SOLO TUNING See RM722 for Orchestral Tuning The 'Dragonetti Concerto' was first published in 1925 by Alphonse Leduc in Paris as No.23 of Edouard Nanny's 'Les Classiques de la Contrebasse'. For many years no one questioned its authenticity, but as more research into Dragonetti's original works for double bass was made, concerns began to arise. Many of Dragonetti manuscripts survive in the British Library, thanks to Vincent Novello who donated them in 1849, three years after Dragonetti's death and on Novello's retirement to Italy, but there is no original manuscript for this work. As bassists began to edit and perform a wide range of Dragonetti's works it became clear that this concerto bore little resemblance to any of his other pieces. The work does, however, have many similarities to Nanny's Concerto for double bass, also to his other solo works and even studies from his Method. Eventually most people came to the conclusion that this work is not an original work by the great Venetian bassist but is by Edouard Nanny, and in the style of the late 18th-century. Having said that, this is still a charming and evocative work which has much player and audience appeal and is very easy on the ears. Many of the challenges for the soloist are technical and, almost a century after its first publication, it is still as popular as ever. Published in 1925, the first movement was performed at London's Wigmore Hall on 15 April the following year by Victor Watson (double bass) and Sidney Crooke (piano), and was described a 'Contrabass Concerto by Dragonetti-Nanny. ERRATA: Piano part: page 8 (1st movement), bar 87 - final chord of bar in right hand should be D/E/G# - a dominant 7th chord in A major Edouard Nanny was an important French double bassist and teacher, also composing and transcribing many works for double bass. He was born in Saint-Germain-en-Laye on 24 March 1872 and he studied at the Paris Conservatoire with Professor Verrimst, also teaching there from 1920-1940. He performed often as a soloist, also working as an orchestral bassist with many orchestras such as the Paris Symphony Orchestra, Concerts Lamoureux and the Orchestra de l'Opera Comique, and in 1901 he founded the Henry Casadeus Society of Old Instruments, chaired by Camille Saint-Saens, and intended to revive the works from the past centuries. Nanny's Method for double bass is still in print, over 90 years since its first publication and both volumes contain a wealth of excellent technical studies and exercises which are as relevant today as they were in the 1920s. His other volumes of studies are mostly out of print and Recital Music plan to reprint some of his orginal works for double bass, transcriptions and educational music to keep alive the name of Edouard Nanny into the 21st-century. Edouard Nanny died in Paris in 1942.

The ?Easy Concert Pieces? series offers a wide spectrum of pieces from the Renaissance, Baroque, Classical, Romantic and Modern eras. The repertoire enriches the daily exercises and double bass tutor and is suited for all kinds of auditions. It contains original works for double bass solo as well as orchestral excerpts and arrangements of famous classical masterpieces. Volume 1 (easy) contains pieces in half and first position, with easy rhythms and melodies. It includes easy strokes and articulations such as portato, staccato and legato. Some pieces contain easy Flageolets. This volume offers a broad selection of classical masterpieces in easy arrangements.Volume 2 (easy to intermediate) contains pieces up to the 3rd position. As some new double bass tutors have a different approach in introducing position changes, volume 2 offers several pieces which reach the 2nd position, some pieces using only 1st and 3rd positions and some more difficult pieces which encompass all positions from half to third position. This volume consists of more original works.Volume 3 (intermediate) increases the repertoire up to the 6th position and requires a good control of the lower positions. It makes higher demands on expressive playing and interpretation, velocity and rhythm, as well as bowing techniques with articulation and phrasing./ Recueil / Contrebasse et Piano

Camille Saint-Saens' Elephant is a delightful miniature from The Carnival Of The Animals and is one of the few works that are attractive to learners and accomplished players alike. Its many musical and technicalchallenges have earned it a permanent place in the teaching repertoire yet it offers soloists a welcome opportunity to demonstrate their prowess and espirit even in the low register.The ease with which a greatcomposer accurately and skilfully probes the idiosyncracies of this largest of string instruments for expressive purposes - a combination of features seldom encountered in the double bass repertoire - is truly impressive. All themore astonishing therefore that the Elephant although widely known is relatively rarely heard in the concert hall.This Urtext edition of the score has been edited with critical commentaries as well as fingeringand bowing of the double bass part by Tobias Glockler. The accompaniment is notated in E flat and F and so the double bass can perform using either solo tuning or orchestra tuning.

Ideal for a popular school or informal concert. Programme note by Rodney Slatford 2008:Jack Snow Hester was born on 2 March 1907 in Chorlton Lancashire and joined the music profession as a double bass player when he was seventeen. His father Arthur Darrell Hester appears on his birth certificate as 'Manufacturer (chemicals)'; his mother was Minnie Frances Hester formerly Stamp and the family lived in South Manchester. During the 1930s as Norman Hester he worked at Daly's Theatre the Piccadilly Theatre the Palace Theatre and other London variety houses in West End productions. He married Isabella Dawson Davidson on 1 July 1940 in Worcester and shedied in 1973. He died in 2001 after a long period of ill health.During the 1960s Norman was an active freelance player working as an extra bass player with the London symphony orchestras including the BBC. Quite when The Bull Steps Out was written isn't certain but Norman sent me a copy to consider for republishing – it is assumed that the original publication appeared sometime during or just after the war. It was a 'one off' that he probably played for light music evenings in the theatres.The piece has been very popular and has been used for examinations on various syllabuses around Grade 7 level.An unpublished manuscript copy of a double bass 'method' is on file that Norman Hester wrote when he retired but it is mainly a compilation of various scales and exercises similar to many that were published in the early 20th century. A photograph of him as a young man is held at the Royal Society of Musicians in London which he joined in 1930 and of which he was a loyal supporter until he died.

Compositeur et contrebassiste, je propose dix petites études transcendantales de petits niveaux de maximum une minute trente chacune, conçues pour être données en concert, afin d'habituer les élèves le plus tôt possible à la situation de récital à laquelle ils feront face plus tard, que cela soit en concert ou en concours.La partie d'accompagnement est une vraie partie de piano (bien que facile) faite pour encourager le travail de dialogue et de musique de chambre des élèves. Chaque pièce explore différents styles de musique et abordent les problèmes techniques tant de main gauche, d'archet que de solfège et expressivité. / Etudes

Par SAINT-LEGER PASCAL. Voici le dessin d'un thème, bâti en forme d'arc sur les piliers de la main gauche du Piano (d'ou le nom de la pièce...), décliné sous trois formes rythmiques (linéaire, swinguée et cadentielle) permettant ainsi d'aborder souplement certaines difficultées techniques devant être acquises au cours des années d'un 1er cycle... - Pascal SAINT-LEGER - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Contrebasse 1 Piano - Niveau de Difficulté : 3/6 - Intermédiaire - Durée : 2 mn 50 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Pascal SAINT-LEGER - / Niveau : Intermédiaire / Classique, Pédagogique / Répertoire / Contrebasse et Piano

La référence AL23749 de l'éditeur Leduc dont l'auteur célèbre est Bernaud Alain, qui a pour titre D'Une Extreme Gravite, a été écrite et composée pour Contrebasse et plus particulièrement pour Contrebasse Et Piano. Cette partition musicale appartient à la catégorie Classique. / Contrebasse Et Piano / Partition

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

Musicland a été créé en 1984 par Caroline et Alan Lumsden afin de publier la musique éducatif pour les jeunes enfants. La série Musicland théorie, l'enregistreur et violon a été lancée après des essais positifs de la matière dans leur propre école de musique à Gloucester, en Angleterre. Ces livres de tuteur bien établies sont conçues pour encourager la capacité créative naturelle de l'enfant et de stimuler les capacités artistiques et dramatiques ainsi que musicales. Pièces de débutant pour Piano and de contrebasse. Partie de la contrebasse éditée par Caroline Emery. Peut être aussi joué dans des pièces Ensemble à cordes, violon, alto et violoncelle disponibles. / Contrebasse Et Piano

Double Bass and Piano. Par SAINT-LEGER PASCAL. Composition à la mélodie entraînante, laissant une place à l'interprétation soliste, pour un début de cycle III/ Répertoire / Contrebasse et Piano

Par SAINT-LEGER PASCAL / GARDE JEAN NOEL. 1’54’’ / Niveau : Débutant / Répertoire / Contrebasse et Piano

Concerto pour contrebasse Editeur: Tobias Glöckler Réduction pour piano: Christoph Sobanski Doigtés cb.: Tobias Glöckler Cadences: Tobias Glöckler Edition Urtext, réduction pour piano, reliure paperback réduction pour piano in Ut et Ré majeur Partie en accord viennois (La-ré-fa#-la) Après les concertos pour contrebasse de Dittersdorf (HN 759) et de Hoffmeister (HN 721), nous ajoutons à notre catalogue un nouveau sommet de la littérature classique pour l?instrument, l?unique Concerto pour contrebasse de Johann Baptist Vanhal. Cette oeuvre virtuose ne nous est parvenue que par une copie du matériel dans la succession du célèbre contrebassiste Johannes Sperger (1750?1812), laquelle soulève un certain nombre de questions du fait des nombreux ajouts que comporte la partie soliste (s?agissant notamment des indications de jeu à l?octave). Dans notre édition Urtext, Tobias Glöckler répond à ces questions avec un texte musical soigneusement préparé pour l?exécution. La réduction pour piano est présentée dans deux tonalités différentes (Ut et Ré majeur), ce qui permet de jouer le concerto avec l?accord de soliste ou l?accord d'orchestre. En outre, une voix supplémentaire en tablature, spécialement conçue pour l'«accord viennois» en usage à l'époque de Vanhal, permet à l'instrumentiste de jouer directement avec la sonorité puissante de l?accord historique, sans réapprentissage fastidieux.

Piano Accompaniment-The Carl Fischer catalog a treasure trove of solos for all major band and orchestra instruments now has a series devoted to preserving these gems many of which are on state required music lists. The new string bass book contains many celebrated solos including Merle Caballero Wagner Die Meistersinger (Prelude) Simandl Larghetto (Ã?tude No. 23) Merle Mummers (Danse Grotesque) Martin Pompola and much more 24 titles in all. This is a must-have collection for all students of the string bass. This edition contains all the Piano accompaniments for the instrumental books in the series.

La partition 2 Etudes de Aubain Jean a été composée pour Contrebasse et plus particulièrement pour Contrebasse A Cordes Et Piano. Cette partition musicale est éditée par une des nombreuses maisons d'édition française à savoir Leduc. Cette oeuvre musicale fait partie intégrante des oeuvres de style Classique. / Contrebasse A Cordes Et Piano / Partition