This collection presents 195 carefully graded sight-reading pieces and exercises in a range of musical styles, for solo Double Bass. Taking an approach based on self-learning, the 11 sections of the book focus on developing different key technical skills as well as introducing the student to a plethora of musical terms.Each section of the book contains solos, as well as Double Bass duets, and pieces with piano accompaniment for practising ensemble sight-reading. Suitable for preliminary, to advanced level students. Part of the comprehensive Sight-Reading series published by Schott and edited by John Kember. / Contrebasse

12 Concertos For Violin, Strings And Basso Continuo. Par VIVALDI ANTONIO. Antonio Vivaldi's twelve concertos op. 4 known by the name of 'La Stravaganza” were first mentioned as a collection of 'Concerti a 4” in the 1711 Foreword of 'L'Estro Armonico” 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, 'La Stravaganza” 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 'La Stravaganza” 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 'La Stravaganza” 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)./ Répertoire / Violon, Cordes et Basse Continue

Written by Janice Tucker Rhoda, author of the popular ABCs of Strings method, the Complete Technique For Double Bass series is designed for advanced beginners to upper level students wishing to learn or improve their left hand and right arm bow skills.Starting in first position, and proceeding carefully through the higher positions, these method books use short studies to demonstrate specific technical ideas.The book starts with solidifying the combination of note reading, rhythm, and bow distribution, then quickly progresses to a variety of bowing techniques and use of positions 1 - 7, half and thumb position, explaining the physicality of the left and right hands, arms, elbows, and shoulders. Using a mixture of more melodic studies with purely technical exercises, this book quickly gives players information and confidence to improve their playing.Complete Technique For Double Bass - Book 1 covers and includes:Positions 1 through 7Half PositionBass, tenor and treble clefsTwo octave C Major Scale to thumb positionAdvanced chromatic scaleBasic thumb positionWorksheets for note-readingScales, arpeggios, broken thirdsImprovisational melodiesDouble-Stops, chords, octavesHarmonicsArm Swing left-hand and bow-arm techniqueBow balancing exercisesBallet of Shifting exercisesQuick Finger exercisesFinger Substitution exercisesLeft-hand pizzicato exercisesTeaching points throughout / Contrebasse

EDITION : STUDY SCORE INSTRUMENTATION : STRINGS AND BASSO CONTINUO CATALOGUE OF WORKS : HWV 325 DURATION : 17' NUMBER OF PAGES : 28 ARRANGER : NYMAN, MICHAEL SERIES : EULENBURG MINIATURE SCORES

Kontrabass. Par TELEMANN GEORG PHILIPP. Concerto for Flute, Violin, Violoncello, Strings and Basso Continuo in A major (TWV 53:A2) Tafelmusik I If Telemann was regarded by his contemporaries as one of the greatest of all composers, his star, faced with the overwhelming presence of Bach and Handel, paled in the course of the 19th century to the verge of contempt. This assessment changed radically during the course of the last century. Through the systematic exploration of his music, Telemann, once considered purely an instrumental composer, has emerged into a highly cultivated, culturally well-connected and enormously versatile artistic personality who left an indelible mark on the musical life of his time. Again and again we discover an individual approach in his works that seems to abandon the musical conventions of his day, both large and small. The Tafelmusik (Musique de Table) is a collection of chamber pieces for various ensembles arranged into 3 parts and is perhaps Telemann's most celebrated collection of music. Composed in 1733, the Tafelmusik clearly demonstrates Telemann's skill in handling a diversity of musical genres and a variety of instruments. - Urtext of the Telemann Edition/ Répertoire / Flûte Traversière, Violon, Instruments à Cordes et

In 1648 Heinrich Schütz published a collection of 29 motets with five to seven parts titled 'Geistliche Chor-Music? (Sacred Choir Music). Here, the term 'Chor? (choir) refers not only to a (large) vocal ensemble but, more generally, to a group of musicians, vocal or instrumental. As explained by Schütz in the foreword he published with the collection, all parts of the motets can be performed vocally and/or instrumentally. This practice, common in Schütz's time, has been incorporated into Bärenreiter's new publication. The edition includes the twelve five-part motets at original pitch with basso continuo. In addition, instrumental parts for string and wind instruments can be purchased. These parts, which include the text, serve to support and complement the choral sound 'colla parte?. To enable varying tone-colour possibilities, instrumental parts are available in different transpositions.Of great significance is the detailed foreword on performance practice by Manfred Cordes.- Reflects the latest in musicological research based on the 'New Schütz Edition?- Includes a detailed foreword (Eng/Ger) on performance practice by a Schütz expert- Instrumental parts (strings, winds) available in transpositionsManfred Cordes is a specialist for the music of the 16th and early 17th centuries. He works as professor for music theory, counterpoint and ensemble and is also rector of the 'Hochschule für Künste Bremen?. He performs internationally as the director of the ensemble 'Weser-Renaissance Bremen?. / Choeur Mixte Et Basse Continue

Traduction Doc Rossi
Compositeur : Damiani Andrea
Instrumentation : Luth
Publication Date: 1999
Series: Teoria e Didattica della Musica (Theoretical and Educational Texts)
Pages: pp. 208
CONTENTS
*  Preface
*  Introduction
*  CHAPTER 1. TUNING AND TABLATURE
Tuning - Tablature (French tablature - Italian tablature - Rhythm symbols - Fingering and other symbols) - Stringing and doubling - Tuning practice (Practical advice on tuning - Tuning problems) - Strings
*  CHAPTER 2. BASIC TECHNIQUES
Posture and position of the lute - Right-hand position - Right-hand functions - Sound production (Positioning p - Forearm movement - Attack - Positioning i) - Alternating p and i - Finger articulation for polyphonic passages (Positioning p - Positioning i) - Preparatory exercises - Differences from guitar technique - Body control
*  CHAPTER 3. THE RIGHT HAND
Forearm and accentuation - Fingering
*  CHAPTER 4. THE LEFT HAND
General principals - Preparatory exercises - Avoiding stiffness - Differences from guitar technique - Hand coordination
*  CHAPTER 5. SCALES
Right-hand scale technique (Forearm movement - Finger articulation - Integrating the two techniques)
*  CHAPTER 6. EXERCISES FOR TWO LUTES
Exercises on a ground bass - Contrapuntal exercises - Articulation - Dances and ground basses
*  CHAPTER 7. SHIFTING LEFT-HAND POSITIONS
Fundamental principals - Position changes using the same finger - Position changes by substitution - Position changes by jump
*  CHAPTER 8. EXERCISES FOR TWO LUTES WITH POSITION CHANGES
*  CHAPTER 9. RIGHT-HAND TECHNIQUE IN POLYPHONIC MUSIC
p-i articulation - Positioning m - Rest stroke with p - Left-hand positions and movement - m-i articulation - Combining p, i and m - Easy pieces in two voices - Two-voice scales
*  CHAPTER 10. COUNTERPOINT
Voice progression and intervals - The species - Florid counterpoint - Imitation - Syncopation - Suspension
*  CHAPTER 11. CONTRAPUNTAL PIECES IN TWO VOICES
*  CHAPTER 12. THREE VOICES
The right hand - Combining chords and single notes - Repeated chords and monophonic passages - Arpeggios - Chords and counterpoint
*  CHAPTER 13. CONTRAPUNTAL PIECES IN THREE VOICES
Technical aspects: three-voice scales, the barre - Contrapuntal pieces in three voices
*  CHAPTER 14. CHORDS OF FOUR OR MORE NOTES
The ring finger (a) - Five- and six-note chords - Chords played with p
*  CHAPTER 15. IDIOMATIC LUTE COMPOSITIONS
Chords and divisions - Characteristics of lute composition
*  CHAPTER 16. TRANSFORMATION OF LUTE TECHNIQUE DURING THE 16th CENTURY
Evolution of right-hand position - Exercises for m-i alternation
*  CHAPTER 17. TECHNIQUE
Scales (Full-length scales in all keys - Scales with divisions) - Speed - Left-hand legato and ornamentation - The barre (Preparatory exercises - Barre exercises) - Scales in two and more voices (Two-voice scales - Three-voice scales) - Polyphonic patterns - Right-hand exercises
*  CHAPTER 18. RENAISSANCE PERFORMANCE PRACTICE
Interpretation (Rhetoric - Sound quality - Rhythmic inequality) - Ornamentation (16th-century sources - The first half of the 16th century - The second half of the 16th century - The first half of the 17th century - The Elizabethans)
*  CHAPTER 19. TEMPERAMENT
Meantone temperament - Equal temperament

EDITION : STUDY SCORE INSTRUMENTATION : ORGAN, 2 OBOES, BASSOON AND STRINGS CATALOGUE OF WORKS : HWV 309 DURATION : 16' NUMBER OF PAGES : 36 ARRANGER : WILLIAMS, PETER SERIES : EULENBURG MINIATURE SCORES

Par TELEMANN GEORG PHILIPP. cor Solo - 0.1.0.0 - 0.0.0.0 - Strings - Basse Continue - Durée: 7/ Répertoire / Partition D'Orchestre

EDITION : STUDY SCORE INSTRUMENTATION : ORGAN, 2 OBOES, BASSOON AND STRINGS CATALOGUE OF WORKS : HWV 310 DURATION : 13' NUMBER OF PAGES : 32 ARRANGER : WILLIAMS, PETER SERIES : EULENBURG MINIATURE SCORES

Hawkes Pocket Scores HPS 811. Par TREDICI DAVID DEL. Détails de la formation instrumentale: rock group:2ssax(II=tsax),elec.guitar,bass guitar 2(=picc).2(II=corA).2(II=bcl).2(II=dbn)-0.2.2.0-perc(3):t.bells/anvil tam-t/BD/wind machine-strings - Durée: 28' - Langue: English - Format: 17,5 x 26,7/ Répertoire / Soprano, Rock Group, Choeur Mixte et Orchestre

Edition no.: BA10039-90ISMN: 9790006541447Editor: Dürr, Alfred / Freeman, Robert / Webster, JamesArranger: Eichhorn, JoachimLanguage(s) of work: German, EnglishLanguage(s) of text: German, EnglishProduct format: Piano reduction, Urtext editionBinding: StapledPages / Format: IV, 50 Seiten - 27,0 x 19,0 cm This cantata for the First Sunday after Trinity, first performed in 1726, is one of the most musically attractive compositions composed by Bach during his time as cantor at St. Thomas Church, Leipzig.In its alternating scoring for oboes, recorders and strings, the opulently-structured opening chorus describes the gesture of the breaking of bread. The arias and recitatives for the two soloists, alto and tenor show Bach at the peak of his compositional powers. The two-part cantata concludes with a simple chorus.- Urtext edition based on the New Bach Edition- Richly coloured scoring using recorders and oboes- Vocal score (Ger/Eng), foreword (Ger/Eng)1. Vorwort 2. Preface 3. 1. (Chorus) Break with hungry men thy bread 4. 2. Recitativo (Basso): The bounteous God 5. 3. Aria (Alto): One's creator while on earth yet 6. Second part: 7. 4. (Basso) To do good and share your blessings 8. 5. Aria (Soprano): Highest, my possessions 9. 6. Recitativo (Alto): How shall I then, O Lord 10. 7. Choral: Blessed those who through compassion