Tchaikovsky - Canzonetta from the Violin Concerto, Op. 35 For Double Bass and Piano Tchaikovsky - CanzonettaMore Details Concert Score (6 pages) Double Bass Part in Solo Tuning (2 pages) Arranged and Transcribed for Double Bass by Michael Hovnanian Second Edition (Urtext), © 2008

Jazz Play-Along Lesson Lab (Volume 177)-Jazz Play-Along Lesson Lab Volume 177: The II-V-I Progression is a great tool for all jazz musicians. In this special instructional edition The II-V-I progression is covered in detail ? from chords and scales to major and minor progressions to melodic and harmonic patterns and variations. And in true Jazz Play-Along fashion there are plenty of play-along tracks based on this ubiquitous progression so you can immediately apply the concepts you learn in a musical context. For study the play-along examples include a split track with melody cues professional rhythm tracks removable bass part and removable Piano part. Forperformance the play-along examples have an additional full-stereo accompaniment track (without melody). With this package you'll be introduced to the II-V-I progression chords and scales outlining chords over II-V-I playing scales over II-V-I simple patterns for II-V-I condensed progression and other time signatures improvisation practice tunes and more.

Pour un certain nombre d'années, le compositeur letton Peteris Vasks, célèbre pour ses compositions atmosphériques pour orchestre à cordes comme ' Cantabile ' et ' Musica dolorosa ', a travaillé comme un acteur de la contrebasse dans divers orchestres baltes. Il a composé la Sonate présente en / Contrebasse

An easy virtuoso work published here for the first time and now much performed. Recorded Slatford/Academy of St Martin-in-the-Fields (EMI). AMEB (Australian Syllabus) 2004. Orchestral material on hire from Yorke Edition (not Spartan).Programme Note:As a young professional player in the 1960s my work as a double bassist with chamber ensembles and small orchestras took me all over the world. This presented an unparalleled opportunity to scour libraries and archives wherever I went. Long before the advent of the photocopier and e-mail research was far more challenging than it is today. Eastern Europe was particularly difficult to access with manycollections kept under lock and key for all but a few hours a week. One quickly found colleagues who were keen to share information gleaned in passing even though they had no specific interest in one's own particular specialism (it is so often the peripheral topics that fascinate as much as the main subject under investigation and one can quickly be side-tracked into political and social issues that have only slender bearing on the job in hand!).In the early 1970s James Brown the then sub-principal oboist of the English Chamber Orchestra with whom I was working at the time stumbled across a small collection of double bass manuscripts at the Royal Danish State Library in Copenhagen. They were by Franz Anton Leopold Keÿper (b. c.1756 d. Copenhagen 7 June 1815) a double bassist of Dutch origin who worked as principal of the Royal Chapel Orchestra in Copenhagen. Keÿper's son was the bassoonist Franz Jacob August Keÿper (1792-1859). The collection included a number of concertos some chamber music and various naïve fragments. Although hardly the work of a Mozart or Haydn the style is characteristic of the period. For an instrument such as the double bass whose 18th century solo repertoire is largely written for tunings that are no longer in everyday use Keÿper's music is easily approachable in its

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.

For All musicians wishing to learn fantastic bass lines. While reading from the book, play along with the bassist on the recording (sold separately) until you feel you?ve mastered his ?feel? and nuances. Then, using the special stereo separation on all of our Play-A-Long recordings, switch the bassist off and play along by yourself with just the piano and drums! This book (like all the Aebersold bass line transcription books) is a great study in professional bass line construction, and is a natural companion to the Aebersold Play-A-Longs. Combo instructors can use this book to give their bass students instant, professional bass lines. Includes notes in bass clef with chord symbols above each measure.Transcribed bass lines to chord changes similar to: Body And Soul, Cherokee, I?ll Remember April, It?s You Or No One, Stella By Starlight, There Will Never Be Another You, The Song Is You, and What Is This Thing Called Love.
Langue : en anglais

Finally, an authentic collection of Salsa/Latin favorites, with syncopations, voicings and bass figures guaranteed to make you play in whole new ways and expand your musical awareness. There is no drum set on this recording! All the percussion is purely Latin/American and the rhythm section is tight! Be sure to check this one out. It's like no other play-a-long in the series. Rhythm section is Mark Levine-Piano David Belove'Bass John Santos-Timbales and miscellaneous percussion Harold Muniz-Congas and miscellaneous percussion. Sabor - Linda Chicana - Mambo Inn - II/V7/I Cha Cha - II/V7/I Bolero - Afro Blue - Come Candela - Delirio - Manteca - Curacao - Philly Mambo - Mindanao - Picadillo

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 TURLAND PETE. Pete Turland gets more out of a standup bass than any other player I've ever had the pleasure of experiencing. He's easily the most innovative and charismatic slapper in Canada and probably the US as well. He brings respect to an often unheralded instrument and uncovers a whole realm of sonic possibilities. Why not learn from the best' / Niveau : Débutant / Méthode / Guitare Basse Country

Secret Chambers est une analyse comparative des styles de jazz Paul Chambers. Cette analyse mettra en lumière les choix de Paul et des tendances. Un maître établi de Be-bop, Paul Chambers a été appelé l'oiseau de la basse. Inclus dans ce livre de 180 pages sont 76 solos transcrits comme effectuées par Paul Chambers. / Basse / 180 pages / Partition

Charles Mingus était une figure de pionnier dans le jazz moderne. En plus d'être un bassiste virtuose qui a joué avec les meilleurs musiciens de jazz depuis quatre décennies, il était également un pianiste accompli, chef d'orchestre et compositeur qui a enregistré plus de 100 albums et a écrit plus de 300 partitions originales et innovantes. Cette incroyable collection explore des Mingus arrière-plan et prestigieuse carrière ainsi que 55 de ses pièces. Les histoires derrière chaque chanson sont donnés et accompagnées de notes sur comment Mingus joue la pièce. Mingus photos, anecdotes, citations et une importante discographie combler ce volume de collectionneurs chériront. Un travail vraiment personnels qui célèbre le génie au sein de cette légende jazz / Guitare Basse / Partition

Amusez-vous avec le Double Bass est une nouvelle publication unique qui ajoute la joie et la diversité de l'apprentissage de l'instrument. Il comprend beaucoup de chansons que les enfants seront familiarisés avec ce qui rend à la fois plus facile et amusant à pratiquer.Gerd Reinke a prêté une grande attention aux détails, comme il couvre les compétences de base essentielles pour un bassiste en herbe comme des exercices rythmiques, la posture et les termes techniques.Les exercices courts peuvent être accompagnés par l'enseignant sur le piano. / Contrebasse

24 Easy Pieces From 5 Centuries Using Half To 3Rd Position. The 'Easy Concert Pieces' series presents a varied selection of easy concert pieces for double bass and piano from the Renaissance, Baroque and Classical periods through to the modern era. To facilitate choosing individual pieces for performance and auditions at music schools, competitions or examinations these pieces have been ordered according to level of musical and technical difficulty. Book 1 (ED 22551) contains pieces in half and first position. Pieces in each position and some using position changes are presented from each era. Simple techniques such as portato, staccato and legato bowing are introduced along with pizzicato, using rudimentary dynamics ranging from piano to forte, crescendo and decrescendo and simple phrasing. The pieces selected here are varied in character with memorable tunes, a few different time signatures and simple rhythms. / Niveau : Facile / Recueil / Contrebasse et Piano