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How to walk a Bass line
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Vous avez sélectionné:
How to walk a Bass line
Partitions à imprimer
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1
Tre Blue-A Jazz Waltz for Jazz String Ensemble
Tre Blue-A Jazz Waltz for Jazz String Ensemble
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Bud Caputo
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Tre Blue-A Jazz Waltz for Jazz
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Bud Caputo
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SheetMusicPlus
String Ensemble - Level 3 - SKU: A0.826631 Composed by Bud Caputo. Contemporary,Jazz,Sacred,Standards. Score and parts. 31 pages. Bud Caputo #3093507. P...
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String Ensemble - Level 3 - SKU: A0.826631 Composed by Bud Caputo. Contemporary,Jazz,Sacred,Standards. Score and parts. 31 pages. Bud Caputo #3093507. Published by Bud Caputo (A0.826631). Tre Blue is a 12 bar blues in a jazz waltz setting. The use of piano and drums is important but the guitar is optional. The blues progression is the best place to start students on the road to successful jazz improvisation as the blues scale may be used throughout the 12 measure chord progression. A home practice sheet is included for student use. Encourage students to memorize the blues scale and then apply jazz rhythms while altering the sequence of the jazz scale notes. As in all jazz string ensemble arrangements, the use of one solo amplified bass works just fine. However, it is possible to have all basses double the written walking lines except for at the improvisation section where on solo bass is preferred.
$18.00 ≈
16.19€
Fly Me To The Moon (in Other Words)
Fly Me To The Moon (in Other Words)
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Tony Bennett
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Chris North
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Fly Me To The Moon
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Danetre Music
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - SKU: A0.1152364 By Tony Bennett. By Bart Howard. Arranged by Chris North. 20th Century,Film/TV,Jazz,Standards. Brass Band. 43 pages. Danetre Music #752587. Published by Danetre Music (A0.1152364). A solo arrangement for E-Flat Bass (Tuba) and U.K. style Brass Band. Medium Swing tempo with a walking bass line in accompaniment as well as some original jazzy bits to enjoy. Lightly scored so the soloist comes through the textures without too much of a struggle. The opening two bars features a solo snare drum with brushes to set the scene. A really cool intermediate / advanced tuba solo to add to your repertoire. Duration 2:30.
$24.99 ≈
22.48€
The Cross Kirk and the lang walk
The Cross Kirk and the lang walk
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Graham Hamilton
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The Cross Kirk and the lang wa
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Hambone Music
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SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 3 - SKU: A0.1438467 By Graham Hamilton. By Graham Hamilton. Classical,Contemporary,Contest,Festival,Historic,Medieval. Brass Band. 83 pages. Hambone Music #1018484. Published by Hambone Music (A0.1438467). A beautiful slow melody in 4/4 followed by a rousing 6/4 trek with fanfares then returning to the slow melody in 4/4. Not overly difficult but players should be around Grade 5 (ABRSM) and bands of around 2nd to 3rd section, although still possible with 4th section bands. Inspired by an old ruined church in my town called the 'Cross Kirk' during the times of the Cromwellian invasion of Scotland.Part 1 It is around the year 1650. A novice monk awakes from his slumber to the echoes of prayers and holy chanting coming through the cloisters. After he rises, he readies the oxen for a trek down the St. Andrews Road to the nearby satellite site of the priory - the site of the modern day St Andrew's cemetery. Part 2 It is an arduous trek over a muddy, rocky, unprepared track with heavy carts, with oxen straining to pull the load. They stop for a breather (3:09) and the impressive vistas are observed and the flag at 'Auld Neidpath' is just visible, reflected in the noble theme between the arduous oxen trekking theme. Part 3 The caravan starts to speed up; the oxen being startled by the sounds of fanfare trumpets coming from behind - a brave group of knights have broken through English lines and speed towards Neidpath to reinforce the besieged occupants. As they pass the wagon train, the fanfares get louder until the party reach the head of the train where the lead Knight halts to show piety to the Hieromonk who blesses him and his knights. The novice looks on awe-inspired at the brave knights, with noble faces, resplendent in shining armour, with banners flapping in the wind. No time to stop! The knights remount and continue on, the fanfares trailing off into the distance. The wagon train slows down having reached its destination. Part 4 The novice is back at the priory, reflecting on seeing knights for the first time (receiving their blessing); their nobility and bravery impressed upon him and retires to his cell for the evening, the evening prayers and chants again echoing through the cloisters . As he closes his eyes, his mind returns to the knights and a smile crosses his face as he gently drifts off to sleep, as the final bell of the day tolls.
$40.00 ≈
35.98€
Jazz Blues Styles
Jazz Blues Styles
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Jazz
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Blues
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Joe Diorio
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Jazz Blues Styles
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Composed by Joe Diorio. Jazz and Contemporary. Ebook and online audio. 49 pages. Published by Mel Bay Publications - Digital Sheet Music (M0.99623MEB). - ebook ...
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Composed by Joe Diorio. Jazz and Contemporary. Ebook and online audio. 49 pages. Published by Mel Bay Publications - Digital Sheet Music (M0.99623MEB). - ebook and online audio - Jazz and Contemporary - Mel Bay Publications - Digital Sheet Music
ISBN 9781619115125. 8.5 X 11 inches. Jazz Blues Styles presents guitar solos in the styles of Charlie Parker, Thelonius Monk, Sonny Rollins, and other jazz blues greats. Within the context of the blues, this book teaches: styles of jazz blues; jazz ideas, phrases, and licks; jazz syncopation, the rhythmic language of jazz; jazz phrasing, the breath of jazz; how to use the triplet, altered chords, and slash chords; how to reharmonize the blues; a new innovative vocabulary of jazz chord sequences; how to use fragments of the chords to outline the harmony and create interesting new sounds; and how to play walking bass lines with chords. Joe Diorio's "Right Brain Guitarist(R)" approach helps to direct your playing with your intuitive sense as opposed to your logical sense. The accompanying audio download available online will help convey the subtle nuances of the music.
$14.99 ≈
13.48€
City Life
City Life
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Jazz
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Reese Rosbrook
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City Life
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Reese_Rosbrook
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SheetMusicPlus
Double Bass,Drum Set,Percussion,Piano and Keyboard,Tenor Saxophone - Level 5 - Interactive Download SKU: A0.1227644 Composed by Reese Rosbrook. This edit...
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Double Bass,Drum Set,Percussion,Piano and Keyboard,Tenor Saxophone - Level 5 - Interactive Download SKU: A0.1227644 Composed by Reese Rosbrook. This edition: Interactive Download. Jazz. 10 pages. Duration 149. Reese_Rosbrook #6P4oLzKV6tnK36zxmQL5n3. Published by Reese_Rosbrook (A0.1227644). Key: Ab major.It's been a while since I've made a jazzy piece, and being inspired from a recent trip to New York City really brought the jazz out of me. This one is super special, because it describes what life is like in the city. The A section is your common stroll, let's say through Central Park or down the block. The beat never stops with anyone. Everyone just keeps walking, and this constant bass line represents that. The B section represents the unexpected. You decide to walk through the subway, encountering a man playing tunes on a funky guitar. The weird chords and rhythms emphasize the curiosity of the music you're hearing. And finally, the C section represents the city lights. Beautiful, aren't they? Yet, unusual at the same time, represented by the 7/4 time signature. (Which was my first time using that time signature, how do you think I did?) I had fun writing this. I'm currently working on a research paper on the Origins of Jazz, and it kind of got me into a Dave Brubeck mood. Thanks for listening! -Reese.
$2.99 ≈
2.69€
Desert Miniatures: Insects
Desert Miniatures: Insects
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Robert McClure
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Desert Miniatures: Insects
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Imagine Music - Digital
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SheetMusicPlus
Bassoon trio - SKU: IZ.BCMW162 Composed by Robert McClure. BCMCC (Bassoon Chamber Music Composition Competition). Score and Parts. 44 pages. Imagine Mus...
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Bassoon trio - SKU: IZ.BCMW162 Composed by Robert McClure. BCMCC (Bassoon Chamber Music Composition Competition). Score and Parts. 44 pages. Imagine Music - Digital #BCMW162. Published by Imagine Music - Digital (IZ.BCMW162). 9 x 12 in inches.Desert Miniatures: Insects was commissioned by Trio Sonora: Robert BeDont, Travis Jones, and Martin VonKlompenberg. The piece reflects on my time living in Tucson, AZ and all of the different types of insects that thrive in the Sonoran Desert. Each miniature selects a particular behavior or quality each insect possesses and explores it musically. Separate from the musical depiction of the insects was the central concept quasi-unison and the hyper-instrument. Instead of treating the three parts as individual important and mutually exclusive, the parts work together to form an imaginary instrument capable of polyphonic sound production. Through micro-polyphony and rhythmic irregularity, this hyper-instrument performs quasiunison gestures that resemble columns of sound rather than melodic lines.I. Many Hued GrasshopperI encountered many of these grasshoppers while hiking in the late summer and early fall months. They are brightly colored with purple and red accents against green wings and powerful light-green legs. As I would walk through tall grasses in the mountains, the path would explode with many grasshoppers leaping all around me. These bursts as well as the grasshopper's signature buzzing sound are the focal point of the miniature.II. Cactus BeeThese bees are solitary and live underground. They collect the nectar of cactus flowers. The bassoons combine to create a flurry of activity representing a particular bee going about her daily business of collecting nectar and returning to her subterranean nest.III.Arizona Red Spotted PurpleThese butterflies employ an ingenious evolutionary tactic for survival: mimicry. They look very similar to the Pipevine Swallowtail, a blueish-black butterfly that is noxious for birds to eat. Even more, the caterpillar of the Arizona Red Spotted Purple employs mimicry through resembling bird droppings or other objectionable material. Mimicry is the primary musical device employed in this miniature.IV. Fire AntAnyone who has ever accidentally stepped on a Fire Ant hill knows how painful the stings are. This unfortunately happened to me on my first day as anArizona resident. While each ant is an individual, the workers carry out simple and direct tasks. It was this quasi-unison behavior plus the martial and driving force of survival that informed the musical treatment of this miniature.
$18.00 ≈
16.19€
Prayers and Blessings (Piano/Vocal Score)
Prayers and Blessings (Piano/Vocal Score)
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Gwyneth W
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Prayers and Blessings
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Bass/baritone voice solo, violoncello and organ - Moderately Easy - SKU: MQ.6593-E Composed by Gwyneth W. Walker. 21st century, prayer. Score. 19 pages....
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Bass/baritone voice solo, violoncello and organ - Moderately Easy - SKU: MQ.6593-E Composed by Gwyneth W. Walker. 21st century, prayer. Score. 19 pages. Duration 10 minutes. E. C. Schirmer Music Company - Digital #6593-E. Published by E. C. Schirmer Music Company - Digital (MQ.6593-E). English.The three songs Welcome Love (Ubi caritas), Make Me an Instrument of Thy Peace, and Gaelic Blessing are interconnected motivically yet distinct in meter, tonality, and message. These three songs are interconnected motivically, yet distinct in meter, tonality, and message. Peace and reverence flow throughout. The songs are for a bass-baritone. Commissioned in 2003 by David Arnold, a North Carolina bass-baritone who is a soloist in the 80-voice Chancel Choir at Centenary United Methodist Church in Winston-Salem. Mr. Arnold premiered these songs at Centenary with organist Ray Ebert and cellist Jennifer Alexandra Johnston on February 27, 2005. A new version for voice and piano was created in 2005. A transposition for lyric Baritone was added in 2015, commissioned by Ferris Allen (Baritone) and Linda Holzer (Pianist) of Little Rock, AR.The lyrics for Ubi Caritas are based on a new translation, by Christopher Brunelle, of the traditional Ubi Caritas Est Vera. A recurrent image in this translation is the gesture of welcoming: welcoming love, welcoming God, welcoming the friendly unfamiliar thought, welcoming Christ with us. The musical interpretation of welcoming is stepwise motion, either up or down, around a pitch center. Perhaps this might be heard as an opening of the door, or an opening of the heart.An interlude leads to the second song, Make Me an Instrument of Thy Peace, a musical setting of the Prayer of Saint Francis. The accompaniment is sparse, with material reminiscent of the welcoming pattern in the first song. This song alternates between triple meter for the thematic sections (Lord, make me an instrument of thy peace) and duple meter for the more recitative sections (O Divine Master...). The music ends as it began, with simple open fifths accompaniment, this time filling in the chords to express the fullness of the lyrics born to eternal life.A second interlude provides the bridge to the third song, Gaelic Blessing. The text for this song is a series of blessings for peace. The gentle chordal arpeggiations in the piano are intended to provide a peaceful accompaniment. [Once again, the stepwise intervals and recurrent regular rhythms relate to the first song.]In keeping with the simplicity and repetition of the text, the music is formed by a series of four-measure phrases (blessings). The blessings are similar in contour, each spanning an interval of a fourth. Growth is achieved through repetition and some dynamic contrast. However, the principal aesthetic of this song is constancy and gentle flow. Only at the end of the song, when the voice descends into the deep range, is the melodic contour altered, and dynamic contrast introduced. As the voice ends on low tones, the piano line rises, perhaps to the source of peace.Duration: 10 min.
$11.00 ≈
9.89€
Climb Ev'ry Mountain
Climb Ev'ry Mountain
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Comédie Musicale
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Margery McKay
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Phil Beaman
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Climb Ev'ry Mountain
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Phil Beaman
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SheetMusicPlus
Instrumental Duet Alto Flute,E-Flat Clarinet,Instrumental Duet - Level 3 - SKU: A0.844658 By Margery McKay. By Richard Rodgers. Arranged by Phil Beaman....
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Instrumental Duet Alto Flute,E-Flat Clarinet,Instrumental Duet - Level 3 - SKU: A0.844658 By Margery McKay. By Richard Rodgers. Arranged by Phil Beaman. 20th Century,Broadway,Musical/Show,Standards. Score and parts. 4 pages. Phil Beaman #4885979. Published by Phil Beaman (A0.844658). Climb Ev'ry Mountain, from the stage musical The Sound of Music, is a favorite repertoire standard. This instrumental duet arrangement is written in an expressive way which allows that beautiful melody to soar with some gentle reharmonizations to freshen it. The lower instrument has a walking bass line accompaniment initially, then takes over the melody while the upper instrument has a running flourish. Both parts dramatically cover a full range of 2 1/2 octaves. Unlike many arrangements of this piece which go for bombast, I keep it gentle and quiet with the interest being in the subtle expressive interplay of the two parts. A guaranteed crowd pleaser at any performance.(Written for my son's Graduation Banquet, proudly performed as a Father-Son duet.)2 page score, 1 page parts3:30 mintemporary recording is piano reduction of parts
$5.99 ≈
5.39€
Tristan und Isolde
Tristan und Isolde
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Classique
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Richard Wagner
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Tristan und Isolde
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Schott Music - Digital
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SheetMusicPlus
3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 3 - 4 · 3 · 3 · 1 - P. S. (Trgl. · Bck.) - Hfe. - Str. Auf der Bühne: Engl...
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3 (3. auch Picc.) · 2 · Engl. Hr. · 2 · Bassklar. · 3 - 4 · 3 · 3 · 1 - P. S. (Trgl. · Bck.) - Hfe. - Str. Auf der Bühne: Engl. Hr. · 6 Hr. · 3 Trp. · 3 Pos. - SKU: S9.Q17773 Handlung in drei Aufzügen. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 270' 0. Schott Music - Digital #Q17773. Published by Schott Music - Digital (S9.Q17773). German.An important addition to the newly produced orchestral materials by Schott Music is the fi rst publication of vocal scores of Richard Wagner’s ten great operas in every important version. For the first time, we are able to offer theatres and interested opera-lovers vocal scores as urtext editions conceived following uniform editorial criteria: * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. * The publisher has secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages (German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. TRISTAN UND ISOLDE Performance directions by the singer Ludwig Schnorr von Carolsfeld are incorporated in the vocal score from the Complete Edition’s Tristan und Isolde volume. He entered these directions into his own copy of the Tristan part which he used at the 1865 Munich premiere. Richard Wagner was deeply impressed by his interpretation of the title role. For the first time in a vocal score of Tristan und Isolde all cuts are incorporated—with the corresponding transitional bars—which Wagner himself made, and approved, in two cases, were actually declared by him to be final. These cuts strikingly document Wagner’s struggle with the final form of the work. For the first time in a single edition all of Wagner’s own suggestions for ossias are found; ossias which evolved from performances under his own direction. Egon Voss writes about this in his foreword to the vocal score: “Such ‘pointers’, as you might say, were current practice in the 19th century which Wagner, as the example shows, did not evade. He was enough of a practical man of the theatre to know that a badly sung top note is worse than doing without it. Wagner even tolerated the transposition of lengthier passages because he was less concerned with the letter of the score than with theatrical effectiveness. [...] The present vocal score goes beyond the Complete Edition [...] in that the ossias mentioned above are indicated in the vocal part itself, in small notes. They concern principally the role of Tristan, but also those of Isolde, Brangäne and Kurwenal. They rest in part on the Tristan edition within the Complete Edition but for the greater part go back to a source which could not be consulted for the Complete Edition because it was not yet accessible. This relates to a vocal score from the estate of the composer Peter Cornelius who was engaged by Wagner as repetiteur at the Vienna rehearsals in 1861-63. That the ossia bars go back to Wagner can be taken as certain, since in some places they are notated in his own hand.†(Egon Voss, quoted from the foreword to the vocal score) The transpositions mentioned by Egon Voss—two by Hans von Bülow for the revival of the work which he conducted in Munich in 1869 and the third suggested by Wagner himself in 1861—are printed in the appendix to the vocal score. The ossias, transpositions, and cuts are available for practical use in the theatre and in rehearsal. The cuts are also incorporated into the orchestral materials for Tristan und Isolde. This is also the case with ossias which affect the orchestral parts.2013 marks Wagner’s bicentenary, making the year largely focused on his music, particularly the dramatic works. An important addition to the newly produced orchestral materials by Schott Music. The score corresponds to the performance materials from the Complete Edition. Schott Music have secured the services of renowned musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. For the first time, this work is available to theatres and interested opera-lovers as urtext editions. For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. The forewords are given in three languages (German, English, and French). Other vocal scores available: Der fliegende Holländer (1841) Der fliegende Holländer (1842-80) Tannhäuser Lohengrin Das Rheingold Die Walküre Siegfried Götterdämmerung Die Meistersinger von Nürnberg Parsifal.
$47.99 ≈
43.17€
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How to walk a Bass line
