By Chuck Sher . For Bass. A complete method book, over 200 pages, filled with in...(+)
By Chuck Sher . For Bass.
A complete method book,
over 200 pages, filled
with information and
exercises on all aspects
of bass playing, for both
acoustic and electric
bass. Method. Published
by Sher Music Company.
Double Bass SKU: HL.50602262 Partita for Double Bass and Poetry Reader...(+)
Double Bass
SKU:
HL.50602262
Partita for Double
Bass and Poetry
Reader. Composed by
Philip Glass.
Instrumental. Classical.
Softcover. Composed 2019.
16 pages. Chester Music
#DU11203. Published by
Chester Music
(HL.50602262).
ISBN
9781540092182. UPC:
888680987596.
9.0x12.0x0.07
inches.
The
Not-Doings of an
Insomniac - Partita for
Solo Double Bass with
spoken texts - was
premiered by Robert Black
at the International
Society of Bassist
Convention at the Griffin
Concert Hall in Fort
Collins, Colorado. The
Not-Doings of an
Insomniac developed as a
result of Philip Glass's
frequent travels to
unfamiliar cities and
different time-zones,
changes that often bring
on bouts of insomnia.
While on a trip in Europe
in 2015, Glass decided to
turn these redundant
waking hours into
something useful, and one
of the results is this
Partita for Solo Double
Bass, written for Robert
Black of Bang on a Can
All-Stars fame. The piece
is written in seven
movements, each with its
own title: Not Dreaming,
Tasting, Smelling,
Hearing, Seeing, Touching
respectively, and
finishing with Not
Beginning. Not Ending.
What raises this set into
something atmospheric and
theatrical are the poems
in between each movement.
These are by Glass's
friends or associates,
and the texts by Lou
Reed, John Cale, Laurie
Anderson, Yoko Ono, David
Byrne, Leonard Cohen,
Patti Smith and Arthur
Russell are read on the
recording of this work by
Robert Black.
(Studies for Bass - Based on the Violin Studies of Franz Wohlfahrt). Edited by G...(+)
(Studies for Bass - Based
on the Violin Studies of
Franz Wohlfahrt). Edited
by Gaelen McCormick. For
double bass. Softcover.
48 pages. Published by
Carl Fischer
Composed by Annette Costanzi, George Vance. Instructional book and accompaniment...(+)
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.
Composed by George Vance. Instructional book and accompaniment CD for String bas...(+)
Composed by George Vance.
Instructional book and
accompaniment CD for
String bass (Double
Bass). With bowings and
fingerings. Published by
Carl Fischer.
(Developing the Stroke Systematically through a Variety of Exercises and Etudes)...(+)
(Developing the Stroke
Systematically through a
Variety of Exercises and
Etudes). Edited by Gaelen
McCormick. For contrabass
unaccompanied. 72 pages.
Published by Carl Fischer
(For the Developing Student). By Janice Tucker Rhoda. For string bass. The ABC's...(+)
(For the Developing
Student). By Janice
Tucker Rhoda. For string
bass. The ABC's of Bass.
Method. Instructional
book. Standard notation.
48 pages. Published by
Carl Fischer
Composed by Franz Simandl, edited by F. Zimmerman, Lucas Drew (1938-). Instructi...(+)
Composed by Franz
Simandl, edited by F.
Zimmerman, Lucas Drew
(1938-). Instructional
book for String bass
(Double Bass). With
bowings and fingerings.
149 pages. Published by
Carl Fischer.
For the Double Bass, Vol. 3 - Piano Accompaniment. By Ambroise Thomas; Armas Jar...(+)
For the Double Bass, Vol.
3 - Piano Accompaniment.
By Ambroise Thomas; Armas
Jarnefelt; Camille
Saint-Saens; Edouard
Nanny; Francois-Joseph
Gossec; Franz Keyper;
George Vance; Giorgio
Antoniotti; Giovanni
Battista Pergolesi;
Ignace Jan Paderewski; J.
Gabriel-Marie; Lorenziti;
Ludwig Van Beethoven.
Edited by Anthony Bianco.
Arranged by George Vance.
For Piano. Solo part with
piano reduction. 126
pages. Published by Carl
Fischer.
Concert Pieces for Teaching Beginning Strings (Bass Book - Audio CD Included). B...(+)
Concert Pieces for
Teaching Beginning
Strings (Bass Book -
Audio CD Included). By
Doris Gazda; Henry
Purcell; James Pierpont.
Arranged by Doris Gazda.
For Double Bass I, Double
Bass II. Score and Audio
CD. 16 pages. Published
by Carl Fischer.
Pression Contre Basse [Conducteur] Breitkopf & Härtel
Double bass solo SKU: BR.EB-9268 Revised Version 2010. Composed by...(+)
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 Chuck Sher and Marc Johnson. For Bass. The only book ever published specifica...(+)
By Chuck Sher and Marc
Johnson. For Bass. The
only book ever published
specifically designed to
improve your soloing!.
Book and 2 CD's.
Published by Sher Music
Company.
(520 Exercises include 58 Musical Studies in Positions 1 through 7). Composed by...(+)
(520 Exercises include 58
Musical Studies in
Positions 1 through 7).
Composed by Janice Tucker
Rhoda. For solo string
bass. 64 pages. Published
by Carl Fischer
(Eine allgemeinverstandliche praktisch-theoretische Grundschule). Composed by He...(+)
(Eine
allgemeinverstandliche
praktisch-theoretische
Grundschule). Composed by
Heinz Herrmann. For
double bass. Sheet music.
56 pages. Published by
Friedrich Hofmeister
Musikverlag
Beginning Fiddling Lessons for String Classes or Individual Learners. By Doris G...(+)
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 SKU: HL.51483307 For String Orchestra Double Bass Part...(+)
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)