Amusez-vous avec le Double Bass est une nouvelle publication unique qui ajoute la joie et la diversité de l'apprentissage de l'instrument. Il comprend beaucoup de chansons que les enfants seront familiarisés avec ce qui rend à la fois plus facile et amusant à pratiquer.Gerd Reinke a prêté une grande attention aux détails, comme il couvre les compétences de base essentielles pour un bassiste en herbe comme des exercices rythmiques, la posture et les termes techniques.Les exercices courts peuvent être accompagnés par l'enseignant sur le piano. / Contrebasse

Les enseignants encore et encore demander faciles à jouer de la contrebasse musique appropriée pour des cours ou de la compétition Jugend Musiziert. Le compositeur Peter Wittrich de Munich a entrepris cette tâche et composé un cycle varié de sept pièces faciles pour contrebasse et piano. Toutes les pièces ont été essayées et testées en double-bass leçons et sont bien placées sur l'instrument. Certains peuvent même être joué dans la première position. La collection couvre différents styles, notamment les styles de musique populaire comme le blues ou de tango, tout en prenant thèmes bien connus de la musique classique, par exemple, de Bach ou de Beethoven, d'une manière humoristique. La partie de piano est plus exigeant afin que les réclamations faites sur le jeu d'ensemble sont un peu plus élevés. Un ajout intéressant au répertoire des cours et des concerts. / Contrebasse Et Piano

It is rare in music pedagogy that something truly revolutionary comes along. Progressive Repertoire is the first English language method for beginning Double Bass to incorporate the innovative division of the Bass fingerboard into six positions developed by renowned French bassist Fran?ºois Rabbath in his three volume Nouvelle Technique de la Contrebasse. Mr. Vance has created a method that introduces these revolutionary ideas in a progressive manner using familiar folk and classical material to produce studies and pieces that will appeal to novice Basses of all ages. In addition a Compact Disc is included with each of the primary books containing all the music performed byFran?ºois Rabbath with Elizabeth Azcona-Hartmark piano.Progressive Repertoire for Double Bass will introduce American teachers and students to the most important techniques developed for the instrument.

Piano Accompaniment-It is rare in music pedagogy that something truly revolutionary comes along. Progressive Repertoire is the first English language method for beginning Double Bass to incorporate the innovative division of the Bass fingerboard into six positions developed by renowned French bassist Fran?ºois Rabbath in his three volume Nouvelle Technique de la Contrebasse. Mr. Vance has created a method that introduces these revolutionary ideas in a progressive manner using familiar folk and classical material to produce studies and pieces that will appeal to novice Basses of all ages. In addition a Compact Disc is included with each of the primary books containing all the music performed byFran?ºois Rabbath with Elizabeth Azcona-Hartmark piano.Progressive Repertoire for Double Bass will introduce American teachers and students to the most important techniques developed for the instrument.

A Tear-A beautiful and poignant lament which is ideally suited to the double bass. Originally for cello this new edition returns to the cello version [Theme & Variations] adding an extended (but optional) piano introduction and demonstrates the dark and soulful colours of the solo double bass. Long flowing phrases allow the intermediate bassist to demonstrate both musical and technical accomplishment in an accessible range of the instrument. The soulful and wistful melody transcribes beautifully for double bass allowing the instrument to display its bel canto and lyrical capabilities. A three bar section towards the end of the piece is playable as written or anocatve higher giving bassists the opportunity to play high harmonics within a beautiful and evocative melody. This is an ideal study or recital work with its supportive and pulsing accompaniment and has been one of Recital Music's bestsellers since it was published. Une Larme is also available for solo double bass and string orchestra accompaniment - please contact the publishers for further details. Grade 7 - Trinity-Guildhall / ABRSM / LCM / MTB Exams (www.mtbexams.com) 

An easy virtuoso work published here for the first time and now much performed. Recorded Slatford/Academy of St Martin-in-the-Fields (EMI). AMEB (Australian Syllabus) 2004. Orchestral material on hire from Yorke Edition (not Spartan).Programme Note:As a young professional player in the 1960s my work as a double bassist with chamber ensembles and small orchestras took me all over the world. This presented an unparalleled opportunity to scour libraries and archives wherever I went. Long before the advent of the photocopier and e-mail research was far more challenging than it is today. Eastern Europe was particularly difficult to access with manycollections kept under lock and key for all but a few hours a week. One quickly found colleagues who were keen to share information gleaned in passing even though they had no specific interest in one's own particular specialism (it is so often the peripheral topics that fascinate as much as the main subject under investigation and one can quickly be side-tracked into political and social issues that have only slender bearing on the job in hand!).In the early 1970s James Brown the then sub-principal oboist of the English Chamber Orchestra with whom I was working at the time stumbled across a small collection of double bass manuscripts at the Royal Danish State Library in Copenhagen. They were by Franz Anton Leopold Keÿper (b. c.1756 d. Copenhagen 7 June 1815) a double bassist of Dutch origin who worked as principal of the Royal Chapel Orchestra in Copenhagen. Keÿper's son was the bassoonist Franz Jacob August Keÿper (1792-1859). The collection included a number of concertos some chamber music and various naïve fragments. Although hardly the work of a Mozart or Haydn the style is characteristic of the period. For an instrument such as the double bass whose 18th century solo repertoire is largely written for tunings that are no longer in everyday use Keÿper's music is easily approachable in its

op. 1 2 4 für Kontrabass und Klavier-Andante Valse Miniature Chanson Triste and Humoresque for Double Bass and Piano by one of the most celebrated Russian concert double-bassists and conductors.

This delightful encore for Double Bass and Piano accompaniment is a spoof of Saint-Saens' well known tune from Carnival of the Animals. Talented American Bassist David Walter composed and dedicated this piece to Fred Zimmerman. A challenging piece suitable for grade 7 Double Bassists. AMEB (Australian Syllabus) 2004

Yorke Edition-Born in Oxford in 1917 Francis Baines was a well-known and much respected professional double bass player. He studied at the Royal College of Music in London with Claude Hobday where he later taught. Something of an eccentric he immersed himself in early music at a time when few people were taking it seriously. He owned a beautiful Amati bass that he had restored as a violone which it probably was originally and he was a regular fixture as a principal player in a number of orchestras and ensembles that dedicated themselves to period performing including those directed by Denys Darlow with whom he broadcast and recorded frequently.Besides playing the doublebass Francis Baines was an exponent of the treble viol and led the Jaye Consort of Viols which he founded. He also played several kinds of bagpipe and the hurdy-gurdy. As a composer he dabbled in many styles one of his greatest claims to fame being that of writing for the popular Hoffnung concerts in the 1960s. He was the author of a number of papers about the history of the double bass sometimes arriving at scholarly conclusions that were colourful if not always entirely accurate. He discovered the Giovannino del Violone sonatas subsequently published by Yorke Edition although today it is thought that they were probably not written for a 16' pitch instrument at all. His edition of the Capuzzi double bass concerto published by Boosey & Hawkes was for many years one of the few solo works available for the instrument. This however he largely re-composed because he thought it could be improved: towards the end of his life he confessed that with hindsight he probably should have treated it differently.Grounds was written in 1969 as a sort of party piece and was given to Yorke Edition in support of a drive to enlarge the repertoire for the instrument in a wide variety of styles. It was set on the syllabus of the Associated Board of the Royal Schools of Music for many years.Francis Baines died

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 à Violone Solo. Col Basso per l'Organo o Cembalo. A third sonata bears the words Sonata à Violino e Violoncino … di Giovannino del Violone. Giovannino(=Little or Young John) must have 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

The complete resource for the Grade 3 double bassist. Par . La série Grade By Grade (De degré par degré) tire sa substance du catalogue classique, contemporain et pédagogique riche et varié de Boosey

Significant Double Bassist teacher and composer Edouard Nanny (1872-1942) is best remembered as a long-standing professor of Double Bass at the Paris Conservatoire. Being such a prolific figure in the Double Bass field his Complete Study of the Double Bass is well-informed. Still played by Double Bass students Nanny's significant contribution to field of pedagogy remains prominent. The third volume from Complete Study of Double Bass titled 20 Virtuosic Studies addresses bow technique fingering positions scales arpeggios chromaticism trills double stops and harmonics among otheraspects. For all advanced Double Bass players Nanny's Complete Study of the Double Bass 20 Virtuosic Studies provides the student with helpful aid to ensure progressive achievement in technique.