Double Bass

SKU: BT.MUSM570367320

Composed by Sadie Harrison. Book Only. 12 pages. University of York Music Press #MUSM570367320. Published by University of York Music Press (BT.MUSM570367320).

English.

Sadie Harrison's Ha llristningsomra det  for solo Double Bass. Composed and published 2016. Duration c. 10 minutes The area of Tanumshede is situated on the south western coast of Sweden. Archaeologically, it is renowned for its unique series of Bronze Age rock carvings dating from between c. 1800 to 500 BCE. Incised into over 600 panels, the petroglyphs were originally situated along a 25 mile stretch of fjord coastline and as such there are many depictions of Hjortspring boats and seafaring activities. There are also scenes of hunting, agricultural and livestock farming and warring, with many armoured figures carrying swords, axes and shields. Whilst it is possible tointerpret most carvings as images of quotidian life, the meaning of some panels is less clear. It is likely that several scenes depict ritual acts overseen by gods, often surrounded by abstract symbols - crosses, dots and ‘cups’, the significance of which is now unknown. As well as being a source of information about Scandinavian Bronze Age weapons, vehicles, tools, ships, even hairstyles, the carvings have also been the subject of debates about gender. The society depicted on the rocks seems overwhelmingly patriarchal, making the rare carvings of probable female figures particularly important. The most famous of these is known as The Grieving Woman, apparently weeping over a dead warrior from a ship. Her grief, ‘heavy as rocks’ is heard in the opening movement of the piece, echoing through the remaining movements and giving the work its dark, melancholy character. The Woman returns in the final movement as a ghost, her footsteps coming closer and closer as her ‘lover’s&rsqu o; ship is rebuilt over and over again. Movement III is gentler in tone, a song for the Woman and her lover - depicted as a couple rolling a giant sun surrounded by farm animals. Movement II represents the enigmatic Juggler or Calendar Man who holds 29 spheres in his hand - perhaps juggling the fate of The Grieving Woman.

For double bass. Intrumental Posters. Poster. Published by Santorella Publications

(A Comprehensive String Method) Written by Brenda Mitchell, Joanne Erwin, Kathleen Horvath, Robert D McCashin. Instructional book and accompaniment CD for double bass. Series: New Directions for Strings. 56 pages. Published by The FJH Music Company Inc.

(For Bass). By Various. For Double Bass, Bass (Double Bass). Instrumental Folio. Softcover. 64 pages. Published by Hal Leonard

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.

Composed by Various. Arranged by Kenneth D. Friedrich. For string bass solo. Level 2 to 4. Published by Kenneth D. Friedrich

For Bass. Performed by Todd Phillips. Homespun Tapes (Instructional). Softcover with CD. Size 9x12 inches. 34 pages. Published by Homespun.

Double Bass

SKU: HL.48024112

Double Bass. Composed by Gerd Reinke. Boosey & Hawkes Chamber Music. Classical, Etude, Instruction. Softcover. 48 pages. Bote & Bock #M202534755. Published by Bote & Bock (HL.48024112).

9.0x12.0 inches.

Preface: The emphasis of the present etudes is on systematic exercises for the left hand. The lower positions demanded above all in orchestral playing, and the accompanying physical effort required, are consciously employed here in many variants and offer outstanding practice material. At the beginning, a slow, constant tempo should be paramount, the tempo then being increased with theaid of a metronome. I recommend these etudes as daily exercises for double bass players of all proficiency levels. Klaus Trumpf (Professor emeritus at the Colleges of Music in Berlin, Saarbrucken, and Munich).

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.

Composed by Celia Cobb. Classical. Textbook. Trinity College London #TCL019608. Published by Trinity College London

Composed by Celia Cobb. Classical. Textbook. Trinity College London #TCL019615. Published by Trinity College London

Composed by Celia Cobb. Classical. Textbook. Trinity College London #TCL019592. Published by Trinity College London

(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

Double Bass. Elementary Method. 64 pages. Rubank Publications #RUBL54. Published by Rubank Publications

By Robert Frost. Orchestral Collection/Ensemble. Sacred Setting. Level: Grade 2. Music Book. Published by Neil A. Kjos Music Company.

(Sequential Repertoire for Solo Strings or String Ensemble). By Laurie Scott, Winifred Crock, and William Dick. For Bass. String Orchestra Method/Supplement. Book & CD. 36 pages. Published by Alfred Music Publishing

Sequential Repertoire for Solo Strings or String Ensemble (Bass). Composed by Winifred Crock, William Dick, and Laurie Scott. Book; CD; Method/Instruction; String Orchestra Method/Supplement; Suzuki. 48 pages. Published by Alfred Music

Composed by J. Peter Close; Holger Sassmannshaus. Stapled. Barenreiter's Sassmannshaus. Instructional. Performance score. 72 pages. Published by Baerenreiter Verlag (BA.BA9660).

By Ron Carter. 22 Fantastic Bass Solos over Standards by the bass legend. Book. Published by Jamey Aebersold Jazz.

(Bass Part). Composed by Dr. Shinichi Suzuki. For Bass. This edition: Revised. Book; CD; Method/Instruction; String - Bass (Suzuki); Suzuki. Suzuki Bass School. 24 pages. Published by Alfred Music