Composed by Annette Costanzi, George Vance. Instructional book and accompaniment CD for String bass (Double Bass). With bowings and fingerings. 37 pages. Published by Carl Fischer.

By Rebecca Saunders. For 2 double basses. For two double basses with five strings (printed in score format on single sheets, 11.5 x 16.25 ). Modern. Duration circa 8.5 minutes

By J. Frederick Muller. For string bass solo. Collection. Grade 3.5. Instrumental part. Published by Neil A. Kjos Music Company

Composed by Various. Arranged by Kenneth D. Friedrich. For string bass solo. Level 2 to 4. Published by Kenneth D. Friedrich

Double Bass

SKU: BT.MUSM570367320

Composed by Sadie Harrison. Book Only. 12 pages. University of York Music Press #MUSM570367320. Published by University of York Music Press (BT.MUSM570367320).

English.

Sadie Harrison's Ha llristningsomra det  for solo Double Bass. Composed and published 2016. Duration c. 10 minutes The area of Tanumshede is situated on the south western coast of Sweden. Archaeologically, it is renowned for its unique series of Bronze Age rock carvings dating from between c. 1800 to 500 BCE. Incised into over 600 panels, the petroglyphs were originally situated along a 25 mile stretch of fjord coastline and as such there are many depictions of Hjortspring boats and seafaring activities. There are also scenes of hunting, agricultural and livestock farming and warring, with many armoured figures carrying swords, axes and shields. Whilst it is possible tointerpret most carvings as images of quotidian life, the meaning of some panels is less clear. It is likely that several scenes depict ritual acts overseen by gods, often surrounded by abstract symbols - crosses, dots and ‘cups’, the significance of which is now unknown. As well as being a source of information about Scandinavian Bronze Age weapons, vehicles, tools, ships, even hairstyles, the carvings have also been the subject of debates about gender. The society depicted on the rocks seems overwhelmingly patriarchal, making the rare carvings of probable female figures particularly important. The most famous of these is known as The Grieving Woman, apparently weeping over a dead warrior from a ship. Her grief, ‘heavy as rocks’ is heard in the opening movement of the piece, echoing through the remaining movements and giving the work its dark, melancholy character. The Woman returns in the final movement as a ghost, her footsteps coming closer and closer as her ‘lover’s&rsqu o; ship is rebuilt over and over again. Movement III is gentler in tone, a song for the Woman and her lover - depicted as a couple rolling a giant sun surrounded by farm animals. Movement II represents the enigmatic Juggler or Calendar Man who holds 29 spheres in his hand - perhaps juggling the fate of The Grieving Woman.

By Shelly Berg. For Bass. Jazz Ensemble Method. Play along. Book & CD. 44 pages. Published by Alfred Publishing.

Double Bass

SKU: HL.51483307

For String Orchestra Double Bass Part. Composed by Antonin Dvorá, Antonin Dvorak, and k. Edited by Peter Jost. Henle Music Folios. Classical. Softcover. 12 pages. G. Henle #HN3307. Published by G. Henle (HL.51483307).

UPC: 196288206828. 9.25x12.0x0.062 inches.

The serenade flourished in Mozart's era, but with Brahms the genre experienced a new surge in popularity in the 19th century. Dvorák's cheerful and relaxed op. 22 came into being in 1875, during a very happy time for him both professionally and privately. Heput his personal stamp on the five-movement composition by incorporating stylized Slavonic dances. The spirited finale captivates by restating themes from the previous movements. Since its premiere in 1876 the work, with its melodic richness and particular harmonic modulations, has enjoyed great acclaim from audiences and critics alike. Today it is among Dvorák's most popular and most frequently performed compositions. As well as the autograph and printed editions, the composer's copy of the printed score with autograph corrections and additions has been consulted for Henle's Urtext edition.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

Double bass solo

SKU: BR.EB-9268

Revised Version 2010. Composed by Helmut Lachenmann. Arranged by Caleb Salgado. Solo instruments; Folder. Edition Breitkopf. Music post-1945; New music (post-2000). Score. Composed 1969/2010. 26 pages. Duration 9'. Breitkopf and Haertel #EB 9268. Published by Breitkopf and Haertel (BR.EB-9268).

ISBN 9790004185681. 12 x 9 inches.

This piece originated as an introduction to instrumental musique-concrete. In this sort of piece it is common for sound phenomena to be so refined and organised that they are not so much the results of musical experiences as of their own acoustic attributes. Timbres, dynamics and so on arise not of their own volition but as components of a concrete situation characterised by texture, consistency, energy, resistance.This does not come from within but from a liberated compositional technique. At the same time it implies that our customary sharply-honed auditory habit is thwarted. The result is aesthetic provocation: beauty denying habit.(Helmut Lachenmann),,Cette nouvelle edition est une invitation faite aux violoncellistes qui souhaiteraient redecouvrir leur instrument et la maniere de la faire sonner en realisant dessus un nouveau genre de polyphonie: une polyphonie d'actions. (Francois-Xavier Feron, Circuit, Heft 25, Juni 2015)CDs/LPs:Michael Bach CD cpo 999 102-2 Lucas Fels CD Montaigne Auvidis MO 782075 Walter Grimmer CD col legno WWE 31863 Taco Kooistra CD Attacca Babel 9369-1 Pierre Strauch CD Accord 202082 Michael Bach LP ABE ERZ 1003 Werner Taube LP ABE ERZ 1003ensemble phorminxCD WER 6682 2Michael M. KasperCD Michael M. Kasper rounds per minute, Ensemble Modern Medien, EMCD-006Michael Svoboda (trombone)CD Wittener Tage fur neue Kammermusik 2011Bibliography:Deltz, Eberhard: begegnung im grenzbereich. Zwei Werke von Helmut Lachenmann und Hideaki Yamanobe im Spiegel eines Haiku von Matsuo Basho, in: Neue Zeitschrift fur Musik 167 (2006), Heft 1, pp. 36-41.Feron, Francois-Xavier: Enjeux et evolution du systeme de notation dans ,,Pression pour un(e) violoncelliste de Helmut Lachenmann, in: Circuit, Heft 25, 2015, pp. 55-65.GoGwilt, Keir: Templates for Technique in Mantel and Lachenmann. Between Transcendence and Immanence, in: The Dark Precursor: Deleuze and Artistic Research. Band I: The Dark Precursor in Sound and Writing, hrsg. von Paulo de Assis und Paolo Giudici, Leuven: Leuven University Press 2017, pp. 105-113.Griffiths, Paul: ModernMusic and After, 3rd edition, Oxford University Press 2010, pp. 216-219.Handschick, Matthias: Musik als ,,Medium der sich selbst erfahrenden Wahrnehmung. Moglichkeiten der Vermittlung Neuer Musik unter dem Aspekt der Auflosung und Reflexion von Gestalthaftigkeit (= Schriften der Hochschule fur Musik Freiburg 3), Hildesheim u. a.: Olms 2015, dort pp. 161-167.Hiekel, Jorn Peter: Helmut Lachenmann und seine Zeit, Laaber: Laaber 2023, S. 169-172, 231-232.Jahn, Hans-Peter: simultan eine Erinnerung, in: Neue Zeitschrift fur Musik 167 (2006), Heft 1, pp. 12-15.Lessing, Wolfgang: Musizieren als Prozess. Zur didaktischen Dimension von Helmut Lachenmanns Pression, in: Musik inszeniert. Prasentation und Vermittlung zeitgenossischer Musik heute, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 46), Mainz u. a.: Schott 2006, pp. 73-83.ders.: Verweigerung von Gewohnheit. Instrumentaldidaktische Annaherungen an Pression von Helmut Lachenmann, in: Darstellen und Mitteilen. Ein Handbuch der musikalischen Interpretation, hrsg. von Ursula Brandstatter, Martin Losert, Christoph Richter und Andrea Welte, Mainz: Schott 2010, pp. 111-122.ders.: Interpretation, Verstehen und Vermittlung, in: Ans Licht gebracht. Zur Interpretation Neuer Musik, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 53), Mainz u. a.: Schott 2013, pp. 24-39.Mosch, Ulrich: Das Unberuhrte beruhren Anmerkungen zur Interpretation von Helmut Lachenmanns Werken Pression und Allegro sostenuto, in: Musik inszeniert. Prasentation und Vermittlung zeitgenossischer Musik heute, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 46), Mainz u. a.: Schott 2006, pp. 25-46.Musik als Bildkritik Gesprach zwischen Gottfried Boehm, Helmut Lachenmann und Matteo Nanni, in: Helmut Lachenmann: Musik mit Bildern? Hrsg. von Matteo Nanni und Matthias Schmidt (= eikones, hrsg. von Nationalen Forschungsschwerpunkt Bildkritik an der Universitat Basel), Munchen: Wilhelm Fink 2012, pp. 237-269.Neuwirth, Markus: Strukturell vermittelte Magie. Kognitionswissenschaftlic he Annaherungen an Helmut Lachenmanns Pression und Allegro sostenuto, in: Musik als Wahrnehmungskunst. Untersuchungen zu Kompositionsmethodik und Horasthetik bei Helmut Lachenmann, hrsg. von Christian Utz und Clemens Gadenstatter (= musik.theorien der gegenwart 2), Saarbrucken: Pfau 2008, pp. 73-100.Orning, Tanja: The Polyphonic Performer. A Study of Performance Practice in Music for Cello Solo by Morton Feldman, Helmut Lachenmann, Klaus K. Hubler and Simon Steen-Andersen, Diss. Oslo 2014, Oslo: NMH-publikasjoner (mit DVD).Sparrer, Walter-Wolfgang: Wider den geolten Gleichlauf. Von der Notwendigkeit strukturierender Verfahrensweisen bei der Interpretation von Musik. Modell I: Kompositionen fur Violoncello solo von J. S. Bach, Isang Yun und Helmut Lachenmann, in: Musikalische Produktion und Interpretation, hrsg. von Otto Kolleritsch, Wien/Graz 2003 (= Studien zur Wertungsforschung, Band 43), pp. 75-100.Utz, Christian: Erinnerte Gestalt und gebannter Augenblick. Zur Analyse und Interpretation post-tonaler Musik als Wahrnehmungspraxis Klangorganisation und Zeiterfahrung bei Morton Feldman, Helmut Lachenmann und Brian Ferneyhough, in: Ans Licht gebracht. Zur Interpretation Neuer Musik, hrsg. von Jorn Peter Hiekel (= Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt, Band 53), Mainz u. a.: Schott 2013, pp. 40-67.

World premiere: Como (Autunno musicale), September 30, 1970.

By Shelly Berg. For Bass. Jazz Ensemble Method. Book. 40 pages. Published by Alfred Publishing.

By Shelly Berg. For Bass. Jazz Ensemble Method. Book. 44 pages. Published by Alfred Publishing.

Composed by Janice Rucker Rhoda. For contrabass. Score and Audio CD. 48 pages. Published by Carl Fischer

Beginning Fiddling Lessons for String Classes or Individual Learners. By Doris Gazda; Janet Farrar-Royce; Jay Ungar; Molly Mason. For Double Bass. Classical. Student Book. 16 pages. Published by Carl Fischer.

Double bass - Level 3-4

SKU: HF.FH-2905

Composed by Stefan Schafer. Sheet music. Friedrich Hofmeister Musikverlag #FH 2905. Published by Friedrich Hofmeister Musikverlag (HF.FH-2905).

ISBN 9790203429050. 8.3 x 11.7 inches.

Double bass

SKU: HF.FH-7157

Composed by Alwin Starke. Sheet music. Friedrich Hofmeister Musikverlag #FH 7157. Published by Friedrich Hofmeister Musikverlag (HF.FH-7157).

ISBN 9790203471578. 9 x 12 inches.

Composed by Stefan Schafer. For double bass, piano. Level 2-3. Sheet music. Published by Friedrich Hofmeister Musikverlag

Double bass

SKU: KU.OCT-10176_KB

Composed by Antonio Vivaldi. Edited by Istvan Mariassy and Árpád Pejtsik. Bach format (230 x 302). Rv 399, Pv 33, F. Iii/6, Ric. 211. Single Sheet. Part. 2 pages. Edition Kunzelmann #OCT-10176_KB. Published by Edition Kunzelmann (KU.OCT-10176_KB).

ISBN 9790206202360. Key: C major.

Double Bass

SKU: M7.BMER-26200

Parte I - Volume II Corso Pratico. Composed by Isaia Bille. Sheet music. MDS (Music Distribution Services) #BMER 26200. Published by MDS (Music Distribution Services) (M7.BMER-26200).

ISBN 9790041802626.

Double bass - Level 4

SKU: HF.FH-3263

Composed by Siegfried Matthus. Arranged by Matthus. Sheet music. Friedrich Hofmeister Musikverlag #FH 3263. Published by Friedrich Hofmeister Musikverlag (HF.FH-3263).

ISBN 9790203432630. 8.3 x 11.7 inches.