SKU: CY.CC3099

ISBN 9790530110768. 8.5 x 11 in inches.

Ralph Sauer has beautifully edited 14 Bel Canto studies for Tuba or Bass Trombone by three Italian operatic masters: Rossini, Bellini and Donizetti. These studies are in the style of vocalises, (having no words) and can be performed unaccompanied, or with their original accompaniments. The Bel Canto studies are from the same era as the famous Bordogni studies and can be used by intermediate performers. These 14 works are a wonderful addition to the Tuba or Bass Trombone repertoire and can be performed on recitals, auditions and juries.

SKU: HF.FH-2039

ISBN 9790203420392. 9 x 12 inches.

1. Sinfonie Nr. 6 Le Matin, 2. Sinfonie Nr. 7 Le Midi, 3. Sinfonie Nr. 8 Le Soir, 4. Sinfonie Nr. 31 Mit dem Hornsignal, 5. Sinfonie Nr. 72.

SKU: M7.AHW-412

English.

In the jazz tradition the Tuba was the bass in the rhythm section up until the mid-twenties. It was then the upright bass replaced the Tuba in many ensembles as the jazz music moved north and continued to develop. After this period the Tuba's roll, as bass in the rhythm section, was at a standstill and did not develop through Swing and Bebop. It wasn't until Cool Jazz of the 1950's when the Tuba was used by Miles Davis and Gil Evans in 'Birth of the Cool' as an ensemble horn. The Tuba, like swimming, is something you can't do any longer than you can hold your breath. In order to maintain a steady beat while playing in the rhythm section I have developed a system of breathing called Pant Breathing. Using this method, the player can maintain a steady beat within the rhythm section, without losing time while taking deep breaths.

SKU: BR.OB-15114-16

In Cooperation with G. Henle Verlag

ISBN 9790004339794. 10 x 12.5 inches.

Thanks to its imaginative richness and sterling writing, Hoffmeister's Double Bass Concerto No. 1 has advanced to the rank of a popular audition concerto. But when compared with the transmitted sources, the previously available first edition of 1966 proved to be filled with errors. Tobias Glockler, double-bass player of the Dresdner Philharmonie, now presents a reliable Urtext in this edition. Through his competence as an instrumentalist, he even goes considerably further and offers various performance possibilities: the solo part can be played not only in solo and orchestral tuning, but also in the historical Viennese tuning. The C-major version, which is offered on hire, allows performances in orchestral tuning. The orchestral material in D major (sales material) is suited to the other two tunings. A beautiful and easy to read score, elegantly laid-out and with illuminating and informative preface notes. This concerto is among our most beautiful classical concerti, lyrical and inventive. It is a great pleasure to see our classical repertoire appear in such critical editions. (Rob Nairn in Bass World).