La musique de chambre est un élément essentiel d'apprendre à jouer d'un instrument, et ces quatuors polyvalents sont écrits de sorte qu'ils peuvent être effectuées par n'importe quelle combinaison de quatre instruments à cordes. Organisé par l'éminent pédagogue chaîne Doris Gazda, ces pièces se fera entendre pleine et satisfaisante avec seulement quatre joueurs tout le chemin jusqu'à un orchestre à cordes. La sélection de la musique dans cette collection couvre une grande variété de styles musicaux qui offrent des heures de plaisir et de la performance des options. Progressivement organisé par niveau de difficulté que l'avance les artistes dans leurs compétences, ces quatuors sont un ajout bienvenu au répertoire de tous les instrumentistes à cordes. / Contrebasse / 48 pages / Partition

Because a fine orchestra depends on fine players, Solo Time for Strings emphasizes individual accomplishment, progress, and achievement while preparing young students for participation in a school orchestra. The series teaches reading in conjunction with note learning, enabling students to start playing melodies as soon as possible, and is appropriate for class or individual instruction. The solos assist in a progressive technical development from 'twinkle, twinkle' in Book 1 to music by Vivaldi in Book 5. / Contrebasse

Par STRAVINSKY IGOR. This transcription of Suite italienne is the first full-scale composition by Igor Stravinsky to enter the double bass solo repertoire. Brian Powell, Associate Professor of Double Bass at the Frost School of Music, University of Miami, has adapted the versions of Suite italienne for violin and for cello as best suits the double bass. Moreover, he has widened the selection of movements, thus continuing a practice Stravinsky established with his instrumental collaborators (Dushkin and Piatigorsky) of allowing the performers to select material from the ballet Pulcinella. In this case the movements comprise Introduzione, Serenata, Aria, Vivo, Tarantella, Gavotta con due variazione, Scherzino and Minuetto e Finale. The Vivo movement is derived directly from the orchestral Pulcinella Suite: widely recognised by classical bassists as one of the most significant solos in the orchestral repertoire, the bass part is faithfully reproduced as in the original score. Suite italienne has music that will appeal to bassists of various performance levels – solo, chamber and orchestral bassists alike will appreciate different aspects of this music. The suite also possesses an abundance of flare and technical virtuosity that will excite audiences./ Répertoire / Contrebasse