Written for David Heyes as part of his 'Fizz at 50' project. 'Gerty Goat Scuffer...(+)
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
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
24 Easy Pieces From 5 Centuries Using Half To 3Rd Position. The 'Easy Concert Pi...(+)
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
Instrument : double bass and pianoNombre de Pages : 58Amazing Solos are amazingl...(+)
Instrument : double bass and pianoNombre de Pages : 58Amazing Solos are amazingly wide-ranging selections of easy pieces. From Bach to Bernstein, a great variety of musical styles is included - folk melodies from England and Peru, baroque and classical 'lollipops', jazz and modern classics. A unique collection of exciting and varied music for the early grades!The edition is part of the Trinity syllabus 2007 (grade 3-6) and of the ABRSM Summer 2006 (grades 2, 4-7).Content : La donna è mobile (Verdi) - Three Moravian Folksongs (Janácek) - Allegro (Mozart) - Allegro (Vivaldi) - Amazing Grace (Trad.) - America (Bernstein) - Basse Danse (Warlock) - Braul, Bucsum Dance (Bartók) - Caprice 24 (Paganini) - Come Neighbours All - Cool (Bernstein) - Ein Jungling liebt ein Madchen (Schumann) - Ein Madchen oder Weibchen (Mozart) - Fiddler's Song (Humperdinck) - Grand March (Verdi) - Green Gravel (Trad.) - Lilliburlero (Trad.) - Minuet (Bach) - Peruvian Dance Tune (Trad.) - Pop goes the Weasel (Trad.) - Solveg's Song (Grieg) - Stars no Moon (Trad.) - There was a Crooked Man (Trad) - Troika (Prokofieff) - Tune Town Shuffle (Basie)
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.
An easy virtuoso work published here for the first time and now much performed. ...(+)
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
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.
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.
& 1 Solo Piece For Contrabass-Swedish bassist cellist composer and arranger La...(+)
& 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.
Swedish bassist, cellist, composer and arranger Lars Danielsson is renowned and ...(+)
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 a virtually 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.
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!
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)
Right From The Start English Contrebasse, Piano (duo)[Double Bass part only] Boosey and Hawkes
Vingt pièces très élémentaires pour les jeunes joueurs écrites et arrangée...(+)
Vingt pièces très élémentaires pour les jeunes joueurs écrites et arrangées par enseignant de chaîne préférée du monde Sheila Nelson. Lecture de la note est introduit un doigt à la fois, construire des doigts pattern 0-1-23-4 (espace de demi-ton entre les doigts de 2ème et 3ème) - le doigt seul schéma utilisé dans ce livre. Un certain nombre de patrons de l'archet rythmiques, énoncée au début du livre peut être pratiqué sur des airs plus tôt, une fois qu'ils ont été mémorisées. Les rythmes sont assimilés par l'élève à l'aide de mots fortement rythmiques, facilement mémorables. Tous les morceaux peut être chanté sur les versets fournis, afin de développer un sentiment sécurisé du rythme et de brai. Elèves apprennent dès le début pour déplacer librement de chaîne à la chaîne, de jouer avec confiance et de prêter attention à la hauteur. / Contrebasse Et Piano
Elegy Op.24 for String Bass and Piano by leading French composer Gabriel Faure...(+)
Elegy Op.24 for String Bass and Piano by leading French composer Gabriel Faure was originally composed in 1883 for Cello and Orchestra. Displaying his typical use of harmony this work begins with a sad and somberopening that builds to an intense rapid section symbolising the despairs of love. This edition has been accurately edited by Homer Mensch and includes a Piano reduction of the Orchestral backing.
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
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).
Tango Pour Andre En Français Contrebasse, Piano (duo)[Partition] Billaudot
Cette partition TANGO POUR ANDRE de Michel Patrick a été éditée par les édi...(+)
Cette partition TANGO POUR ANDRE de Michel Patrick a été éditée par les éditions Billaudot. La référence de cette partition de musique est GB7933. Cette oeuvre d'une durée de 00:04:33 est idéale pour les musiciens pratiquant Contrebasse. Après quelques heures de pratique, cette partition n'aura plus de secret pour vous. / Contrebasse Et Piano / Partition
String Tunes Bass Cd En Français Contrebasse, Piano (duo)[Partition + CD] ID Music
L'oeuvre musicale qui a pour support une Partition + Cd a pour titre String Tune...(+)
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
4 Sange Med Tekst Af H.C. Andersen by Vagn Nørgaard - for 2 equal voices Doubl...(+)
4 Sange Med Tekst Af H.C. Andersen by Vagn Nørgaard - for 2 equal voices Double Bass and Piano. Based on texts by Hans Christian Anderson. Version for 3 equal voices Double Bass and Piano: WH30641
Chaconne En Français Contrebasse, Piano (duo)[Partition] Leduc, Alphonse
La référence AL25772 de l'éditeur Leduc dont l'auteur célèbre est Gouinguen...(+)
La référence AL25772 de l'éditeur Leduc dont l'auteur célèbre est Gouinguene Christian, qui a pour titre Chaconne, 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
25 Easy Pieces from 5 Centuries in half and 1st Position-The ‘Easy Concert...(+)
25 Easy Pieces from 5 Centuries in half and 1st 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 rangingfrom 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.Book 2 (ED 22552) in preperation.
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