3 Bassoons. Par BEETHOVEN LUDWIG VAN. / Répertoire / 3 Bassons

for seven bassoons. Par GORDON MICHAEL. / Répertoire / 7 Bassons

Psalm 109 (110). Par CARISSIMI GIACOMO. These psalm settings are in the tradition of classical vocal polyphony as practiced in the modified a cappella style of the 17 th century [“stylus gravis”]. Characteristic of this style is the continuo line, which generally doubles the vocal bass, only occasionally functioning independently. Despite its closeness to the tradition of the a-cappella style, Car…

This short work for solo bass voice was written for Clive Birch from the Australian vocal ensemble The Song Company. At the premiere it was used to bridge two larger works but it would be equally well placed in a mixed programme of vocal works. / Voix Basse

Cette édition supersized du Jazz Play-Along série dispose d'une collection épique de 20 normes George Gershwin.Pour une utilisation avec tous Bb, Eb, C et basse instruments clef, le Jazz Play-Along Series est l'outil ultime pour tous les musiciens de jazz. Avec des feuilles de musicien sans plomb, queues de mélodie et d'autres choix split-piste sur le CD fourni, ce package premier de son genre vou…

für 1 hohes Instrument, Gitarre und Bass, Singstimme ad lib.. Par HASSE JOHANN ADOLF. / Date parution : 2021-12-09/ Répertoire / Instrument Mélodique, Guitare, Basse et Voix ad li

Par TELEMANN / POULTEAU. for recorder (or flute, or oboe, or violin), oboe (or flute, or violin) and bass continuo/ Répertoire / Flûte à Bec, Hautbois et Basse Continue

Arrangeur: Klaus Hofmann. Par TELEMANN GEORG PHILIPP. This psalm setting was originally the opening and concluding movement in the Epiphany cantata from the annual cycle “Musicalisches Lob Gottes in der Gemeine des Herrn, ” published at Nuremberg in 1744, and it is also from the “Biblische Sprüche” [see p. 12]. As in the cantata, here the vocal bass part may also be omitted. The lively alternation…

Arrangeur: Klaus Hofmann. Par TELEMANN GEORG PHILIPP. This psalm setting was originally the opening and concluding movement in the Epiphany cantata from the annual cycle “Musicalisches Lob Gottes in der Gemeine des Herrn, ” published at Nuremberg in 1744, and it is also from the “Biblische Sprüche” [see p. 12]. As in the cantata, here the vocal bass part may also be omitted. The lively alternation…