(Pour Contrebasse Et Piano - For Double Bass and Piano). By Wolfgang Amadeus Moz...(+)
(Pour Contrebasse Et
Piano - For Double Bass
and Piano). By Wolfgang
Amadeus Mozart
(1756-1791). For
Contrabass, Piano.
Collection Richard
Dubugnon. Originally For
Bassoon And Orchestra.
Difficult. Score and
part(s). 20 20 pages.
Duration 18 minutes, 30
seconds. Published by
Gerard Billaudot Editeur
Double Bass and Piano - Intermediate-Advanced SKU: FP.FDW03 Composed by C...(+)
Double Bass and Piano -
Intermediate-Advanced
SKU: FP.FDW03
Composed by Charles
Francois Gounod. Arranged
by Andrew Wilson-Dickson.
Sheet Music and Books.
AÂ striking arrangement
of the Gounod favourite,
arranged for Double Bass
and Piano by A.
Wilson-Dickson. Suggested
grade 5. Classical.
Collection. Forsyths
Publications #FDW03.
Published by Forsyths
Publications (FP.FDW03).
ISBN
9790570500789.
Goun
od's classic piece,
arranged for double bass,
with piano
accompaniment.
The
music in the beginning
tells the listener that
two of the members of the
Marionette troupe have
had a duel and one of
them has been killed. A
party of pallbearers is
organised and the
procession sets out for
the cemetery in march
time.
The piece
soon takes on a more
cheerful spirit, for some
of the troupe, wearied
with the march, seek
consolation at a wayside
inn, where they refresh
themselves and also
descant upon the many
virtues of their late
companion. At last they
get into place again and
the procession enters the
cemetery to the march
rhythm -- the whole
closing with the bars
intended to reflect upon
the briefness and
weariness of life, even
for marionettes.
Noir Vignettes Contrebasse, Piano (duo) Theodore Presser Co.
Chamber Music Double Bass, Piano SKU: PR.114418110 For Double Bass and...(+)
Chamber Music Double
Bass, Piano
SKU:
PR.114418110
For
Double Bass and
Piano. Composed by
Stacy Garrop. Set of
Score and Parts. With
Standard notation. 24+16
pages. Duration 13
minutes. Theodore Presser
Company #114-41811.
Published by Theodore
Presser Company
(PR.114418110).
ISBN
9781491111994. UPC:
680160640423.
The
film noir genre of 1940s
cinema typically includes
a strong but flawed male
lead (often a detective),
a beautiful woman who
coerces the male into
committing murder or is a
killer herself (a
“femme
fataleâ€), and a
twisting plot line that
involves one or more
homicides. These movies
typically are shot in
black and white, with
emphasis on shadows and
light, alcohol and
cigarettes, trench coats
and fedoras. Most of the
story lines do not have
happy endings. Inspired
by this genre, NOIR
VIGNETTES consists of
four movements, each
depicting an aspect of
film noir: Murder at
Midnight, Loaded Gun,
Femme Fatale, and Last
Cigarette. String bass
parts are provided both
for standard orchestral
tuning and for solo
tuning. In the
mid-1940s, film critics
in France noticed a trend
emerging in movies from
the United States, which
they coined film noir
(which translates to
“black
filmâ€). These
movies were dark, moody,
and pessimistic,
reflecting the agitation
and anxiety present in
society following World
War II. Several
characteristics are
commonly found in many of
these movies, including a
strong but flawed male
lead (often a detective),
a beautiful woman who
either coerces the male
lead into committing
murder for her or is a
killer herself (a
“femme
fataleâ€), and a
twisting, turning plot
line that involves one or
more homicides.
Additionally, there are
several visual elements
that these movies share:
many are shot in black
and white, with great
emphasis on the use of
shadows and light;
alcohol and cigarettes
are heavily consumed by
men and women alike; and
men typically wear trench
coats and fedoras. Most
of the story lines do not
have happy endings.
Examples of film noir
include Orson
Welles’ The Lady
from Shanghai, Billy
Wilder’s Double
Indemnity, and John
Huston’s The
Maltese Falcon.NOIR
VIGNETTES for Double Bass
and Piano consists of
four movements, each
depicting a different
aspect of film noir:
Murder at Midnight,
Loaded Gun, Femme Fatale,
and Last Cigarette.This
piece was commissioned by
the University of
Illinois Research Board
on behalf of double
bassist Michael
Cameron.-Stacy
Garrop.