(520 Exercises include 58 Musical Studies in Positions 1 through 7). Composed by Janice Tucker Rhoda. For solo string bass. 64 pages. Published by Carl Fischer

Composed by Jordan Eismeier. For contrabassoon and string quartet. Level 5. Duration 7 minutes. Published by Imagine Music

(Volume 3 (5 1/2 - 7 position), Book/CD). For Double Bass. Boosey and Hawkes Chamber Music. Book with CD. 92 pages. Bote and Bock #M202523155. Published by Bote and Bock

Double Bass SKU: HU.MMCK01B Strings, Methods. Encore On Strings - Music Maestros 1 Double Bass. Softcover Book and CD. Hal Leonard Australia #MMCK01B. Published by Hal Leonard Australia (HU.MMCK01B). 11.8 x 9.1 x 0.1 inches. This is the first book in a series which has been specifically developed to meet the needs of beginner string students aged 7-12. Contemporary, vibrant, creative, engaging and comprehensive each piece features a particular teaching point such as introducing a new note, a new skill or perhaps reinforcing previous elements within a new context. To assist both teacher and student the teaching point relevant to that piece then appears underneath its title.

By Collin Bay. For bass guitar. Beginning - intermediate. Method book. 16 pages. Published by Mel Bay Publications, Inc

(A book of orchestral excerpts). By Keith Hartley. For Double bass technique book. Double Bass. Double Bass Solo. Double bass solos. Method book. 32 pages

Composed by Geraldine Green. For bass clarinet and piano. Classical; 21st century. Solo part and piano reduction. Composed 1992. Duration 23 minutes. Published by Alea Publishing

Violin-solo,strings,basso continuo (Violin solo, Strings, Basso continuo)

SKU: BA.BA07566

Twelve Concertos for Violin, Strings and Basso continuo. Composed by Antonio Vivaldi. Edited by Bettina Schwemer. This edition: urtext edition. Paperback. Barenreiter Urtext. Volume I: Concertos I-VI. Score, anthology. Opus 4. Baerenreiter Verlag #BA07566_00. Published by Baerenreiter Verlag (BA.BA07566).

ISBN 9790006544066. 31 x 24.3 cm inches. Preface: Schwemer, Bettina.

Antonio Vivaldiâ??s twelve concertos op. 4 known by the name of â??La Stravaganzaâ? were first mentioned as a collection of â??Concerti a 4â? in the 1711 Foreword of â??Lâ??Estro Armonicoâ? op. 3. Their publication had to wait until 1716, when Estienne Roger issued them in two volumes of six concertos each. However, unlike the original announcement, â??La Stravaganzaâ? is more than a collection of concertos for solo violin with string accompaniment: in five of the concertos the soloist is joined by a second solo violin or even by a solo violoncello (Concerto No. 7).

The many reprints of â??La Stravaganzaâ? bear witness to its popularity and widespread dissemination well into the 1730s. Besides the surviving prints, there is a significant body of handwritten sources containing alternative versions for seven of the concertos. Some of these manuscripts stem from the music library of Johann Georg Pisendel.

This edition of â??La Stravaganzaâ? is not only the first scholarly-critical edition, it is also the only complete edition available. In addition to the twelve concertos handed down in the Roger edition, Bärenreiter offers an additional concerto in full score, piano reduction and parts contained in the 1728 print issued by the English publishers Walsh and Hare, as well as alternative versions (without viola) found in handwritten sources for Concertos No. 6 (Volume 1) and No. 11 (Volume 2).

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Merlins Insel oder Die verkehrte Welt. By Christoph Willibald von Gluck. Edited by Gunter Hausswald. For 3 Soprano solo, 5 Tenor solo, 3 Bass solo, Speaker, 2 Flute, 2 Oboe, 2 English horn, 2 Bassoon, 2 Horn, Strings, Basso continuo. This edition: Urtext Edition. Opera comique in one act after Louis Anseaume. Piano Reduction/Vocal Score. 120 pages. Published by Baerenreiter Verlag (German import).

For Double Bass (with 5 Strings). By Heinz Holliger. Schott. 7 pages. Published by Schott.

Urtext of the Halle Handel Edition. By George Frideric Handel. Edited by Gerlach, Eva; Schneider, Ingeborg. For Organ/Harpsichord Solo, Oboe (2), Bassoon Ad Lib., Strings, Basso Continuo. Score; Urtext Edition. Op. 7/1. Duration 19'. Published by Baerenreiter-Ausgaben (German import).

By Giuseppe Torelli. Edited by Michael Talbot. For 2 Violins, basso continuo. Full score and parts. Duration 7 minutes. Published by Edition HH Music Publishers (U.K. Import).

By Georg Philipp Telemann (1681-1767). Edited by Kenneth Martinson. For viola (or viola da gamba) and strings. This edition: Urtext, Folder with 8 inserts. In the key of D major. Classical. Level 3 (of 6). Score and 7 parts. Text Language: English. TWV 55:D6. 84 pages. Duration 24 min. Published by Gems Music Publications

Transponierte Studienfassung. Composed by Johann Wilhelm Hertel. Edited by Philipp. Parts. Published by Friedrich Hofmeister Musikverlag (HF.FH-8139).

By Antonio Vivaldi (1678-1741). Edited by Hara. For bassoon solo, strings, cembalo. Bassoon Concerto in A Minor PV72; F. VIII, No. 7. Full score

Composed by John Rutter (1945-). For SATB choir and piano/orchestra ([1.1.0.0-0.0.0.0], harp, strings). This edition: Paperback. Mixed Voices. Christmas, Choral Leaflet. Level A-B (very easy - easy). Vocal score. Duration 3.5 minutes. Published by Oxford University Press

Score Orchestra

SKU: HL.14028658

Composed by Aulis Sallinen. Music Sales America. 20th Century. Book [Softcover]. 112 pages. Edition Wilhelm Hansen #NOV890195. Published by Edition Wilhelm Hansen (HL.14028658).

ISBN 9780853609292. 8.25x11.75x0.333 inches.

Aulis Sallinen's Symphony No.7 is related to J.R.R. Tolkien's great novel The Lord of the Rings. The symphony does not actually depict the events in the novel; rather it is a musical expression of the literary atmosphere and poetry. The symphony was commissioned by the Gothenburg Symphony Orchestra and composed in 1995-6. Orchestration: 3 Flutes, 3 Oboes, 3 Clarinets in B flat, 3 Bassoons, 4 Horns in F, 4 Trumpets in B flat, 3 Trombones, Tuba, Timpani, Percussion, Celesta, Harp, Strings. The duration of the work is 25 minutes, full score and orchestral material is available for hire.

(A Comprehensive String Method) Written by Brenda Mitchell, Joanne Erwin, Kathleen Horvath, Robert D McCashin. Instructional book. Series: New Directions for Strings. 535 pages. Published by The FJH Music Company Inc.

By Tomaso Giovanni Albinoni (1671-1751). Arranged by Sean F. Biehn. For Trombone and String Quartet. Baroque. Advanced. Score and parts. Published by Cherry Classics

Concert Band/Harmonie and Opt. Choir - Grade 2

SKU: BT.DHP-1033337-015

Composed by Jacob De Haan. Musica Sacra. Hymns & Chorals. Set (Score & Parts). Composed 2003. De Haske Publications #DHP 1033337-015. Published by De Haske Publications (BT.DHP-1033337-015).

9x12 inches.

Missa Brevis, written for choir and wind band, was commissioned by the Conseil Départemental pour la Musique et la Culture de Haute-Alsace (Dir.: Philippe Pfisterer) in Guebwiller (France), in celebration of the millennium of Pope Leon IX’sbirth in Éguisheim (France). The composer conducted the first performance on June 23, 2002. It was performed live for the French television channel France 2. The mass movements Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Deiare very suitable for the Catholic as well as the Protestant liturgy. For this mass, various ways for performing in diverse variable strengths are possible. An instrumental performance is possible if the brass represents the choir parts. In thisoption, it is desirable for the brass to be positioned separately from the rest of the band (on a gallery, for example), so that the idea of two choirs is approached. In a performance with a large choir, the brass can work very well as a support. Inthat case, the dynamics of the brass should be adapted somewhat, since these are actually intended for an instrumental performance. You can also leave out the brass entirely for the benefit of the choir. For the accompaniment of smaller choirs, youcan opt for a small ensemble from the band. This can also be a quartet, put together as desired. For the performance of this mass, the obvious choice is one of the above options. However, as an alternative, a performance with a combination of theseoptions (vocally/instrumentally) is also possible not just from an artistic point of view (variation), but also from a practical starting point for example in the case that the choir has rehearsed only two movements. With a full strength, theconductor can vary the instrumentation to his or her liking. Then the brass can also play a role in the accompaniment (instead of supporting the choir). The following combinations are possible:
1. clarinet choir (from Eb Clarinet to BassClarinet)
2. clarinet choir + saxophones
3. brass (flugelhorns, horns, euphoniums, bass section)
4. brass (2 trumpets / 2 trombones)
5. double reeds (optional + flute, optional + string bass)
6. tutti
7. all winds
8. allbrass
In a performance by brass band and choir, it is usually advisable to leave out option 1 (choir + brass + band). The choir sings self-reliantly, accompanied by a full brass band. In an instrumental performance, you can consider a combinedquartet (two cornets and two trombones) + brass band.
Choral parts available separately.

Mis sa Brevis, geschreven voor koor en blaasorkest, werd gecomponeerd in opdracht van de Conseil Départemental pour la Musique et la Culture de Haute-Alsace (dir. Philippe Pfisterer) in Guebwiller (Frankrijk), ter gelegenheid van het duizendstegeboortejaar van paus Leo IX. In zijn geboorteplaats, Éguisheim (Elzas, Frankrijk), vond op 23 juni 2002 de première van deze mis plaats onder leiding van de componist. Het betrof een live-registratie voor de Franse televisiezender France 2. Demisdelen Kyrie, Gloria, Credo, Sanctus, Benedictus en Agnus Dei lenen zich uitstekend voor zowel de katholieke als de protestantse liturgie. Er zijn voor deze mis diverse uitvoeringsmogelijkheden mogelijk, aangezien er sprake is van eenvariabele bezetting. Een instrumentale uitvoering behoort uitdrukkelijk tot de mogelijkheden, indien het scherp koper de koorpartijen vertegenwoordigt. In deze optie is het wenselijk dat het scherp koper zich separaat opstelt van de rest van hetorkest (bijvoorbeeld op een galerij), zodat het idee van dubbelkorigheid wordt benaderd. Bij een uitvoering voor groot koor werkt het scherp koper zeer goed als ondersteuning. In dat geval kan de dynamiek van het koper iets worden aangepast,aangezien deze in eerste instantie bedoeld is voor een instrumentale versie. Ook kan men ervoor kiezen het scherp koper helemaal weg te laten ten gunste van het koor. Bij begeleiding van kleinere koren kan men kiezen voor een klein ensemble uit hetorkest. Dit kan ook een naar wens samengesteld kwartet zijn. Voor de uitvoering van deze mis ligt het voor de hand een van deze opties te kiezen. Als alternatief is echter ook een uitvoering mogelijk met een combinatie van deze opties (vocaal/instrumentaal) niet slechts vanuit een artistiek motief (afwisseling), maar ook vanuit een praktisch motief, voor het geval dat het koor bijvoorbeeld slechts twee delen heeft ingestudeerd. Bij een volledige bezetting kan de dirigent deinstrumentatie naar believen afwisselen. Hierbij kan ook het scherp koper in de begeleiding een rol krijgen (in plaats van ondersteuning van het koor). Zo zijn de volgende combinaties mogelijk:

1. clarinet choir (van Es-klarinet tot basklarinet)

2. clarinet choir + saxofoons

3. zacht koper (bugels, hoorns, euphoniums, bassen)

4. scherp koper (2 trompetten / 2 trombones)

5. dubbelrieten (eventueel + fluit, eventueel + contrabas)

6. tutti

7. alle hout

8. alle koper

In een uitvoering voor brassband en koor is het in de meeste gevallen aan te bevelen de optie voor scherp koper weg te laten. Het koor zingt zelfstandig, begeleid door een volledige brassband. In een instrumentale uitvoering kunt u denken aan eencombinatiekwartet (twee cornetten en twee trombones) + brassband.Koorpartijen apart verkrijgbaar.

M issa Brevis, geschrieben für Chor und Blasorchester entstand im Auftrag des Conseil Départemental pour la Musique et la Culture de Haute-Alsace (Dir.: Philippe Pfisterer) in Guebwiller (Frankreich), anlässlich des tausendjährigen Jubiläumsder Geburt von Papst Leo IX in Éguisheim. Der Komponist dirigierte die Uraufführung am 23. Juni 2002. Sie wurde live vom französischen Fernsehen France 2 übertragen. Die Messesätze Kyrie, Gloria, Credo, Sanctus, Benedictus und Agnus Deieignen sich ausgezeichnet sowohl für die katholische als auch die protestantische Liturgie. Diese Messe kann in diversen variablen Spielstärken aufgeführt werden. Eine Instrumentalaufführung ist möglich, wenn das Blech die Chorstimme übernimmt.Um der Idee von zwei Chören in dieser Variante möglichst gerecht zu werden, empfiehlt es sich, das Blechregister getrennt vom Rest des Blasorchesters aufzustellen (beispielsweise auf einer Galerie). In einer Aufführung mit einem großen Chor kann dasBlechregister sehr gut als Unterstützung dienen. In diesem Fall sollten die Dynamikangaben der Blechbläser etwas angepasst werden, da sie ja eigentlich für eine Instrumentalaufführung gedacht sind. Man kann zugunsten des Chors auch völlig auf dasBlech verzichten. Zur Begleitung kleinerer Chöre können Sie ein kleines Ensemble aus dem Blasorchester wählen. Dies könnte auch ein Quartett in beliebiger Zusammensetzung sein. Für die Aufführung dieser Messe bietet sich eine der oben genanntenVarianten an. Eine Kombination dieser Wahlmöglichkeiten (vokal/instrumental) ist jedoch auch möglich und das nicht nur vom künstlerischen Standpunkt aus betrachtet (zur Abwechslung), sondern auch aus praktischen Erwägungen beispielsweise, wennder Chor nur zwei Sätze einstudiert hat. In voller Besetzung kann der Dirigent die Instrumentierung nach Belieben variieren. Dann können die Blechbläser auch eine Rolle in der Begleitung übernehmen (anstatt den Chor zu unterstützen). Die folgendenKombinationen sind möglich:

1. Klarinettenchor (von Klarinette in Es bis Bassklarinette)

2. Klarinettenchor + Saxophone

3. Blech (Flügelhorn, Horn, Euphonium, Bassregister)

4. Blech (2 Trompeten / 2 Posaunen)

5. Doppelrohrblattinstrument e (wahlweise + Flöte, wahlweise + Kontrabass)

6. Tutti

7. Alle Holzbläser

8. Alle Blechbläser

In einer Aufführung mit Brass Band und Chor ist es gewöhnlich ratsam, nicht die erste Option (Chor + Blech + Blasorchester) zu wählen. Der Chor singt unabhängig, begleitet von einer vollständigen Brass Band. In einer Instrumentalaufführung könnenSie sich für ein kombiniertes Quartett (zwei Kornette und zwei Posaunen) + Brass Band entscheiden. Chorstimmen separat erhältlich.

Missa Brevis est une messe pour Orchestre d’Harmonie et Choeur composée la demande du Conseil Départemental pour la Musique et la Culture de Haute-Alsace (Dir. : Philippe Pfisterer) de Guebwiller en France, l’occasion des célébrations dumillénaire de la naissance du Pape Léon IX Éguisheim. La création mondiale a eu lieu le 23 juin 2002 sous la direction du compositeur, et a été diffusée en direct sur la chaîne de télévision nationale France 2. Les différentes parties de cettemesse (Kyrie, Gloria, Credo, Sanctus, Benedictus et Agnus Dei) conviennent autant la liturgie catholique qu’ la liturgie protestante. Missa Brevis peut être interprétée dans différentes combinaisons instrumentales. Ellepeut être jouée dans une version purement instrumentale, où les cuivres prennent en charge la partie vocale. En tel cas, il est conseillé de placer les cuivres l’écart de la formation (sur une estrade, par exemple) de façon reproduire l’idée dedeux groupes indépendants. Dans le cadre d’une interprétation avec un grand Choeur, les cuivres jouent un rôle de soutien. Leurs nuances doivent alors être adaptées dans la mesure où elles ont été écrites, l’origine, pour une version instrumentale.Il est également possible de ne pas faire intervenir les cuivres et de privilégier le Choeur. Pour accompagner de petits ensembles vocaux, il faut opter pour une formation instrumentale réduite voire même un Quatuor (instrumentation au choix). Pourl’interprét ation de cette messe l’un des choix proposés ci-dessus s’impose. Il existe néanmoins une alternative qui consiste interpréter cette oeuvre en combinant ces options (vocales / instrumentales). Cela peut être bénéfique tant d’un point devue artistique (variante) que pratique dans le cas où le Choeur n’a travaillé que deux mouvements de la messe. Si le chef dispose de deux formations complètes (Choeur et Orchestre d’Harmonie), il peut varier l’instrumentation selon ses préférences. ce moment-l , il peut confier un rôle d’accompagnement et non de soutien aux cuivres de sa formation. Les combinaisons suivantes peuvent être formées :

1. Choeur de Clarinettes (de la Clarinette Mib la Clarinette Basse)

2. Choeur de Clarinettes + Saxophones

3. Cuivres (Bugles, Cors, Barytons / Euphoniums, Basses)

4. Cuivres (2 Trompettes / 2 Trombones)

5. Instruments anches doubles (Fl te et Contrebasse cordes optionnelles)

6. Tutti

7. Tous les Bois

8. Tous les Cuivres

Dans le cadre d’une interprétation par un Brass Band accompagné d’un Choeur, il est préférable de supprimer l’option 1 (Choeur + Cuivres + Orchestre d’Harmonie) car le Choeur étant autonome. Dans une version instrumentale pour Cuivres, il estpossible de former la combinaison suivante : Quatuor (2 Cornets / 2 Trombones) et Brass Band.Partitions pour chœur disponibles séparément.

Parti per coro disponibili a parte.

By Camilla De Rossi. Edited by Barbara Jackson. String orchestra. For 2 violins, viola, cello/bass and basso continuo. Sinfonias from oratorios. Arias And Sinfonias From Oratorios By Women Composers Of The 18th Century, Volume 6. Baroque. Level: Easy. Score. Sheet music. Published by ClarNan Editions.

By Camilla De Rossi. Edited by Barbara Jackson. String orchestra. For 2 violins, viola, cello/bass and basso continuo. Parts set for sinfonias from oratorios. Arias And Sinfonias From Oratorios By Women Composers Of The 18th Century, Volume 6. Baroque. Level: Easy. Set of Parts. Sheet music. Published by ClarNan Editions.

(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Various. Arranged by Daniel Kelley. String Trio, Wind Trio, Mixed Trio, Clarinet Trio, Saxophone Trio, Piano Trio, Piano Quartet. For Bass Clarinet in Bb. Trios. Intermediate Music for Three. Classical. Intermediate. Partbook - Part 3. Published by Last Resort Music Publishing

Composed by Robert Ward. Concerto/Feature, Instrumental Solo, Bestseller. Saxophone/piano score. Galaxy Music Corporation #7.0351. Published by Galaxy Music Corporation

Composed by Franz Joseph Haydn (1732-1809). Edited by Gunter Thomas. For solo voices, choir, orchestra (solo soprano voice/solo alto voice/solo tenor voice/solo bass voice/SATB choir/flute/2 oboes/2 clarinets/bassoon/2 horns/3 trumpets/timpani/strings/ basso continuo). This edition: Urtext edition. Linen. Level 3. Score. Hob. XXII:11 Hob. XXII:12. 277 pages. Duration 41 minutes. Published by Baerenreiter Verlag