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piece has been very popular and has been used for examinations on various syllabuses around Grade 7 level.An unpublished manuscript copy of a double bass 'method' is on file that Norman Hester wrote when he retired but it is mainly a compilation of various scales and exercises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.

Concert Pieces for Double Bass and Piano-This collection of pieces for the Double Bass and Piano has been created specifically for young Double Bass players who are wishing to start performing in public. The 19 concert pieces featured are easy to rehearse yet sound effective. With works from the Baroque Classical and Romantic periods as well as newly composed pieces by the Polish Bass player Boguslaw Furtok Concert Pieces For Double Bass And Piano offers great variety. Ideal for musicians following the Barenreiter Early Start On The Double Bass method the pieces featured in this book are all of a easy-medium level of difficulty.

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.

Pièce originale pour contrebasse avecaccompagnement de piano. Par JOUBERT CLAUDE-HENRY. 2’30’’ / Niveau : Débutant / Répertoire / Contrebasse et Piano

Pièce originale pour contrebasse avecaccompagnement de piano. Par JOUBERT CLAUDE-HENRY. 2’30’’ / Niveau : Préparatoire / 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.

Par NAULAIS JEROME. 2'35'' / Niveau : Débutant / Répertoire / Contrebasse et Piano

Pièce originale pour contrebasse avecaccompagnement de piano. Par JOUBERT CLAUDE-HENRY. 4’00’’ / Niveau : Préparatoire / Répertoire / Contrebasse et Piano

Par JOUBERT CLAUDE-HENRY. 10’00 / Niveau : Moyen / Répertoire / Contrebasse et Piano

for Double Bass and Piano-The renowned Czech bass player composer and conductor Franti?ek Hertl (1906 1973) led the Double Bass section of the Czech Philharmonic during the Václav Talich era and later taught at the Conservatory and the Academy of Musical Arts in Prague. An outstanding virtuoso he had a consummate mastery of his instrument?s expressive potential and sound qualities. He also wrote successful concert and teaching pieces for his instrument.Composed in 1946 Hertl?s only Sonata For Double Bass And Piano in three movements is a work of artistic and technical challenges that has maintained its place in the Double Bass repertoire to the presentday.New edition of a major repertoire piece for Double Bass.Foreword (Cz/Eng/Ger) by Hertl?s last pupil Jan Balcar

Concerto No.2 'Haydn' A series of works based on the surviving two bars of Haydn's 'lost' Double Bass Concerto. Based on the two surviving bars of Haydn's 'lost' Double Bass Concerto and dedicated to David Heyes, this magnificent new concerto is a tour-de-force from a respected and leading Czech bassist-composer. In a tonal and accessible style, there are musical and technical challenges for the advanced bassist and this edition is only available in solo tuning. Influenced by the late 18th-century style, but imbued with Czech lyricism and influences, this new three-movement concerto is a major addition to the repertoire and utilises the entire range of the double bass. The concerto has been performed throughout Europe many times, most recently in Macedonia and Serbia by the composer. Miloslav Gajdos has composed and transcribed many works for double bass in a 40 year career and is Professor of Double Bass at the Vejvenovsky Conservatoire in Kromeriz (Czech Republic) alongside many international recitals and masterclasses. Concerto No.2 'Haydn' is available in three orchestrations alongside the published edition with piano. Please contact the publishers for more information about the various orchestrations. 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.

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.

24 Easy Pieces From 5 Centuries Using Half To 3Rd Position. The 'Easy Concert Pieces' series presents a varied selection of easy concert pieces for double bass and piano from the Renaissance, Baroque and Classical periods through to the modern era. To facilitate choosing individual pieces for performance and auditions at music schools, competitions or examinations these pieces have been ordered according to level of musical and technical difficulty. Book 1 (ED 22551) contains pieces in half and first position. Pieces in each position and some using position changes are presented from each era. Simple techniques such as portato, staccato and legato bowing are introduced along with pizzicato, using rudimentary dynamics ranging from piano to forte, crescendo and decrescendo and simple phrasing. The pieces selected here are varied in character with memorable tunes, a few different time signatures and simple rhythms. / Niveau : Facile / Recueil / Contrebasse et Piano

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