(A Comprehensive Method in Developing a Total Musical Concept for the Aspiring J...(+)
(A Comprehensive Method
in Developing a Total
Musical Concept for the
Aspiring Jazz Bass
Player). By Rufus Reid.
For Bass Guitar.
Artist/Personality; Bass
Guitar Method or
Supplement;
Method/Instruction. Book.
Published by Alfred Music
Publishing
(A Guide to Chords, Scales, Arpeggios and Other Concepts and Techniques for the ...(+)
(A Guide to Chords,
Scales, Arpeggios and
Other Concepts and
Techniques for the
Advancing Bassist).
Musicians Institute
Press. Softcover with CD.
36 pages. Published by
Musicians Institute Press
Double bass SKU: BR.OB-5509-27 Urtext. Composed by Carl Philipp Em...(+)
Double bass
SKU:
BR.OB-5509-27
Urtext. Composed
by Carl Philipp Emanuel
Bach. Edited by Ulrich
Leisinger. This edition:
double bass part.
Stapled.
Orchester-Bibliothek
(Orchestral Library).
The concertos in A
minor and B flat major
were first written as
violoncello concertos
between 1750 and 1753.
They thus rank among the
very first concertos for
solo cello in
Germany.
Solo
concerto; Early
classical. Part. 8 pages.
Duration 27'. Breitkopf
and Haertel #OB 5509-27.
Published by Breitkopf
and Haertel
(BR.OB-5509-27).
ISBN
9790004338506. 9 x 12
inches.
The
concertos in A minor, B
flat major and A major
were first written as
violoncello concertos
between 1750 and 1753.
They thus rank among the
very first concertos for
solo cello in Germany.
The A minor Concerto,
composed in 1750, is
performed quite
frequently today. C. P.
E. Bach most likely wrote
the Concerto in B flat
major Wq. 171 as the last
of the little work group
in 1753 in Potsdam, at
the court of King
Frederick the Great. He
reworked the composition
for flute and harpsichord
shortly thereafter.
Various sources prove
that copies of the work
had made it known quite
extensively in the second
half of the 18th century.
In his new Urtext
edition, Ulrich Leisinger
bases himself on two
reliable manuscripts.
(Band/String Solo And Concert Band). By Young, Charles Rochester. For Concert Ba...(+)
(Band/String Solo And
Concert Band). By Young,
Charles Rochester. For
Concert Band. String
Solos & Ensembles -
String Solo and Conceto.
Southern Music. Southern
Music Company #XR192SP.
Published by Southern
Music Company
Double bass - Grade 2 SKU: RM.JOUB02056 Composed by Claude Henry Joubert....(+)
Double bass - Grade 2
SKU: RM.JOUB02056
Composed by Claude Henry
Joubert.
Deux-trois-quatre
contrebasses cordes.
Instrumental music.
Editions Robert Martin
#JOUB02056. Published by
Editions Robert Martin
(RM.JOUB02056).
Kontrabass! Contre Basse [Conducteur] Breitkopf & Härtel
Double bass solo SKU: BR.EB-8813 Eine Schule fur Kinder und Jugendlich...(+)
Double bass solo
SKU:
BR.EB-8813
Eine
Schule fur Kinder und
Jugendliche. Composed
by Thomas Schlink.
Arranged by Thomas
Blomenkamp. Solo
instruments; Softbound.
Edition Breitkopf. Music
pedagogy. Score. 116
pages. Breitkopf and
Haertel #EB 8813.
Published by Breitkopf
and Haertel (BR.EB-8813).
ISBN 9790004183588. 9
x 12 inches.
First
steps with the double
bass It's not by chance
that Kontrabass! (Double
Bass!) has an exclamation
mark in its title, for
Thomas Schlink's method
begins from scratch, i.e.
it requires no practical
knowledge of the
instrument. The
Kontrabass! concept is so
broad that all teachers
can proceed from their
own playing techniques
and methods, and can
teach them without
difficulty. In Book 1,
the student goes from
plucked and bowed playing
on open strings to the
first position. In order
to let the student
interact with others from
the very start, the book
often includes an
accompanying part for
bass, piano or melody
instrument. Of course,
such a well-planned
instrumental method
offers more yet: work
materials, exercises,
suggestions in a word,
double-bass lessons are
rounded off perfectly
with
Kontrabass!
The
Kontrabass! concept is so
broad that all teachers
can proceed from their
own playing techniques
and methods, and can
teach them without
difficulty..
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.
Double Bass SKU: BT.YE0030 Composed by F. Keyper. Exam Material. Book Onl...(+)
Double Bass
SKU:
BT.YE0030
Composed by
F. Keyper. Exam Material.
Book Only. Yorke Edition
#YE0030. Published by
Yorke Edition
(BT.YE0030).
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
(notSpartan).
Pr
ogramme 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
unparalleledopportunity
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,
withmanycollections 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
particularspecialism (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 inhand!).
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
RoyalDanish 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
approachablein its.
(The Fundamentals of Improvisation for the Young Musician (Grades 6-9)). By Robe...(+)
(The Fundamentals of
Improvisation for the
Young Musician (Grades
6-9)). By Robert Woods.
For Bass. Jazz Basics
Series. String Method.
Grade 2. String method.
Published by Heritage
Music Press
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.
(A Comprehensive Curriculum for Use During Fundamentals Time). Composed by Scott...(+)
(A Comprehensive
Curriculum for Use During
Fundamentals Time).
Composed by Scott Rush.
For double bass. Habits
of a Successful Musician.
Music Education - Band
Method. Method book. 72
pages. Published by GIA
Publications
(A book of orchestral excerpts). By Keith Hartley. For Double bass technique boo...(+)
(A book of orchestral
excerpts). By Keith
Hartley. For Double bass
technique book. Double
Bass. Double Bass Solo.
Double bass solos. Method
book. 32 pages
Double bass SKU: BA.BA09045-85 Composed by Antonin Dvorak. Edited by Jona...(+)
Double bass
SKU:
BA.BA09045-85
Composed by Antonin
Dvorak. Edited by
Jonathan Del Mar. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. Opus
104. 11 pages. Duration
37 minutes. Baerenreiter
Verlag #BA09045_85.
Published by Baerenreiter
Verlag (BA.BA09045-85).
ISBN 9790006537709.
32.5 x 25.5 cm inches.
Key: B minor.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„Â
¢s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through