SOLO TUNING See RM722 for Orchestral Tuning The 'Dragonetti Concerto' was first...(+)
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.
A Tear-A beautiful and poignant lament which is ideally suited to the double bas...(+)
A Tear-A beautiful and poignant lament which is ideally suited to the double bass. Originally for cello this new edition returns to the cello version [Theme & Variations] adding an extended (but optional) piano introduction and demonstrates the dark and soulful colours of the solo double bass. Long flowing phrases allow the intermediate bassist to demonstrate both musical and technical accomplishment in an accessible range of the instrument. The soulful and wistful melody transcribes beautifully for double bass allowing the instrument to display its bel canto and lyrical capabilities. A three bar section towards the end of the piece is playable as written or anocatve higher giving bassists the opportunity to play high harmonics within a beautiful and evocative melody. This is an ideal study or recital work with its supportive and pulsing accompaniment and has been one of Recital Music's bestsellers since it was published. Une Larme is also available for solo double bass and string orchestra accompaniment - please contact the publishers for further details. Grade 7 - Trinity-Guildhall / ABRSM / LCM / MTB Exams (www.mtbexams.com)
'A pleasantly engineered four movement suite for Double Bass which is technicall...(+)
'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.
Very little is known about the two sonatas which appear here in their original k...(+)
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
Compositeur et contrebassiste, je propose dix petites études transcendantales d...(+)
Compositeur et contrebassiste, je propose dix petites études transcendantales de petits niveaux de maximum une minute trente chacune, conçues pour être données en concert, afin d'habituer les élèves le plus tôt possible à la situation de récital à laquelle ils feront face plus tard, que cela soit en concert ou en concours.La partie d'accompagnement est une vraie partie de piano (bien que facile) faite pour encourager le travail de dialogue et de musique de chambre des élèves. Chaque pièce explore différents styles de musique et abordent les problèmes techniques tant de main gauche, d'archet que de solfège et expressivité. / Etudes
Compositeur et contrebassiste, je propose dix petites études transcendantales d...(+)
Compositeur et contrebassiste, je propose dix petites études transcendantales de petits niveaux de maximum une minute trente chacune, conçues pour être données en concert, afin d'habituer les élèves le plus tôt possible à la situation de récital à laquelle ils feront face plus tard, que cela soit en concert ou en concours.La partie d'accompagnement est une vraie partie de piano (bien que facile) faite pour encourager le travail de dialogue et de musique de chambre des élèves. Chaque pièce explore différents styles de musique et abordent les problèmes techniques tant de main gauche, d'archet que de solfège et expressivité. / Etudes
Musicland a été créé en 1984 par Caroline et Alan Lumsden afin de publier la...(+)
Musicland a été créé en 1984 par Caroline et Alan Lumsden afin de publier la musique éducatif pour les jeunes enfants. La série Musicland théorie, l'enregistreur et violon a été lancée après des essais positifs de la matière dans leur propre école de musique à Gloucester, en Angleterre. Ces livres de tuteur bien établies sont conçues pour encourager la capacité créative naturelle de l'enfant et de stimuler les capacités artistiques et dramatiques ainsi que musicales. Pièces de débutant pour Piano and de contrebasse. Partie de la contrebasse éditée par Caroline Emery. Peut être aussi joué dans des pièces Ensemble à cordes, violon, alto et violoncelle disponibles. / Contrebasse Et Piano
Petit Rhino (PROUST
PASCAL) Contrebasse, Piano (duo)[Conducteur et Parties séparées] - Débutant FLEX Editions
Par PROUST PASCAL. La balade d'un sympathique petit animal, destiné aux jeunes ...(+)
Par PROUST PASCAL. La balade d'un sympathique petit animal, destiné aux jeunes instrumentistes à l'issue de leur première année d'apprentissage. - Pascal PROUST - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Contrebasse 1 Piano - Niveau de Difficulté : 1/6 - Débutant - Durée : 1 mn 50 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Pascal PROUST - / Niveau : Débutant / Classique, Pédagogique / Répertoire / Contrebasse et Piano
The ?Easy Concert Pieces? series offers a wide spectrum of pieces from the Renai...(+)
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
Concerto No.2 'Haydn' A series of works based on the surviving two bars of Hayd...(+)
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.
Les enseignants encore et encore demander faciles à jouer de la contrebasse mus...(+)
Les enseignants encore et encore demander faciles à jouer de la contrebasse musique appropriée pour des cours ou de la compétition Jugend Musiziert. Le compositeur Peter Wittrich de Munich a entrepris cette tâche et composé un cycle varié de sept pièces faciles pour contrebasse et piano. Toutes les pièces ont été essayées et testées en double-bass leçons et sont bien placées sur l'instrument. Certains peuvent même être joué dans la première position. La collection couvre différents styles, notamment les styles de musique populaire comme le blues ou de tango, tout en prenant thèmes bien connus de la musique classique, par exemple, de Bach ou de Beethoven, d'une manière humoristique. La partie de piano est plus exigeant afin que les réclamations faites sur le jeu d'ensemble sont un peu plus élevés. Un ajout intéressant au répertoire des cours et des concerts. / Contrebasse Et Piano
Professionnel ou amateur de Classique vous apprécierez cette partition de musiq...(+)
Professionnel ou amateur de Classique vous apprécierez cette partition de musique. Composée par Hoffmeister Franz Anton et éditée par Henle cette partition est idéale pour les joueurs de Contrebasse. Si l'instrumentation Contrebasse Et Piano correspond à ce que vous cherchez, vous en ferez alors un très bon usage. / Contrebasse Et Piano / Chanson En Séparée
A petite concerto for Double bass with three well-contrasted movements. This is ...(+)
A petite concerto for Double bass with three well-contrasted movements. This is an enjoyable piece with nothing unmanageable for a moderately advanced player. A versatile piece for use in music club programmes as well as ABRSM Double Bass Syllabus. Orchestral material for strings with optional percussion (1 player: glock triangle tambourine xylophone).
A short three-movement 'characteristic' sonatina composed for Double Bass 2000 a...(+)
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.'
Arranger : David Heyes The Transcriptions Series series Recital Music publish ...(+)
Arranger : David Heyes The Transcriptions Series series Recital Music publish a wealth of original works for double bass alongside a popular, accessible and growing range of transcriptions for bassists of all ages and abilities. Most transcriptions published by Recital Music are by David Heyes, who has a successful and proven track record when arranging for double bass. Czardas for violin and piano is Monti's only famous work, believed to have been composed in the early years of the 20th-century, and has been composed for almost every instrument, every instrumental combination, and performed by every gipsy orchestra or ensemble. The slow rhapsodic introduction quickly leads into the main theme which is full of rhythmic fire and gipsy passion. A slow section, primarily in double stops, is then repeated in high harmonics before a brief return of the fast viruosic music which leads into a reprise of the Czardas material, but now in the tonic major. A fast and energetic finale brings the piece to a rousing and successful conclusion. This exciting new arrangement by David Heyes offers musical and technical challenges in equal measure and the edition includes accompaniments for both solo and orchestral tunings. An arrangement for double bass quartet is in preparation. Italian composer, conductor and violinist, Vittorio Monti was born in Naples on 6 January 1868 and died on 20 June 1922. He studied at the Conservatorio di San Pietro a Majella with F. Pinto (violin) and Paolo Serrao (composition) and moved to Paris in 1886 where he studied violin with Camillo Sivori, Paganini's most famous pupil. For many years Monti was a member of the Lamoureux Orchestra in Paris, also conducting the orchestra on occasions, and composed ballets, operettas and instrumental music during his years in the French capital.
2 Petites Pieces En Français Contrebasse, Piano (duo)[Partition] Billaudot
La référence GB1923 de l'éditeur Billaudot dont l'auteur célèbre est Fantap...(+)
La référence GB1923 de l'éditeur Billaudot dont l'auteur célèbre est Fantapie Henri-Claude, qui a pour titre DEUX PETITES PIECES, 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
Accompagnement De Piano Pour Contrebasse Accordée En Ut et En Ré. Par TCHAIKOV...(+)
Accompagnement De Piano Pour Contrebasse Accordée En Ut et En Ré. Par TCHAIKOVSKI PIOTR ILITCH. Composées à la demande de son éditeur et achevées en octobre 1873, les 6 pièces Op. 19 pour piano se situent entre le Sextuor 0p. 18 et le célèbre ballet 'Le Lac des cygnes' Op. 20. La transcription pour contrebasse et piano de Daniel Marillier et Régis Prudhomme, issue des deux versions du Nocturne, est proposée dans une tonalité adaptée au registre de l'instrument. / Niveau : Assez Difficile / Classique (1760-1900) / Répertoire / Contrebasse et Piano
Concerto pour contrebasse Editeur: Tobias Glöckler Réduction pour piano: Chri...(+)
Concerto pour contrebasse Editeur: Tobias Glöckler Réduction pour piano: Christoph Sobanski Doigtés cb.: Tobias Glöckler Cadences: Tobias Glöckler Edition Urtext, réduction pour piano, reliure paperback réduction pour piano in Ut et Ré majeur Partie en accord viennois (La-ré-fa#-la) Après les concertos pour contrebasse de Dittersdorf (HN 759) et de Hoffmeister (HN 721), nous ajoutons à notre catalogue un nouveau sommet de la littérature classique pour l'instrument, l'unique Concerto pour contrebasse de Johann Baptist Vanhal. Cette oeuvre virtuose ne nous est parvenue que par une copie du matériel dans la succession du célèbre contrebassiste Johannes Sperger (1750'1812), laquelle soulève un certain nombre de questions du fait des nombreux ajouts que comporte la partie soliste (s'agissant notamment des indications de jeu à l'octave). Dans notre édition Urtext, Tobias Glöckler répond à ces questions avec un texte musical soigneusement préparé pour l'exécution. La réduction pour piano est présentée dans deux tonalités différentes (Ut et Ré majeur), ce qui permet de jouer le concerto avec l'accord de soliste ou l'accord d'orchestre. En outre, une voix supplémentaire en tablature, spécialement conçue pour l'«accord viennois» en usage à l'époque de Vanhal, permet à l'instrumentiste de jouer directement avec la sonorité puissante de l'accord historique, sans réapprentissage fastidieux.
The complete resource for the Grade 3 double bassist. Par . La série Grade By G...(+)
The complete resource for the Grade 3 double bassist. Par . La série Grade By Grade (De degré par degré) tire sa substance du catalogue classique, contemporain et pédagogique riche et varié de Boosey and Hawkes. On y trouve à côté de compositeurs comme Serge Prokofieff, Dimitri Shostakovich, Karl Jenkins, Carol Barratt et Christopher Norton des arrangements de musiques traditionnelles du monde entier signés Peter Wastall et Edward Huws Jones, entre autres. Ce florilège d'usage pratique, dont les morceaux ont été soigneusement choisis par Cathy Elliott, fournit un répertoire complet à l'apprenti(e) contrebassiste de niveau 3. C'est une somme idéale pour l'apprentissage, la préparation des examens et l'exécution en public. Chaque volume comprend : une grande diversité de morceaux, chacun étant complété par des conseils utiles pour le travail et l'interprétation des gammes et des arpèges en rapport avec les morceaux et conformes au niveau de difficulté, accompagnés d'instructions et d'exercices sur mesures de nouvelles rubriques de déchiffrage, de théorie musicale et d'improvisation de nouveaux exercices pour former l'oreille un accompagnement de piano en partition séparée Des démonstrations interprétatives complètes, des pistes d'accompagnement de piano et des ressources de sensibilisation auditive pour différents niveaux sont disponibles en streaming ou téléchargement. Cathy Elliott est une contrebassiste freelance. Pendant vingt ans, ella a fait de nombreuses tournées et des enregistrements avec l'Academy of St Martin in the Fields. Depuis le début des années 1990, elle s'investit avec passion dans l'enseignement. Pour ses élèves, qui ont entre six et dix-huit ans et vont du niveau débutant à avancé, elle ne cesse d'écrire des morceaux, d'en arranger et d'en publier. Elle est consultante pour divers comités d'examen. En 2009, la Société internationale de contrebassistes l'a nommée ambassadrice des jeunes contrebassistes. / Niveau : Facile / Date parution : 2024-01-06/ Recueil / Contrebasse et Piano
Zingaresca A czardas-influenced work which is full of the fire and passion of t...(+)
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.
With this cornerstone of the Double Bass repertoire we continue a still young bu...(+)
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.
Suite En Français Contrebasse, Piano (duo)[Partition] Billaudot
La référence CC3254 de l'éditeur Billaudot dont l'auteur célèbre est Souder...(+)
La référence CC3254 de l'éditeur Billaudot dont l'auteur célèbre est Soudere Valérie, qui a pour titre SUITE, 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
This new publication replaces the old Latham edition (now out of print) - popula...(+)
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!