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Essential Styles for Bass
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Vous avez sélectionné:
Essential Styles for Bass
Partitions à imprimer
14 partitions trouvées
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1
Essential Styles for Bass
Essential Styles for Bass
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Basse electrique
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Dino M Monoxelos
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Essential Styles for Bass
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Composed by Dino M Monoxelos. All Styles. E-book and online audio. 80 pages. Published by Mel Bay Publications - Digital Sheet Music (M0.98911BCDEB). - e-book a...
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Composed by Dino M Monoxelos. All Styles. E-book and online audio. 80 pages. Published by Mel Bay Publications - Digital Sheet Music (M0.98911BCDEB). - e-book and online audio - All Styles - Mel Bay Publications - Digital Sheet Music
$17.99 ≈
16.51€
Essential Music Theory for Electric Bass
Essential Music Theory for Electric Bass
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Basse electrique
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DÉBUTANT
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Methodes
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Robby Garner
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Essential Music Theory for Ele
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Composed by Robby Garner. All styles. E-book. 112 pages. Mel Bay Publications - Digital Sheet Music #20304EB. Published by Mel Bay Publications - Digi...
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Composed by Robby Garner. All styles. E-book. 112 pages. Mel Bay Publications - Digital Sheet Music #20304EB. Published by Mel Bay Publications - Digital Sheet Music
$17.99 ≈
16.51€
Encyclopedia of Bass Arpeggios
Encyclopedia of Bass Arpeggios
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Basse electrique
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FACILE
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Methode : Gammes & Accords
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Methodes
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Massimo Palermo
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Encyclopedia of Bass Arpeggios
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Composed by Massimo Palermo. Encyclopedia. All Styles. E-book. 70 pages. Published by Mel Bay Publications - Digital Sheet Music (M0.20882EB). - e-book - All St...
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Composed by Massimo Palermo. Encyclopedia. All Styles. E-book. 70 pages. Published by Mel Bay Publications - Digital Sheet Music (M0.20882EB). - e-book - All Styles - Mel Bay Publications - Digital Sheet Music
ISBN 9781609743819. Learn bass fingerboard secrets with this quick and useful guide through the fundamental triad and seventh chord arpeggios. Learn to recognize these essential items and to easily find them over the whole neck.Each chord in Encyclopedia of Bass Arpeggios is provided with a brief introductory chart analyzing the arpeggios rising from chords and relevant inversions. The development in one and two octaves follows, considering the different positions and fingerings starting from the 3rd, the 4th, and the 5th strings. All arpeggios are presented in standard notation and tablature. Finally, a table summarizes the scales to be used with each type of chord.As well as a valuable reference for all bass players, this book gives students a fresh and comprehensive tool to practice arpeggios in a very simple and constructive way. An excellent opportunity to gain a fluent understanding of the fretboard and to hone playing skills in terms of dexterity and accuracy. For 4-string and 5-string bass.
$17.99 ≈
16.51€
The Clarke Variations-bass clef edition
The Clarke Variations-bass clef edition
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Bass Clef Instruments
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INTERMÉDIAIRE/AVANCÉ
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Methodes
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Eric Bolvin
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The Clarke Variations-bass cle
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Faded Duck Music
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SheetMusicPlus
Trombone, Tuba, Euphonium - Advanced Intermediate - Composed by Eric Bolvin. Method, Etudes and Exercises, General Instructional, Technique Training...
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Trombone, Tuba, Euphonium - Advanced Intermediate - Composed by Eric Bolvin. Method, Etudes and Exercises, General Instructional, Technique Training. 55 pages. Published by Faded Duck Music
Most brass players are familiar with the ubiquitous Clarke?s Technical Studies. Here are some creative variations on Studies I, II, III, V and VII. Click our free sample below to read the introduction and try some easy sample exercises. All the variations are progressive so I guarantee they get harder and will be useful to players at all levels and styles.
There are two essential books that just about every trumpet player has studied; Arban?s Conservatory Method and Clarke?s Technical Studies. The Arban is fondly referred to as ?the trumpet player?s bible?. If that is the case, then the Clarke should be ?the new testament?. I consider Herbert L. Clarke to be the ?George Washington? of trumpet, as he was the one of the first Americans to achieve greatness as a performer on the cornet. He was also one of the first notable pedagogues and taught such greats as Rafael Mendez and Claude Gordon, who was my teacher. I am fond of telling my students that they are the great-grandchildren of H. L. Clarke, one of our country?s first great virtuosos.
The impetus for this set of variations is based on the idea of an ?Expanding Scale? or ?Expanding Range?. Each set will start with a small range of notes covering an interval such as a 5th and will expand over the course of the study to the whole range of the trumpet. The idea is to imagine you are ?holding one note? and let your fingers do the rest. This concept is, of course, metaphorical but if employed will greatly enhance your technique and efficiency.
This is a progressive course, so it is recommended that you practice the studies in the order they are presented. Make note of the intervals in each study. Study 1 is all chromatic, so it is easier to transition from one note to another. The second group is based on Clarke Study 5 and is all diatonic. The third group is based on Clarke Study 2 which is diatonic with some thirds. The fourth group is based on Clarke Study 3 which is arpeggios. So with each group the intervals get a little more challenging. I?ve also included more chromatic work based on Studies 7 & 8.
$16.95 ≈
15.55€
101 Essential Country Chord Progressions
101 Essential Country Chord Progressions
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Guitare
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Country
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Larry McCabe
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101 Essential Country Chord Pr
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar (flatpicking) - Beginning-Intermediate - SKU: M0.99043MEB Composed by Larry McCabe. McCabe's 101. Country. E-book and online audio. Mel Bay Publi...
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Guitar (flatpicking) - Beginning-Intermediate - SKU: M0.99043MEB Composed by Larry McCabe. McCabe's 101. Country. E-book and online audio. Mel Bay Publications - Digital Sheet Music #99043MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.99043MEB). ISBN 9781619116528. 8.75x11.75 inches.This book will help you play and write songs in both contemporary and classic country styles. The book is for music students, teachers, performing artists, recording studios, composers, songwriters, advertising agencies, and any person or music company who needs a user-friendly, comprehensive reference guide to country chord progressions. Specific chord fingerings are supplied for guitar players. The stereo online audio makes the book an ideal tool for study or jamming. No note reading is required. Blank treble and bass staves are included for writing songs, licks and solos. A concise discussion of song form is provided to help beginners understand the structure of country songs. Overall, a great learning and reference tool for beginners and pros alike. All creative musicians and writers who study, perform, or compose country music will benefit from this book. Includes access to online audio.
$14.99 ≈
13.75€
Sonata Hymnica No. 6
Sonata Hymnica No. 6
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2 Pianos, 4 mains
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INTERMÉDIAIRE/AVANCÉ
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James Siddons
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Sonata Hymnica No. 6
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James Siddons Music and Writings
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music...
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2 Pianos,4 Hands,Piano Duet - Level 4 - SKU: A0.972673 Composed by James Siddons. Contemporary,Folk,Jazz,Spiritual. Score. 25 pages. James Siddons Music and Writings #6698569. Published by James Siddons Music and Writings (A0.972673). Performance NoteSonata Hymnica No. 6 is scored for two pianos and three performers. One performer (or player) sits at Piano I and may also serve as the conductor. At Piano II, Performer 1 plays from the treble staff and Performer 2 plays from the bass staff. There are possible variations in this, such as having four pianos (two pianos doubling the other two), or having two performers at Piano I, with Performer 2 playing only the bass-staff rhythmic pattern that begins in measure 37. A standing conductor (not playing piano) may be desired.  Although repetitive, the music in this sonata rarely repeats itself exactly; hence, further minor improvisations by the performers are appropriate, keeping with the improvisatory nature of oral tradition. Program Note (for use in concert programs) by James Siddons  The Sonata Hymnica series by James Siddons consists of piano solos that explore the world of American hymns and vernacular religious songs in the 1880-1920 era, when rural and small-town churches relied on pianos for music, and, in an age before microphones and amplification, the acoustics of wooden floors, walls, and high ceilings. These sonatas are not hymn arrangements but explorations of the sounds that can be created by a piano in a reverberant environment, all the while keeping in mind the essential message of the familiar words sung to the various hymn tunes. Sonata Hymnica No. 6 is the first in the series to be for piano ensemble, and the second (after No. 3) to be based on the worship music of the 19th-century African American church. This sixth sonata also explores the singing world of the black congregation and choir as well as the piano. Their singing was shaped by the sounds and intonations of the piano and the heritage of European music behind it, as well as the contours and cadences of the religious folk songs known as Spirituals. But the black congregations also sang hymns and choruses from the Classical tradition, and the Spirituals became the basis of many adaptations by white arrangers. Thus, we may speak of standardized adaptations of Spirituals as white black music, and black performance styles of Classical works as black white music. Piano ragtime music is a non-religious example of white music (the military march) made into black white music by the blending in of the syncopated rag rhythm. Sonata Hymnica No. 6 explores the intermingling of these two strains of American music as heard in the 19th-century black church. In his classic book The Souls of Black Folk (Chicago, 1903), W. E. B. Du Bois confesses to not being a musician but nonetheless finding himself enthralled by the music of the Southern 19th-century African Americans. He refers to their singing as the Frenzy or ‘Shouting,’ when the Spirit of the Lord passed by, and seizing the devotee, made him mad with supernatural joy . . . stamping, shrieking, and shouting, the rushing to and fro and waving of arms, the weeping and laughing, the vision and the trance (p. 116). On another page, Du Bois speaks of . . . the songs of my fathers . . . swelling with song, instinct for life, tremendous treble and darkening bass (p. 163). Sonata Hymnica No. 6 uses the African call and response form as well as percussive polyrhythms.
$10.00 ≈
9.18€
Requiem
Requiem
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99 ≈
51.38€
Jazzin' the Blues
Jazzin' the Blues
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Piano Facile
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FACILE
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Blues
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Jazz
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Vince Corozine
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Jazzin' the Blues
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Piano and keyboard - Intermediate - Digital Download For the intermediate pianist. Composed by Vince Corozine. Jazz. E-book and online audio. 112 pag...
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Piano and keyboard - Intermediate - Digital Download For the intermediate pianist. Composed by Vince Corozine. Jazz. E-book and online audio. 112 pages. Mel Bay Publications - Digital Sheet Music #30640MEB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619117723.
Designed to introduce the young intermediate-level pianist to playing the blues, Jazzin' the Blues presents fifteen original blues compositions in various keys, styles and grooves together with downloadable recordings of 40 of the 50 examples in the book. The audio tracks are presented both with and without the lead piano part, so the student can play along with a professional rhythm section which includes piano, vibraphone, alto flute, drums, and bass.Historical and performance notes are provided with each blues composition. The author enlisted the skills of jazz pianist Charlie Freeman in editing the book and providing fingering for both the treble and bass piano parts, making these pieces more accessible to novice players. If your knowledge of blues theory or terminology is lacking, this is the book for you! Author Vince Corozine thoroughly explores and demonstrates: blues and pentatonic scale theory, blue notes, grace notes, pedal-points, tremolos, trills, syncopation, anticipation, delayed beats, slash chords, boogie-woogie left-hand patterns, walking bass, stride piano style, straight eighths, swing eighths, passing tones, rolled chords, riffs, "filler" chords, substitutions, and comping styles. This book also includes essential blues chord theory as well as tips on tasteful chord voicing presented in the context of accompanying a soloist (comping); in addition, the chord progressions represented by the written notation are carefully annotated in every example in the book. The Appendix includes helpful tips on comping, practice, and jazz soloing, plus a list of noteworthy jazz pianists, a key to chord symbols, and a glossary of jazz terms used in the book.If you are not a competent blues pianist when you first pick up this book, you will be by the time you complete it! Includes access to online audio.
$17.99 ≈
16.51€
Brazilian Electric Guitar
Brazilian Electric Guitar
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Guitare notes et tablatures
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INTERMÉDIAIRE
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Latin/Musique du monde
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Flavio Henrique Medeiros
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Brazilian Electric Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
By Flavio Henrique Medeiros. For Guitar (Electric). Brazilian. 88 pages. Published by Mel Bay Publications - Digital Sheet Music ...
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By Flavio Henrique Medeiros. For Guitar (Electric). Brazilian. 88 pages. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619112636. The main goal of this book is to present what could be called Brazilian guitar today, working melodically, harmonically and rhythmically in some of the most important Brazilian musical styles. We have chosen to always use two electric guitars in these arrangements (but in the song 'Violeiros e Cantadores', which is for solo electric guitar), so that the essential functions of the guitar - rhythm, melody and harmony - might be expressed in the clearest and best way in each different style.We have made three versions of each piece, for ease of study: a complete one, one without the first electric guitar, and one without the second electric guitar. Therefore the student will be able to listen to the complete version and then practice with the other ones, playing the missing parts of the first guitar and the second guitar. At the end of the book, like an appendix, we have included the bass lines used in the recordings to strengthen the rhythmic and harmonic comprehension of each style.All music is in notation and tablature. Online audio available for download.
$19.99 ≈
18.34€
Psalm 134
Psalm 134
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Loys Bourgeois
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Des McNutty
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Psalm 134
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Des Press
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SheetMusicPlus
Brass Ensemble Bass Trombone,Euphonium,Horn,Trumpet,Tuba - Level 2 - SKU: A0.1081137 Composed by Loys Bourgeois. Arranged by Des McNutty. Baroque,Christ...
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Brass Ensemble Bass Trombone,Euphonium,Horn,Trumpet,Tuba - Level 2 - SKU: A0.1081137 Composed by Loys Bourgeois. Arranged by Des McNutty. Baroque,Christmas,Praise & Worship,Renaissance,Traditional. Score and parts. 21 pages. Des Press #685273. Published by Des Press (A0.1081137). Lip-slurs: Not every brass player's idea of fun but an essential facet of technique. In this treatment of Psalm 134, all instruments, except the bass trombone, play their entire part in one position or valve combination with a lot of slurs. Attention must be paid to rhythmic accuracy, both at the beginning of notes and their precise ending. For the best effect, a full tenuto is observed, sustaining each note until it either stops or clicks to the next. Not as easy as it looks! The instruments played can be varied; • Voice 1: Trumpet/cornet/flugelhorn in B♠pressing 1-3; or low F-trumpet open. • Voice 2: Trumpet/cornet/flugelhorn in B♠or bugle or clarion. • Voice 3: Alto trombone (4th pos.); an E♠horn, pressing 1 & 2; or natural trumpet in C. • Voice 4: Tenor trombone in 6th pos. or French horn (open in F) or a baritone/euphonium pressing 1-3. • Voice 5: Tenor trombone in 1st pos. or baritone/euphonium open. • Voice 6: Ideally Bass trombone but fits on tuba, tenor trombone/euphonium etc. A standard brass quintet plus one guest could distribute the parts thusly: • Voices 1 & 2: Two trumpets. • Voice 3: Guest on alto trombone, E♠horn or natural trumpet in C. • Voice 4: Horn open in F as 1st trombone. • Voice 5: Trombone as 2nd trombone • Voice 6: Tuba Some tune-up/ ensemble tuning exercises are included. This setting is a mixture of styles described as contre-pointillist; counterpoint in a natural pointillism where the Cantus Firmus and other lines weave between overlapping harmonic series; and diatonic clusters, which at best will remind listeners of a carillon of church bells. Loys Bourgeois' melody for Psalm 134, better known to Anglophones as The Old Hundredth, was added to the Genevan Psalter in 1551. Leading reformist Calvin had commissioned vernacular (spoken language of the people; in this case, French) settings of Psalm melodies for Protestants to sing and the Genevan Psalter was first published in 1539. Subsequent editions added further melodies but some were still used for more than one Psalm. The lesser-known Lausanne Psalter was the first to give each Psalm its own melody. Psalm 134 is associated with Michaelmas (29th September) and Christmas festivities. Enjoy!
$12.99 ≈
11.92€
Bluegrass Breaks: Guitar
Bluegrass Breaks: Guitar
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Dix Bruce
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Bluegrass Breaks: Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar - Intermediate - SKU: M0.96862MEB 23 Bluegrass Guitar Solos. Composed by Dix Bruce. Guiar Solo. Style. E-book and online audio. Mel Bay Pu...
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Guitar - Intermediate - SKU: M0.96862MEB 23 Bluegrass Guitar Solos. Composed by Dix Bruce. Guiar Solo. Style. E-book and online audio. Mel Bay Publications - Digital Sheet Music #96862MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.96862MEB). ISBN 9781619115347. 8.75x11.75 inches.Welcome to Bluegrass Breaks: Guitar! This book is a collection of 23 guitar solos or breaks plus 16 introductions or kickoffs in a range of styles and levels of difficulty. The solos are aimed at advanced beginner to intermediate guitarists looking to expand their repertoire of lead guitar solos. All the solos are recorded in split-track format at two speeds and are available online.This book includes:Easy Carter-style solos with the melody played on the bass strings, punctuated by chord strums.More advanced Carter-style solos with hammer-ons, pull-offs, slides and more.Hot flatpicking solos with lots of eighth notes, played with up and down picking.Essential fiddle tunes for every modern bluegrass lead guitar player.Crosspicking solos played with two different crosspicking patterns.Solos using the real dropped D and the faux dropped D tunings.A variety of kickoffs, generic and for specific songs.Extensive notes on the breaks and the techniques used to play them.The breaks in this book are based on are some of the most performed bluegrass, old-time, and gospel songs - songs that you're sure to hear played at jam sessions, picking parties and on stage. Includes access to online audio.
$17.99 ≈
16.51€
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Essential Styles for Bass
