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

für Kontrabass und Klavier-Prélude and Scherzo for Double Bass and Piano by the Russian composer Reinhold M. Glière whose musical style represents a link between Late Romanticism (Tchaikovsky) and Modernism (Prokofiev).

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.

Written for David Heyes as part of his 'Fizz at 50' project. 'Gerty Goat Scuffer' (in case you wondered) is one of many nick-names we had for a much loved family dog - officially named 'Heavy Hetty' from a character in an imaginative children's book of that name. In my youth as a composition student at the RAM I discovered that walking a dog for an hour a day is the anti-dote to the long hours required as a composer 'sat you yer bum' writing at a desk and (in those pre-computer years) writing endless parts out by hand. First of these 'best friends' was a glorious Gordon Setter called 'Sophie' (my first love) who accompanied Pat and I on our honeymoon acrossScotland. Thirty years later we were privileged to enjoy the company of three therapeutic beasts; 'Merlin' (a prize winning Pyrenean Mountain Dog) 'Gael' (an over energetic Scottish Border Collie) and 'Hetty' (a unique cross between a Pyrenean Mountain Dog and a St. Bernard - something of a 'kennel-maid's Accident'). Hetty (see picture) is unfortunately no longer with us now. She had an extraordinary puppy-hood that left her with titanium plates holding her back legs together. Hetty was surprisingly active though right through to the age of nearly 10 - speciality: chasing Pheasants in the grounds at Strathmashie - but she became progressively hampered by arthritis and 'scuffed along' on her vast hairy pads with a swagger. She also used to remind our children of a mountain goat. Songs have been written about her but this is the first instrumental work that she has inspired! The pervading thematic motive of the piece (heard from the outset) cheekily alludes to an (over) famous Saint-Saëns work for double bass (but no insult is intended to Hetty!). The increasingly roving tonality and unusually sudden shifts of key combined with the use of jazz chords combines to present a short but heartfelt tribute to a unique animal that provided untold pleasure to all she came into contact with simply by just being

A short three-movement 'characteristic' sonatina composed for Double Bass 2000 and premiered at Wells Cathedral School. Aimed at the intermediate bassist this is a work full of lyrical episodes and utilises the medium-high range of the instrument. The composer writes: 'My Sonatina a brief frivolous piece was partly written to exploit the range of the double bass both its lower and upper reaches. The first movement is in strict sonata form - exposition repeat and all. The second movement is tongue-in-cheek 18th-century form; the sonatina is a very 19th-century form. Its main theme turns up again as the middle section of the final movement a tinywaltz. Other snatches of material are common to all three movements.' 

The lively Tambourin by Rameau is among the most popular of baroque instrumental pieces and in H. Samuel Sterling's idiomatic arrangement for double bass and piano it forms a welcome addition to the bassist's repertoire. Giordani's stately Larghetto is an ideal counterweight and an exercise in sustained expressive playing. CONTENTS: Giuseppe Giordani: Larghetto Jean-Philippe Rameau: Tambourin. DOUBLE BASS & PIANO Exam syllabus information: Double Bass AB : 6 [ends: 2019] TCL : 6 8 [ends: 2019]

La référence AB1112 de l'éditeur Billaudot dont l'auteur célèbre est Weiller Ernest, qui a pour titre POLONAISE DE CONCERT, 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

With this cornerstone of the Double Bass repertoire we continue a still young but important part of our catalogue. This musically-charming work full of technical trickery is with justification demanded time and again as atest piece or set piece for competitions. In order to accommodate the ?Viennese tuning? used at the time we also provide a solo part in fret notation. The Piano part in D major and E major (!) can be used to accompany the DoubleBass part either in its solo or orchestral version. As an alternative to the familiar cadenzas by Sperger editor Tobias Glöckler has added two further tuneful and stylistically-appropriate cadenzas of his own.

Thirty-five easy Pieces for Double Bass and Piano. A wealth of short and enjoyable tunes for school concerts festivals and exams. A tremendous amount of music packed into 48 pages. I highly recommend this book ...useful for a variety of levels of students'. American String Teacher. Contains a selection of pieces for the ABRSM and AMEB (Australian Syllabus) Double Bass examinations.

Par HERTL FRANTISEK. The renowned Czech double bass player, composer, conductor and teacher František Hertl (1906–1973) wrote many concert and teaching pieces for his instrument. An outstanding virtuoso, he had a consummate mastery of his instrument’s expressive potential and sound qualities. These four pieces for double bass comprising a Prelude, Burlesque, Nocturne and Tarantella were composed in 1968. They have remained very popular among double bass players to the present day while being extremely challenging to play. Our edition adopts the musical text from the Supraphon edition of 1969. The double bass part and the Foreword have been revised by Stefan Schäfer, the solo double bassist of the Hamburg Philharmonic State Orchestra./ Répertoire / Contrebasse et Piano

& 1 Solo Piece For Contrabass-Swedish bassist cellist composer and arranger Lars Danielsson is renowned and admired throughout the International jazz world for his lyrical melodies and strong groove. This collection brings together 20 Impromptus For Piano And 1 Solo Piece For Contrabass composed by Danielsson in his idiosyncratic style. Born in 1958 Danielsson originally studied classical Cello at the conservatory in Gothenburg before changing to Bass and jazz. He has since become one of the most in-demand bassists in the world recognised and admired for his rounded sound that's both lyrical and powerful. Having played with avirtually endless list of international stars including Michael and Randy Brecker John Scofield and Charles Lloyd Danielsson's track record as a leader is equally unparalleled bringing his talent for simple and catchy melodies together with his instinct for putting together groups of musicians. If you're a fan of Lars Danielsson or you just want some fantastic jazz tunes to play for Solo Piano with an extra piece for Contrabass this collection of 20 Impromptus has been selected by the artist himself and is sure to satisfy any progressive pianist.

Zingaresca A czardas-influenced work which is full of the fire and passion of the typical Gipsy idiom. Zingaresca offers much for the advanced bassist and would be ideal for conservatoire or university students who are confident playing throughout the solo range of the instrument. A slow and lyrical introduction leads into a rhythmic and lively czardas these with opportunities to demonstrate both musical and technical prowess in equal measure. Ideal as the final work in a recital and performed many times by the composer. The edition includes piano accompaniments for both solo and orchestral tunings. Performance Level: Advanced Miloslav Gajdos is one of Europe's most active and inventive bassist-composers. He was born in northern Moravia in 1948 and initially learned violin before transferring to the double bass, studying with Alois Kriz, Jiri Bortlicek and Ludwig Streicher. He has been Professor of Double Bass at the Vejvenovsky Conseravtoire in Kromeriz (Czech Republic) since 1971, and was a member of the Olomouc Symphony Orchestra for a number of years. He is Director of the Gregora International Double Bass Competition, founded in 1979 and held every two years in Kromeriz, and has been a juror at many competitions in Hungary, Germany and the Czech Republic. Miloslav Gajdos is a prolific composer and arranger and, for almost 40 years, has produced a vast body of original works and transcriptions for double bass which are performed worldwide. His original works combine Czech lyricism and melody with brilliant technical demands, and music from one to sixteen double basses. He writes in a traditional and accessible style, producing music for every level of performer, particularly for the advanced bassist, and his many works for unaccompanied double bass are frequently chosen as international competition repertoire. Miloslav Gajdos was Recital Music's Featured Composer in 2007 and has recently revised a number of earlier works for the intermediate bassist which will be published by Recital Music.intermediate bassist which will be published by Recital Music.

Twelve rural reflections for Double Bass and Piano by Betty Roe. These short pieces have straightforward simple arrangements making them ideal for beginners who will enjoy playing and learning these bright and relaxed tunes.