répertoire / Contrebasse

Par D'ADAMO DANIEL. “Ombres portées” was commissioned by Radio France for the radio program Alla Breve. The piece is dedicated to Florentin Ginot. Performed without interruption, each of the five pieces of this cycle highlights certain characteristics and specific resources of the double bass, as are the natural harmonic sounds, the instrumental spectrum, the bowing techniques or those of the left hand, the possibility of sliding every sound, the natural inertia and speed of the instrument, its heaviness and its lightness, etc. “Ombres portées” was first performed by Florentin Ginot on February 29, 2017, as part of the Présences/Radio France Festival. / Date parution : 2022-02-03/ Répertoire / Contrebasse

Comme son nom l'indique, cet ouvrage traite du rôle de la contrebasse dans le trio, et donc aussi a fortiori dans l'orchestre. En d'autres termes, vous y pratiquerez de nombreux exercices relatifs aux différentes difficultés liées à la musique de groupe ! Vous trouverez des études traitant des 4/4 et des 2/2, les réponses des instruments avec la batterie, puis vous pourrez apprécier les exercices d'improvisation sur les cadences de jazz, les mesures impaires, les thèmes joués à la basse, la pratique de la musique modale... et autres raffinements nécessaires à l'obtention d'un bon niveau en groupe. Plus globalement, cet ouvrage vous prépare sans précipitation à vous inscrire dans un trio, tout en apprenant à vous placer correctement par rapport aux autres instrumentistes. En pratiquant avec soin les parties proposées, vous serez donc enfin prêt à interpréter les standards de jazz dans leur grande majorité. Le CD vous fournit les exemples joués par la contrebasse mais aussi les accompagnements nécessaires à la bonne exécution de ces derniers. Ainsi, les playbacks, sans la contrebasse, vous permettront de jouer seul les parties correspondantes ou bien encore d'élaborer vous-même des parties plus personnelles. Comme si vous étiez en trio... / Contrebasse

Performed by Geoffrey Applegate violin Accompaniment: Stuttgart Festival Orchestra Conductor: Emil Kahn A favorite of audiences and performers this concerto glows with exuberance and solid structural beauty. You play either the first or second part; or get together with a friend for a thrilling duet concerto eperience with full orchestra! Contains a printed solo part newly engraved and printed on beautiful acid-free ivory paper; and two compact disc featuring the complete concerto performed with both solo violins then again in three accompaniment versions: minus the first violin; minus the second violin; and minus both violins; and the accompaniments given again at -20%speed for practice purposes.

32 Trios That Can Be Played by Any Combination of Instruments-If you're a Double Bass player and you have a couple of friends who play another stringed instrument then Compatible Trios for Strings is the book for you! This collection contains 32 trios in a variety of styles from classical to folk music to original pieces that will be fun to play with any combination of three string instruments.Trios are a great way to learn how to play in a chamber music setting and this unique collection gives you the opportunity to do it with anyone else who plays a string instrument making the combinations of instruments that can be used extensive. Compatible Trios for Strings are perfect for use in school setting whenstudents come in at lunchtime or after school and want to play for fun with their friends. The flexibility of these trios makes them a must-have for any string player.Available for:Violin - CFBF83Viola - CFBF84Cello - CFBF85Double Bass - CFBF86

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.

Les auteurs ont conçu - avec l'aide de professeurs d'instruments - une méthode permettant d'avoir un outil à la fois ludique et vivant pour l'enfant, et le plus précis possible pour le professeur, tout en permettant à celui-ci d'enseigner suivant sa propre sensibilité musicale. Les avantages, non exhaustifs, de la formation musicale par l'orchestre : - un rapport beaucoup plus direct et moins abstrait entre le solfège et la pratique instrumentale (tout l'apprentissage solfégique étant directement lié à l'instrument que l'élève a choisi) - passer par l'oral avant l'écrit - une formation auditive plus développée, due aux partitions interprétées par différents instrumentistes - une meilleure compréhension/analyse des oeuvres proposées grâce à la pratique instrumentale - développer l'autonomie de l'élève - la pratique instrumentale collective au sein de ce cours donnera l'envie (dès que l'élève aura le niveau suffisant) de rejoindre un des ensembles instrumentaux du conservatoire ou de l'école de musique Chaque volume de Symphonic FM se présente sous la forme d'un livre de l'élève (choisi en fonction de l'instrument pratiqué) et d'un livre du professeur. A partir du volume 5, nous avons changé la présentation des livres des élèves pour des raisons pratiques (densité de l'ouvrage). Il y a désormais : un cahier principal comportant ce qui est commun à tous les instruments une partie séparée spécifique à chaque instrument comportant les duos instrumentaux, les versions instrumentales des chants et les pratiques instrumentales. Ainsi, chaque élève achètera non plus le correspondant à la famille de son instrument mais le cahier de son propre instrument.

Par BEAUJEAN MICHEL. Cet ouvrage propose une suite d'exercices musicaux originaux, très progressifs, destinés en premier lieu aux contrebassistes débutants. En suivant les différents chapitres de cette initiation, vous trouverez ainsi de précieux conseils sur les bases du jeu de la contrebasse Jazz, abordant tour à tour des difficultés et des enseignements dont l'évolution reste aussi efficace que progressive. L'auteur, qui est aussi accompagnateur d'orchestres de Jazz, vous livre ici son savoir, ses connaissances, de manière simple et intelligible. Il vous initie à l'art de bien poser vos notes sur l'instrument, à la lecture, à la connaissance des gammes et modes, ainsi qu'à l'interprétation jazz sous toutes ses formes (standard, ballade, 3/4, walking, anatole...). Enfin, le DVD Vidéo reprend chaque exercice pour en faciliter la compréhension, alors que le CD Audio vous propose de nombreux playbacks sur lesquels vous pourrez mettre en application les enseignements mais aussi vous exercer en toute liberté./ Méthode / Contrebasse

from 2012 ABRSM Grades 68-ABRSM: Double Bass Specimen Sight-Reading Tests - Grades 6-8 (From 2012) contains valuable practice material for candidates preparing for ABRSM Double Bass exams Grades 6-8.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

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

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.