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Cello, String Bass (duet)

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4 sheet music found

Limerock (double bass part - vln, bs)

Limerock (double bass part - vln, bs) #Cello, String Bass (duet) #ADVANCED #Mark OâConnor

#Mark O'Connor, Edgar Meyer #Limerock #Mark O'Connor Musik International #SheetMusicPlus

Instrumental Duet Double Bass,Instrumental Duet,Violin - Level 5 - SKU: A0.861869 Arranged by Mark O'Connor, Edgar Meyer. 20th Century,Contemporary,Folk...(+)

Instrumental Duet Double Bass,Instrumental Duet,Violin - Level 5 - SKU: A0.861869 Arranged by Mark O'Connor, Edgar Meyer. 20th Century,Contemporary,Folk. Score and parts. 12 pages. Mark O'Connor Musik International #6204401. Published by Mark O'Connor Musik International (A0.861869). Limerock (double bass part – vln, bs) MO123CDouble Bass Part (score and parts available)Music by Mark O’Connor4 pages - 2:20 minutes in length Limerock adapted for violin and doublebass is an arrangement of one of the most beautiful hoedowns in American fiddling literature. Originally a two part tune, Texas fiddling pioneer Benny Thomasson arranged a version that approximates the one most performed today. Mark O’Connor and Edgar Meyer built upon the Thomasson variations to create a unique and thrilling violin and bass duet that first appeared on O’Connor’s Grammy winning recording, New Nashville Cats. O’Connor has adapted the 2nd part to include viola, viola and cello to offer four different versions of the arrangement. Limerock is a fine example of how a tune O’Connor learned by ear as a youth evolved into a virtuoso piece in a classical setting. It is most suitable for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1990 Composed by Mark O’ConnorLimerock can be heard on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalLimerock can also be heard on Mark O’Connor’s Crossing Bridges OMAC Records, and The New Nashville Cats Warner Bros. Records Catalogue Number MO123CCopyright © 1990 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com

$4.50 ≈ 4.20€

Limerock (violin part - vln, bs)
Limerock (violin part - vln, bs) #Cello, String Bass (duet) #ADVANCED #Mark OâConnor
#Mark O'Connor, Edgar Meyer #Limerock #Mark O'Connor Musik International #SheetMusicPlus

Instrumental Duet Double Bass,Instrumental Duet,Violin - Level 5 - SKU: A0.861868 Arranged by Mark O'Connor, Edgar Meyer. 20th Century,Contemporary,Folk...(+)

Instrumental Duet Double Bass,Instrumental Duet,Violin - Level 5 - SKU: A0.861868 Arranged by Mark O'Connor, Edgar Meyer. 20th Century,Contemporary,Folk. Score and parts. 8 pages. Mark O'Connor Musik International #6204395. Published by Mark O'Connor Musik International (A0.861868). Limerock (violin part – vln, bs) MO123BViolin Part (score and parts available)Music by Mark O’Connor4 pages - 2:20 minutes in length Limerock adapted for violin and doublebass is an arrangement of one of the most beautiful hoedowns in American fiddling literature. Originally a two part tune, Texas fiddling pioneer Benny Thomasson arranged a version that approximates the one most performed today. Mark O’Connor and Edgar Meyer built upon the Thomasson variations to create a unique and thrilling violin and bass duet that first appeared on O’Connor’s Grammy winning recording, New Nashville Cats. O’Connor has adapted the 2nd part to include viola, viola and cello to offer four different versions of the arrangement. Limerock is a fine example of how a tune O’Connor learned by ear as a youth evolved into a virtuoso piece in a classical setting. It is most suitable for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1990 Composed by Mark O’ConnorLimerock can be heard on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalLimerock can also be heard on Mark O’Connor’s Crossing Bridges OMAC Records, and The New Nashville Cats Warner Bros. Records Catalogue Number MO123BCopyright © 1990 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com

$4.50 ≈ 4.20€
Limerock (score - vln, bs)
Limerock (score - vln, bs) #Cello, String Bass (duet) #ADVANCED #Mark OâConnor
#Mark O'Connor, Edgar Meyer #Limerock #Mark O'Connor Musik International #SheetMusicPlus

Instrumental Duet Double Bass,Instrumental Duet,Violin - Level 5 - SKU: A0.861867 Arranged by Mark O'Connor, Edgar Meyer. 20th Century,Contemporary,Folk...(+)

Instrumental Duet Double Bass,Instrumental Duet,Violin - Level 5 - SKU: A0.861867 Arranged by Mark O'Connor, Edgar Meyer. 20th Century,Contemporary,Folk. Score and parts. 12 pages. Mark O'Connor Musik International #6204391. Published by Mark O'Connor Musik International (A0.861867). Limerock (score – vln, bs) MO123AScore (parts available)Music by Mark O’Connor8 pages - 2:20 minutes in length Limerock adapted for violin and doublebass is an arrangement of one of the most beautiful hoedowns in American fiddling literature. Originally a two part tune, Texas fiddling pioneer Benny Thomasson arranged a version that approximates the one most performed today. Mark O’Connor and Edgar Meyer built upon the Thomasson variations to create a unique and thrilling violin and bass duet that first appeared on O’Connor’s Grammy winning recording, New Nashville Cats. O’Connor has adapted the 2nd part to include viola, viola and cello to offer four different versions of the arrangement. Limerock is a fine example of how a tune O’Connor learned by ear as a youth evolved into a virtuoso piece in a classical setting. It is most suitable for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1990 Composed by Mark O’ConnorLimerock can be heard on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalLimerock can also be heard on Mark O’Connor’s Crossing Bridges OMAC Records, and The New Nashville Cats Warner Bros. Records Catalogue Number MO123ACopyright © 1990 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com

$6.00 ≈ 5.60€
Six Sonates d'un genre facile et agréable à violoncello et basso, op. 28
Six Sonates d'un genre facile et agrÃ©able Ã violoncello et basso, op. 28 #Cello, String Bass (duet) #BEGINNER #Jean-Baptiste Breval #Yuriy Leonovich, Michele Galva #Six Sonates d'un genre facile #Artistic Score Engraving di Galvagno Michele #SheetMusicPlus

Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - SKU: A0.841356 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele ...(+)

Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - SKU: A0.841356 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele Galvagno. Classical,Instructional,Standards. Score and parts. 106 pages. Artistic Score Engraving di Galvagno Michele #6029285. Published by Artistic Score Engraving di Galvagno Michele (A0.841356). Jean-Baptiste Sebastien Bréval (1753-1823) was a French cellist and composer, who is, perhaps, best known for his cello sonatas, namely the ones in C major (Op. 40, No. 1) and G major (Op. 12, No. 5). Bréval was one of the last students of the cellist and composer Martin Berteau (1691-1771), continuing his teacher’s tradition of composing sonatas for cello with bass accompaniment. With both composers, the bass part was to be played by a second cello, very likely by the cello teacher. Many cellists opt in to have Berteau’s unfigured bass part realised by a harpsichord. However, the two-cello layout was common in the late Classical Era, especially in method books, such as Bréval’s own Traité du violoncelle (where Bréval states that the bass and the cello are one and the same), as well as Romberg’s, Dotzauer’s, et al. Romberg and Dotzauer even composed sonatas for cello and basso (second cello) accompaniment as well, Op. 43 and Op. 103, respectively. Our current publication presents student cellists with a beautifully engraved edition of Bréval’s 6 Cello Sonatas, Op. 28 and Air de Malborough, Op. 13. Bréval composed the Sonatas in c1795, most likely in conjunction with Op. 40, since Op. 28, No. 1 picks up right where Op. 40, No. 6 leaves off. Whereas Op. 40 and Op. 28, Nos. 1-4 are in two fast movements, Op. 28, Nos. 5 and 6 include a slow middle movement, No. 6 even using the thumb. The autograph, which the editor used as the primary source, and the first edition both present each sonata on four pages in score form. Our volume includes a score and parts for each player. The cello part includes fingering and bowing suggestions by Yuriy Leonovich. Each sonata begins with an Allegro movement in sonata form. The finales vary from five-part rondos (Nos. 1, 3, 5), to sonata form (Nos. 2, 6), to theme and variations (No. 4). The slow movement of No. 5 is in simple binary form, and No. 6 is in simple ternary. The six keys Bréval used for Op. 28 are the same as the ones he used for Op. 40, only in a different order. Op. 40 uses the following order: C, F, G, B-flat, A, D. Op. 28 uses the following order: D, C, A, G, B-flat, F. The Op. 28 sonatas are primarily written in tenor clef, whereas Op. 40 is primarily written in bass clef. The playing range is identical for both sets, with the exception of the high B-flat in m. 46 in the slow movement of No. 6, and high B and C in m. 37 of the finale of No. 6. Bréval explores more advanced bow techniques as well.

$24.95 ≈ 23.29€

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