Vivez la musique excitante de la tradition Marichi! Tout au long de mariachi interprète et pédagogue John Nieto rejoint Bob Phillips de fournir authentiques paramètres d'orchestre de familiers, des airs traditionnels pour orchestre à cordes seules, groupe de mariachis seul ou orchestre à cordes et bande de mariachi ensemble. Trompette livres et d'accompagnement sont disponibles pour fournir des pièces optionnelles pour trompette, guitare, Guitarron, vihuela, piano et harpe. Historique idées de fond et la disposition sont fournis dans le manuel de l'enseignant. / Contrebasse

The international fame of bass player François Rabbath acknowledges both the untiring teacher author of a Nouvelle technique de la contrebasse which a whole generation of students desirous of freeing themselves from the fetters of traditional teaching has taken up and the inspired soloist unsparing of himself in concert. For several years now he has become accustomed to spending a few days in the summer in Kansas City (Missouri) to give master classes and a concert there in the framework of the ‘KC BassFest’. In July 2016 a moving surprise awaited him: on the stage of the American Jazz Museum afull-length portrait was unveiled painted by local artist Ruthie Ingram from photos taken during his recital the previous year. By way of thanks Rabbath dedicated Trombes d’eau to her a solo piece lasting approximately six minutes composed at the instigation of the International Society of Bassists for the 2017 edition of the International Double Bass Competition. Conceived as a series of short variations on an impassioned theme the work emphasises evocative glissandi and explores double stopping and artificial harmonics without ever sacrificing the essential: the pleasure of musical expression.

A first of its kind approach to the learning of double bass incorporating traditional classical studies with practical jazz and popular music applications. Michael Moore who has been at the top of the jazz bass scene since his arrival in New York in the 1960s and pioneer of jazz education Clem DeRosa combine to produce an easy to follow method designed for individual or classroom application.

18 Lektionen / 18 Lessons-The long awaited Sassmannshaus method Early Start on the Double Bass is now here. At last students of the largest instrument in the string family can make use of this tried and tested method for beginners developed by Egon Sassmannshaus for the other string instruments and applied here to the double bass by Holger Sassmannshaus and J. Peter Close. This method will meet the needs of the growing number of young bass students. “Early Start on the Double Bass” encompasses everything that one would expect from a Sassmannshaus method: an easy start progression at a suitable rate many cross-references to the other string instruments songsand scales in different positions from early on as well as many duets. Lively and colourful illustrations by Charlotte Panowsky complete the edition. For more than three decades “The Sassmannshaus Tradition” has been the household name for excellence in beginner string methods in German-speaking countries. The English editions for violin viola and violoncello which were introduced to the international market in 2008 have proven to be very successful particularly in the United States. Kids to the Bass!While children learning other string instruments can start as early as the age of four the appropriate age to begin the double bass is approximately eight (possibly even six); this allows for a faster progression than on the other string instruments and the method consists of only three volumes. The first volume will be published separately in an English and a German edition; the following two volumes will have German and English text in each book. Original compositions by Boguslaw Furtok enrich the volumes. Based on the tried-and-tested Sassmannshaus methods for violin viola and cello Volume 1: Separate editions in German and English Volumes 2 and 3: Bilingual German/English editions Moderate increase in difficulty Position playing duets Includes new original compositions by B. Furtok Volume 3 with piano accompaniments to 7 pieces The authorsHolger Sassmannshaus is a double bass player with the Niederrheinische Sinfoniker in

For Violone-Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e. unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period some of which are dated 1698.The sonatas are both inscribed on the title page Sonata Violone Solo. Col Basso per l'Organo o Cembalo. A third sonata bears the words Sonata Violino e Violoncino … di Giovannino del Violone. Giovannino (=Little or Young John) musthave been a performer and although the third sonata has been copied by a different hand it is conceivable that Giovannino is a connecting link between the three. He cannot however be assumed to be their author.The Violone was a six-stringed instrument with frets and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family which means that the sonatas might well have been written for a tenor or a bass Viol and not necessarily a Violone as such. Indeed when they are played on a Violone or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument to prevent inversion of the intended harmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether a Violone player owing to the very nature of his instrument would have used any but the simplest melodic decorations. Nevertheless the performer should acquaint himself thoroughly with those seventeenth century traditions that are known today (see Dart

Encore et encore, Holliger améliore ses compositions virtuoses en renouant avec les traditions historiques. En Preludio e Fuga, ce retour à l'histoire se réfère à la scordatura du 'tempérament viennois' soi-disant: Il peut être trouvé dans les pièces de répertoire les plus importants de la contrebasse-(comme dans Mozart Concert Aria 612 KV) en tant que troisième intervalle entre la première à la troisième chaîne et plus minces chaînes qui répondent mieux.Mais pour Holliger, la virtuosité n'a jamais été une fin en soi: De plus en plus des particules motiviques sortir de la balayage 'Mesure Prélude non 'avec près de irréellement vacillante sons dues aux harmoniques de nombreuses et peu à peu s'assemblent pour former les éléments d'une fugue à quatre parties .Réalisé en collaboration avec Edicson Ruiz pour qui Preludio e Fuga a été écrit, notre édition présente la pièce en deux formes de notation afin de faciliter l'étude: en tangage et en notation doigt. / Contrebasse / 20 pages / niveau : Très Avancé / Partition