Hob. I:91-This four-movement work with a slow introduction is Haydn?s last symphony for ?Small? Orchestra i.e. without Trumpets and Timpani. However it has long passages for solo Violoncello and is also scored for two Bassoons. The editor of this edition recommends a performance with low Horns (additionally included in the wind set) to prevent the musical character of the Andante from being compromised by the predominantly high registers.Continuing the collaboration between Bärenreiter and the Henle publishing company in the areas of large choral works operas and symphonies this edition is appearing based on the Henle Complete Edition of theWorks of Joseph Haydn. The complete performance material for several of Haydn?s Sturm und Drang symphonies and all the London and Paris symphonies has already been published.- Based on the Henle Complete Edition of the Works of Joseph Haydn.- Orchestral parts in a large format (25.5 × 32.5 cm).- Full score & performance material (BA10978) available for sale.

Fernando Grillo, contrebassiste et compositeur, est l'un des plus originaux exposants de la musique contemporaine. Son attention se concentre en particulier sur les nouvelles techniques pour instruments à cordes et les aspects de la production sonore. I, qui remonte à la langue musicale de l'époque Baroque, offre les étudiants et les interprètes de concert une alternative musicalement et techniquement très difficile pour les nombreux arrangements pour laquelle contrebasse, les joueurs ont souvent recours, pour défaut de matériel original pour leur instrument. / Contrebasse

Par GILMORE S.. For All musicians wishing to learn fantastic bass lines. While reading from the book, play along with the bassist on the recording (sold separately) until you feel you’ve mastered his “feel” and nuances. Then, using the special stereo separation on all of our Play-A-Long recordings, switch the bassist off and play along by yourself with just the piano and drums! This book (like all the Aebersold bass line transcription books) is a great study in professional bass line construction, and is a natural companion to the Aebersold Play-A-Longs. Combo instructors can use this book to give their bass students instant, professional bass lines. Includes notes in bass clef withchord symbols above each measure. THIS BOOK: Transcribed bass lines to the chord changes of: Blue Moon, Don’t Blame Me, I Left My Heart In San Francisco, Invitation, Just Friends, Laura, My Secret Love, No Greater Love, On The Trail, On Green Dolphin Street, Once In Awhile, Over The Rainbow, Spring Is Here, Star Eyes, Stompin’ At The Savoy, The Shadow Of Your Smile, You Stepped Out Of A Dream, and Without A Song. / Rép International / Recueil / Guitare Basse

For All musicians wishing to learn fantastic bass lines. While reading from the book, play along with the bassist on the recording (sold separately) until you feel you?ve mastered his ?feel? and nuances. Then, using the special stereo separation on all of our Play-A-Long recordings, switch the bassist off and play along by yourself with just the piano and drums! This book (like all the Aebersold bass line transcription books) is a great study in professional bass line construction, and is a natural companion to the Aebersold Play-A-Longs. Combo instructors can use this book to give their bass students instant, professional bass lines. Includes notes in bass clef with chord symbols above each measure.Transcribed bass lines to chord changes similar to: Body And Soul, Cherokee, I?ll Remember April, It?s You Or No One, Stella By Starlight, There Will Never Be Another You, The Song Is You, and What Is This Thing Called Love.
Langue : en anglais

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

Dirt Simple Upright Bass. Although designed for newcomers to the upright bass and bluegrass music in general, this unique approach to creating basslines has something for everyone! The first half focuses on bass-playing essentials, giving the reader a solid technical footing with the instrument. Then, using his own baritone voice and the classic bluegrass song, 'Going Down the Road Feeling Bad,' author Nate Sabat reveals his creative process in crafting effective basslines from the song's melody and chord progression. The second half focuses on bass playing within the specific context of complementing bluegrass vocals. Well beyond what you might expect from an introductory method, Nate tastefully guides the reader by presenting multiple composed bassline options for each of five well-known bluegrass songs: Rabbit in the Log, Don't this Road Look Rough and Rocky\', Long Journey Home, I Am a Pilgrim, and Angel Band.Nate's warm, pitch-perfect vocals can be heard on virtually every track, giving this method an undeniable musicality. A lightly accompanied vocal track with no bass is also provided, so you can be the sole upright or electric bassist in the band. You'll not only want to back Nate up'but sing harmony with him too! The impulse to sing can't help but influence your bass playing in a natural and positive way. Nate provides notated versions of the eight major scales most commonly used in bluegrass. Once you get them under your fingers, you'll soon be able to play along with the book's 50 companion online recordings.With its simple harmonic palette and repetitive nature, bluegrass music offers bassists the perfect opportunity to become musically literate. If you've hesitated to learn to read music, this is the time and place to eliminate that drawback. Working through these 46 pages will provide the tools and confidence needed to create your own engaging and musical basslines and hopefully, you'll be inspired to continue your bluegrass bass journey for years to come. Includes access to online audio.

Charles Mingus était une figure de pionnier dans le jazz moderne. En plus d'être un bassiste virtuose qui a joué avec les meilleurs musiciens de jazz depuis quatre décennies, il était également un pianiste accompli, chef d'orchestre et compositeur qui a enregistré plus de 100 albums et a écrit plus de 300 partitions originales et innovantes. Cette incroyable collection explore des Mingus arrière-plan et prestigieuse carrière ainsi que 55 de ses pièces. Les histoires derrière chaque chanson sont donnés et accompagnées de notes sur comment Mingus joue la pièce. Mingus photos, anecdotes, citations et une importante discographie combler ce volume de collectionneurs chériront. Un travail vraiment personnels qui célèbre le génie au sein de cette légende jazz / Guitare Basse / Partition

C'est la première d'un ensemble unique de tutoriels explorant la contrebasse de Bluegrass style et la technique. Mark Schatz enseigne des patrons de base échelle, Arpèges, tons de passage, des progressions de corde et beaucoup plus, appliquant chacun disciplinent à certaines normes de Bluegrass merveilleuses. / Guitare Basse

Because a fine orchestra depends on fine players, Solo Time for Strings emphasizes individual accomplishment, progress, and achievement while preparing young students for participation in a school orchestra. The series teaches reading in conjunction with note learning, enabling students to start playing melodies as soon as possible, and is appropriate for class or individual instruction. The solos assist in a progressive technical development from 'twinkle, twinkle' in Book 1 to music by Vivaldi in Book 5. / Contrebasse