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

A collection of songs by the hottest bands of recent years, all presented in full bass tab with a CD of backing tracks that sound just like the bands themselves!. From the power-disco of Bloc Party and Arctic Monkeys, to the ramshakle pop perfection of The Magic Numbers and Elbow, this is a veritable 'who's who' of guitar bands for the new rock generation. Parental advisory - explicit lyrics. / Niveau : Elémentaire / Tablatures / Guitare Basse Tablatures

Par CHAGGAR RICKY. 4 Dance movements. Sentimental Dances tells the story of two strangers who meet and develop feelings for each other, but who ultimately cannot be together. There are a range of emotions through the pieces, from excitement and affection to the melancholy and sorrow of Last Dance. Sentimental Dances is a versatile set of pieces, which can be performed at functions, events or as part of a concert. Working well together, each movement can also be played effectively as a stand alone piece. / Niveau : Intermédiaire / Répertoire / Flûte Traversière, Hautbois, Clarinette et Basson

Livre de poche qui regroupe tous les plus grands tubes des années 60 de `Good Vibrations` des Beach Boys en passant par `Respect` d'Aretha Franklin et `Hit the Road Jack` de Ray Charles. Partitions pour guitare (symboles et grilles d'accords) avec les paroles complètes. / Variétés Internationales / Partition /

Between 1717 and 1723 Johann Sebastian Bach composed Six Suites for Violoncello (BWV 1007 ??? BWV 1012). Of these the first three have been transcribed for bass guitar in this coursebook which in itself is a considerable amount of work. Between 1717 and 1723 Johann Sebastian Bach composed Six Suites for Violoncello (BWV1007-BWV1012). Of these the first three have been transcribed for Bass Guitar in this coursebook which in itself is a considerable amount of work. For bassists these compositions are a real challenge - a challenge however that brings with it a lot of benefits. Because once you get to know them you get hooked on them and by playing them you'll be able to considerably refine your playing technique. But believe me the pieces are so gripping that you'll barely notice the effort. Every suite presented in this coursebook comprises six movements. The first of these isalways a prelude followed by five dances. The CD attached to the coursebook presents every single one of the 18 movements in its full length in order to help you interpret them flawlessly.

Standards, Motown, Pop, Jazz: 196 Songs für Bass-Instrumente, z.B. Blue Moon, Knock On Wood, Over The Rainbow und Solitude Contenu - (Used To Be A) Cha Cha - 34 Skidoo - Almost Like Being In Love - And It All Goes Round And Round - Another Star - Baby, Come To Me - Bird Of Beauty - Black Nile - Blue Moon - Bud Powell - Butterfly - Caravan - Ceora - Close Your Eyes - Creepin' - Dancing In The Street - Day Dream - Dolphin Dance - Don't Be That Way - Don't Blame Me - Dreamin' - El Gaucho - Emily - Everything I Have Is Yours - For All We Know - Gentle Rain - Get Ready - Grand Central - Heatwave (Love Is Like A Heatwave) - Hold On I'm Comin' - How Sweet It Is (To Be Loved By You) - I Can't Help It - I Fall In Love Too Easily - I Got It Bad And That Ain't Good - I Hear A Rhapsody - I Heard It Through The Grapevine - I'm Gettin' Sentimental Over You - I'm Losing You (I Know) - If You Could See Me Now - In A Mellow Tone - In A Sentimental Mood - Inner Urge - Invitation - Isotope - Jitterbug Waltz - Just Friends - Just Squeeze Me (But Don't Tease Me) - Just You, Just Me - Knock On Wood - Laura - Let's Stay Together - Litha - Lonely Woman - Lullaby In Rhythm (Goodman) - Maiden Voyage - Moon And Sand - Moonglow - Moonlight Serenade - My Girl - Nowhere To Run - On Green Dolphin Street - One Bird, One Stone - One Finger Snap - Ooo Baby Baby - Opus De Funk - Over The Rainbow - Part Time Lover - Prelude To A Kiss - Promise - Punjab - Reach Out, I'll Be There - Respect - Ritual - Ruby - Sail Away - Serenata - Since We Met (Evans) - Smile Please - Solitude - Speak Like A Child - Spring Is Here - Stairway To The Stars - Star Eyes - Stars Fell On Alabama - Stompin' At The Savoy - Street Of Dreams - Sub Aqua - Sugar - Super Blue - Sweet Lorraine - Sweet Love - Taking A Chance On Love - That Girl - That Old Feeling - The Lamp Is Low - The Second Time Around - The Shadow Of Your Smile - The Tracks Of My Tears - This Is New - Too High - Tuzz's Shadow - Warm Valley - What Are You Doing The Rest Of Your Life? - What's Going On - What's Love Got To Do With It - When I Look In Your Eyes - When Lights Are Low - Where Are You - You Are So Beautiful - You Must Believe In Spring - You Stepped Out Of A Dream - You've ChangedStandards, Motown, Pop, Jazz: 196 Songs für Bass-Instrumente, z.B. Blue Moon, Knock On Wood, Over The Rainbow und Solitude

Grade 4-This collection of pieces was written for the Trinity Guildhall Examination Board syllabus. It is aimed principally at students of grades 1 to 5 and intended to combine technical challenges with that most vital musical ingredient: fun.In 'March of the Day' (Songs and Chants of the Beautiful Game) soccer fans might identify hints at six (or more) football themes. The piece has three main ideas each in the contrasting keys of Bb Eb and F majors. Can you find a different character for each one? The danger for bassoonists in this sort of piece is that everything can sound accented so be careful to follow the articulation marks as closely as you can.RondolettinettoThisis all about building phrases through repetition. It relies largely therefore on control of the sound. Try to achieve a really obvious contrast of character between the opening phrases and the less refined con spirito episode. This might be played just a touch faster than the opening and closing sections if you wish. There is a hint of gentle parody in this piece if you can find a way of expressing that too.Sand-dance KidThis piece stretches the compass and range of expression even further. There are very obvious contrasts of staccato and legato and the phrase lengths of the middle section are far from regular. Try to scale down the dynamics at the end so that you end as softly as you can play.

Par HAENDEL GEORG FRIEDRICH. ?Giulio Cesare in Egitto? is by far Handel?s most frequently performed opera owing its success not least to its subject matter, one of the best known love stories in world history. Already during Handel?s lifetime the popular work was often staged and therefore adapted by Handel for each of the performance conditions. The editor Hans Dieter Clausen has succeeded in editorially defining and practically presenting these adaptations ? essentially four versions ? on the basis of a meticulous study of the sources within the framework of the ?Halle Handel Edition?. The new edition allows for a performance of each of the four versions. The version of 1725 is particularly noteworthy because Handel newly devised the role of Sesto for the famous tenor Francesco Borosini. The libretto shows the Roman dictator Cesar in a friendly light. He instructs his enemy, the Egyptian tyrant Tolomeo, how to treat adversaries: he reconciles the widow and son of his enemy Pompeo who was murdered by Tolomeo: he is generous and just, hands on, but also diplomatic, thoughtful, aware of the limits of his power, and susceptible for art and nature. However, the actual protagonist of the opera is Cleopatra. In a masterly way Handel develops her character musically. In his extensive Foreword Hans Dieter Clausen not only decribes the genesis, historical background, reception and the edition of the opera, he also examines the musical and dramaturgical reworking of individual numbers in ?Giulio Cesare?. Handel was such an expert in adapting arias for new purposes and other characters that he did not only meet the needs at hand but often the new version surpassed the original. In this way, the reader gains, in passing, a well-founded insight into Handel?s work methods when designing and redevising his characters. The detailed Critical Commentary includes information on the comprehensive and highly complex source situation as well as on individual editorial decisions./ Répertoire / Chant et Orchestre