Sonata in A minor for solo Bass Trombone unaccompanied

Par . Cet ample volume contient des ?uvres originales et des transcriptions connues des époques baroque, classique et romantique de Bottesini, Capuzzi, Dragonetti, Eccles, Fauré, Koussevitzky, Lulier, Saint-Saëns, Simandl, Sperger et autres. Le répertoire convient à l'enseignement, aux auditions, aux examens et aux concours. Tous les morceaux sont imprimés en accordage normal de l'orchestre, et des accompagnements de piano pour le jeu en accordage solo sont en outre disponibles en téléchargement. Ainsi, le volume peut être utilisé de manière flexible dans des cours au niveau supérieur des écoles de musique ainsi que dans les études. / Date parution : 2022-05-20/ Recueil / Contrebasse et Piano

Media Type : Book Level : Intermediate Musical Genre : Baroque Number of pages : 56 While many electric bassists study the Bach cello suites at some point, fewer attempt the sonatas and partitas for un- accompanied violin (BWV 1001-1006). Composed around 1720, the sonatas and partitas display rich polyphonic writing, unlike the simpler monophonic cello suites. This collection features a challenging but rewarding transcription of the complete A minor Violin Sonata (BWV 1002), which fits particularly well on the bass. Also included are the well-known gavotte en rondeau from the E major violin partita (BWV1006) and the complete A minor partita for solo flute (BWV 1013), transposed here to D minor. Finally, an arrangement of the familiar chorale Jesu, Joy of Man's Desiring (from BWV 147) takes advantage of the bass's natural and artificial harmonics. Performance notes are included. Written in notation and tablature for the 4-string electric bass.

for Flute or Violin and Continuo-?Methodical? was how Telemann?s six sonatas were described when they were published in 1732 because they included a second ornamented version of the simple melody line of the solo instrument for the slow opening movements andfor the second movement of the c-minor sonata. This is music that is both instructive and also a delight to play and G. Henle Publishers can highly recommend it to the flautists and violinists of today. This lavishly appointednew edition has separate solo and bass continuo parts that contain the other part in each case for orientation purposes. There is also an additional part featuring only the figured bass line. This edition includes the score whichalso features a historically faithful realisation of the figured bass. The first volume of ?Methodical Sonatas? has already been published (HN 1266); this means that all twelve of Telemann?s sonatas are now available as HenleUrtext editions.

George Frideric Handel's Sonatas Volume 1 for Violin solo and Piano accompaniment. Includes the works Sonata in A Major for violin and continuo HWV361 Op. 1 No. 3 Sonata in F major for violin and continuo HWV370 Op. 1 No. 12 and Sonata in G minor for violin and continuo HWV368 Op. 1 No. 10.

This first volume of Bassoon Solos includes nine solos with Piano accompaniment edited by William Waterhouse. Suitable for intermediate players. Contents include Three Easy Pieces No.1 (Milde) Minuet From Quartet For Bassoon And Strings Op.1 No.6 (Ritter) Scherzo - Kolomyjka (Vojacek) Three Easy Pieces No.3 (Milde) Three Easy Pieces No.2 (Milde) Minuetto Giocoso (FranzJoseph Haydn) Bruit De Chasse (Corrette) Vivace And Largo Poco Andante - Sonata In E Minor Op.3 No. 3 (Michel Blavet) and Trois Sonates (Anton Diabelli).  

Edition for Violoncello-Like his father Carl Philipp Emanuel Bach wrote three sonatas for Viola Da Gamba. They were written during his time at the Berlin court of Frederick the Great and gave the excellent Viola Da Gamba player in the courtorchestra a chance to show his virtuosic skills. While the two Sonatas Wq 136 and 137 have a basso continuo Bach followed his father’s example as far as the Sonata in g minor Wq 88 wasconcerned: the right and left hands of the Harpsichord compete with the solo instrument in three equal parts. These sonatas can also be played very effectively on the Cello; the fingerings in the marked copies provide helpfulsuggestions.

Contest And Festival Performance Solos for Trombone contains 12 beloved solos that appear on numerous state contest and performance lists including bonus tracks for Euphonium provided in both bass and treble clefs.Complete with Piano accompaniments - both printed music within the book and as accompaniment audio tracks on the included CD - allowing soloists and students to practise effectively with a professional pianist.

Ce troisième volume de La Méthode de piano classique est destiné aux étudiants qui ont terminé Method Book 2, ou pour ceux qui ont déjà une base solide dans le piano et sont de retour à l'instrument. Clairement énoncée et progresser par petites étapes gérables le livre comporte répertoire intéressant, varié et bien connu de l'époque baroque, classique et romantique époques Comprend un enregistrement sur CD de toutes les pièces offrant des performances de modèle pour vous aider à apprendre. Peut être complété par un répertoire supplémentaire, Duo et livres de fitness doigts. / Piano

Bernhard Romberg (1767-1841) probably was the greatest cello virtuoso of his time and compared to Paganini in his lifetime. He gave cello lessons at the famous Conservatoire de Paris among others.Romberg's popular Trio in E minor originally was the first part of the Trois Trios d'une Difficulté Progressive pour le Violoncelle Viola et Violoncelle Op. 38. The solo violoncello was accompanied by a viola and a second violoncello. The two other trios are much more difficult, with a lot of passage work, thumb position, tenor and violin clef.The Trio in E minor Op. 38/1 was arranged many times and scored for various combinations of instruments. This edition refers to the popular arrangement for violoncello and piano by Friedrich Gustav Jansen (1837-1910) which is ideal for music lessons and concerts.Also available is another arrangement of the Trio Op. 38/1 for three violoncellos (SE 1008). The easy bass part can be played by another student.This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty, from 1 (easy) to 5 (difficult), for instrumental lessons:In print or electronic formatAvailable as printed editions or PDF downloadPractising - efficiently and with pleasureAccompanying tracks of the pieces available as downloads / Violoncelle Et Piano

This is the piano accompaniment CD for the folio that includes: Bourré (Bach) ? Grave (Abaco) ? Concerto (Vivaldi) ? Prelude and Allegro (d'Andrieu) ? Sonata in C Minor (Handel) ? Sonatina andMinuet (Beethoven) ? Elegy and Andante (Bottesini) ? Aria from Rigoletto (Verdi) ? Adagio (Geissel) ? Vocalise (Rachmaninoff) ? Romance (Prokofiev) ? Introduction and Tarentelle (Franchi)? Serenade (Beveridge) ? Chaconne (Russell).

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.

For the Easy Concert Pieces series, the experienced piano teacher Monika Twelsiek compiled pleasant, easy piano pieces for beginners and published them in two volumes in progressive order. The third volume is in preparation.The two volumes are intended to complement a piano tutorial method and are particularly suitable for performance at auditions at music schools, for examinations and for competitions. They offer varied repertoire in a broad selection of pieces from the Baroque, Classical, Romantic and Modern eras.Volume 1 (ED 22547) can already be used by beginners, containing pieces in the five-note range and easy pieces spanning a single octave. Other criteria for selection are simple rhythms and very easy chords. Crossing the thumb underneath, playing several parts together and pedal use are not yet required.Volume 2 (ED 22548) contains pieces with an extended range of two octaves. Crossing the thumb under, pedal use, simple polyphony and three- or four-part chords all feature here, as do simple ornaments, cantabile playing and differentiating between melody and accompaniment. / Piano