L'oeuvre musicale qui a pour support une Partition + Cd a pour titre String Tunes Bass Cd. C'est une partition musicale composée par Applebaum Samuel et qui est destinée aux joueurs de Contrebasse. Le détail de l'instrumentation Contrebasse vous permettra de savoir si cette partition correspond bien à ce que vous cherchez. Son style Classique vous permettra de découvrir ô combien la musique Classique est belle et enrichissante. / Contrebasse / Partition + Cd

Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e. unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period some of which are dated 1698.The sonatas are both inscribed on the title page Sonata à Violone Solo. Col Basso per l'Organo o Cembalo. A third sonata bears the words Sonata à Violino e Violoncino … di Giovannino del Violone. Giovannino(=Little or Young John) must have been a performer and although the third sonata has been copied by a different hand it is conceivable that Giovannino is a connecting link between the three. He cannot however be assumed to be their author.The Violone was a six-stringed instrument with frets and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family which means that the sonatas might well have been written for a tenor or a bass Viol and not necessarily a Violone as such. Indeed when they are played on a Violone or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument to prevent inversion of the intended harmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether a Violone player owing to the very nature of his instrument would have used any but the simplest melodic decorations. Nevertheless the performer should acquaint himself thoroughly with those seventeenth century traditions that

This new publication replaces the old Latham edition (now out of print) - popular title on both ABRSM and TG double bass syllabuses (grade 7).Dennis Leogrande writes:I began writing the melody first although every piece begins differently. I wanted to begin with a sound that for me is very characteristic of the bass that being the ½ step slide from G# to A. Looking throughout the piece you will notice other slides ie. bars 1 3 5 7 12 14 16 18 38 58 114 116 18 120 123 125 and 127. Please don't forget to notice the grace note slide in measure 100. These are the melodic motifs that give the piece its character and act as hooks(memorable ideas) for the listener to latch on to. Once I began writing the melody it just grew organically from the original idea. I hope you feel the same organic growth. The shifting harmonic tonalities (between D major and D minor) seem to ask the question 'May I?' and keep the listener involved in trying to answer the question. The jazz style keeps the 'question' light hearted a little 'tongue in cheek.' However playing this piece requires attention to these details and a great deal of musicianship. It's the fine musician who understands both the music and the instrument who can make a difficult and complicated piece sound easy light and fun. Oh and yes please enjoy!

 Ballad for Sandrine de Rodolphe Auguste- Dormeuil, est la troisième pièce d'une série de courtes oeuvres pour contrebasse et piano qui retracent les grands courants musicaux du XXème siècle,Depuis les styles les plus anciens: blues, swing,,, jusqu'aux musiques actuelles: rock ou reggae en passant par les musiques latines : bossa, samba et Tango,,, sans oublier la valse musette !Composée dans le style du contrepoint utilisé par Duke Ellington dans l'une de ses ballades célèbres, cette romance sentimentale allie élégance et sobriété, Conçues pour des élèves contre-bassistes de fin de premier cycle, ces oeuvres permettront d'aborder dans un cadre pédagogique des styles pour lesquels il existe très peu de musique écrite, Collection Le Temps des Basses / Contrebasse Et Piano