24 Easy Pieces From 5 Centuries Using Half To 3Rd Position. The Easy Concert Pieces series features easy to moderately difficult works for double bass with piano accompaniment. Ordered by difficulty in three volumes, the pieces are suitable for auditions, competitions or exams. The series contains original works by Bottesini, Dragonetti, Gretchaninoff, Hindemith, Laska, Regner, Reinagle, Teppo Hauta-aho and others as well as orchestral excerpts by Beethoven, Dvorak, Haydn, Mahler and arrangements of famous classical masterpieces. All pieces are included on the accompanying CD, as a full version and as a piano accompaniment.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.Volume 3 in preparation.

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.

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

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.

'A pleasantly engineered four movement suite for Double Bass which is technically quite undemanding ... an attractive concert item' The Strad. Suitable for Grade 5 players and part of the ABRSM Double Bass Syllabus.

& 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.

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

This Piano accompaniment book ideally compliments the Suzuki Bass School Volume 4 Bass Part book catalogue number ALF28359.The Suzuki Method® of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability and that man is the son of his environment. According to Dr. Suzuki a world-renowned violinist and teacher the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the 'mother-tongue' approach.

The Suzuki philosophy is based upon the idea that children can learn music in the same manner they do their native language through repetitive listening. This listening is then followed up with 1) Individual instruction with a trained Suzuki teacher 2) Group lessons on a bi-weekly / weekly basis 3) Parent Involvement 4) Encouragement. Students begin lessons as early as two years old and through repetition of small and enjoyable steps begin building a music vocabulary.