New Technique for the Double Bass part 1-With little exisiting in the way of study books for the Double Bass François Rabbath's (b.1931) three volume series New Technique of the Double Bass is welcomed by all performers of the instrument. Syrian born Rabbath moved to Paris in 1955 to further his studies on the Double Bass. He soon began composing for the instrument as well as transcribing works of other composers for the instrument. The first volume of New Technique of the Double Bass is a significant contribution to the field of Double Bass pedagogy and covers physical approaches to the instrument bowing rhythms intervals while also containing exercises and studies. As a virtuoso player of the instrument himself frequently performing as a soloist Rabbath compiles this technical study book with vast knowledge and experience. Being such a prominent double bassist Rabbath's New Technique of the Double Bass accompanied by a CD is a well-informed and essential accompaniment to all Double Bass studies.

New Technique for the Double Bass part 3-With little exisiting in the way of study books for the Double Bass François Rabbath's (b.1931) three volume series Nouvelle Technique de la Contrebasse is welcomed by all performers of the instrument. Syrian born Rabbath moved to Paris in 1955 to further his studies on the Double Bass. He soon began composing for the instrument as well as transcribing works of other composers. The third volume of Nouvelle Technique is a significant contribution to the field of Double Bass pedagogy and covers physical and psychological approaches to the instrument bowstrokes harmonics and contains exercises andstudies. As a virtuoso player of the instrument himself frequently performing as a soloist Rabbath compiles this technical study book with vast knowledge and experience. Being such a prominent double bassist Rabbath's Nouvelle Technique de la Contrebasse is a well-informed and essential accompaniment to all Double Bass studies.

Dirt Simple Upright Bass. Although designed for newcomers to the upright bass and bluegrass music in general, this unique approach to creating basslines has something for everyone! The first half focuses on bass-playing essentials, giving the reader a solid technical footing with the instrument. Then, using his own baritone voice and the classic bluegrass song, ?Going Down the Road Feeling Bad,? author Nate Sabat reveals his creative process in crafting effective basslines from the song?s melody and chord progression. The second half focuses on bass playing within the specific context of complementing bluegrass vocals. Well beyond what you might expect from an introductory method, Nate tastefully guides the reader by presenting multiple composed bassline options for each of five well-known bluegrass songs: Rabbit in the Log, Don?t this Road Look Rough and Rocky?, Long Journey Home, I Am a Pilgrim, and Angel Band.Nate?s warm, pitch-perfect vocals can be heard on virtually every track, giving this method an undeniable musicality. A lightly accompanied vocal track with no bass is also provided, so you can be the sole upright or electric bassist in the band. You?ll not only want to back Nate up?but sing harmony with him too! The impulse to sing can?t help but influence your bass playing in a natural and positive way. Nate provides notated versions of the eight major scales most commonly used in bluegrass. Once you get them under your fingers, you?ll soon be able to play along with the book?s 50 companion online recordings.With its simple harmonic palette and repetitive nature, bluegrass music offers bassists the perfect opportunity to become musically literate. If you?ve hesitated to learn to read music, this is the time and place to eliminate that drawback. Working through these 46 pages will provide the tools and confidence needed to create your own engaging and musical basslines and hopefully, you?ll be inspired to continue your bluegrass bass journey for years to come. Includes access to online audio.

Classiques No.29-A transcription of Mozart's Bassoon Concerto in Bb arranged here for Double Bass and Piano. In the key of A. Double bass insert is in G.

Take Your Bow is a collection of 20 concert pieces for beginner string players written by Celia Cobb and Naomi Yandell. Years of string teaching have given them the inspiration to produce pieces which will both delight and engage. Their imaginative writing strengthens rhythmic and stylistic concepts whilst employing a variety of adventurous playing techniques that students will find to be a fun and achievable challenge. Each piece is compatible with any of the other instruments in the series in any combination making it an excellent resource for individual or group teaching. Take Your Bow is available in 4individual editions — for violin viola cello and double bass each with piano accompaniment — and as a separate full score.

The international fame of bass player François Rabbath acknowledges both the untiring teacher author of a Nouvelle technique de la contrebasse which a whole generation of students desirous of freeing themselves from the fetters of traditional teaching has taken up and the inspired soloist unsparing of himself in concert. For several years now he has become accustomed to spending a few days in the summer in Kansas City (Missouri) to give master classes and a concert there in the framework of the ‘KC BassFest’. In July 2016 a moving surprise awaited him: on the stage of the American Jazz Museum afull-length portrait was unveiled painted by local artist Ruthie Ingram from photos taken during his recital the previous year. By way of thanks Rabbath dedicated Trombes d’eau to her a solo piece lasting approximately six minutes composed at the instigation of the International Society of Bassists for the 2017 edition of the International Double Bass Competition. Conceived as a series of short variations on an impassioned theme the work emphasises evocative glissandi and explores double stopping and artificial harmonics without ever sacrificing the essential: the pleasure of musical expression.

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

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.

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.

This is the brand new addition to the string series. Full of new pieces, mixed with arrangements of old favourites. Ideal for Double Bassists who are between grades 2-4. 28 Items: