SKU: BR.EB-8814
ISBN 9790004183816. 9 x 12 inches.
In Book 2 we progress from the first position up and beyond the half, second and third positions to reach the second high position. Shifting is also obviously treated in detail. New bowing techniques such as spiccato and col legno are on the program, as well as typical double-bass parts from orchestral works of famous composers and information concerning the instrument. This runs like a red thread through every chapter. In addition, students can indulge in jazz bass playing through their first jazz standards.Kontrabass Book 2 offers a wealth of material for the progressing young bassist. Although the text is in German, most of the technical requirements are easy to understand. (David Heyes , Double Bass Sheet Music Reviews)We didnt want to let all those enthusiastic double-bass students wait too long for the second book of Kontrabass! - so here it is!
SKU: 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. Kognitionswissenschaftliche 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.
SKU: 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.
SKU: SU.32020090
…the vocabulary of this work is filled with extended gestures such as artificial harmonic glissandi, bowing behind the bridge, left hand hammer-ons, overly pressed scratchy tones, etc. The piece has all the attributes of a great story, beginning in a quirky fun manner and then becoming something unexpected, a virtuosic display with a wildly exciting ending. It is the effect of the pacing that is the tour de force, a one-way downhill roller coaster ride…the work remains in the lower half of the instrument for the most part and only ventures into the very highest registers for effect. The extraordinary challenge is to execute the variety of extended gestures within the tempo over eleven minutes. To play this work successfully requires mastering the art of Time Management. ~Hans Sturm, editor. Bass WorldDouble Bass solo Duration: 12' Composed: 2004 Published by: Distributed Composer.
SKU: BA.BA07896-85
ISBN 9790006563395. 32.5 x 25.5 cm inches. Key: C minor.
In this work I gave everything I had to give. [...] What I did here I will never do again.Camille Saint-Saens was justifiably proud of his Symphony No. 3 in C minor op. 78, dedicated to the memory of Franz Liszt. Like Beethoven's Ninth, this so-called Organ Symphony was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886.In this first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected.The edition of Symphony No. 3 marks the launch of a large-scale project: the publication of Camille Saint-Saens - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series.* First scholarly-critical edition of this famous symphony based on Camille Saint-Saens aEUR Complete Edition of the Instrumental Works* Now with separate parts for all winds* Orchestral parts in a large format (25.5 cm x 32.5 cm).
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer’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
SKU: BR.EB-8986
ISBN 9790004187159. 0 x 0 inches. German.
Songs are part of the childhood. This collection aims to offer a variety of songs for string ensembles, such as young string orchestras or string classes. Included are older and newer songs, songs of various origins, and songs for different occasions and with themes ranging from animals to seasons and times of day to tongue-in-cheek scary subjects.Taking up the motif of diversity in their own way, the six-part arrangements are not confined to the usual cadence harmonies and accompaniment forms, There is something special to discover in each of the songs. Small vignettes with lyrics to them are found in the parts, and can be taken up in rehearsals and lessons.The songs begin with fingering positions and bowing techniques that are usually learned at the beginning of lessons, then gradually increase in difficulty, though the booklet as a whole is set at the elementary level. Suggestions for improvisation and pieces for practicing certain requirements round out the booklet. Special emphasis is placed on playing together - true to the title: Together on Strings!
SKU: GI.G-J328
English.
The newly revised Jump Right In: The Instrumental Series for Strings incorporates hundreds of improvements designed to make the series practical, engaging, and, most of all, musical. Like its counterparts for winds and recorder, the string series includes high-quality CD recordings of folk songs and melodies and performances by some of the world’s greatest musicians. And, of course, this series incorporates the latest research and is sequenced according to Edwin E. Gordon’s Music Learning Theory. The 522-page Teacher’s Guide incorporates all of Book 1 and 2 and includes complete lesson plans, an introduction to Music Learning Theory, connections to the National Standards, and information on testing, recruiting, scheduling, and many other critical issues.
SKU: GI.G-J221
The newly revised Jump Right In: The Instrumental Series for Strings incorporates hundreds of improvements designed to make the series practical, engaging, and, most of all, musical. Like its counterparts for winds and recorder, the string series includes high-quality CD recordings of folk songs and melodies and performances by some of the worldâ??s greatest musicians. And, of course, this series incorporates the latest research and is sequenced according to Edwin E. Gordonâ??s Music Learning Theory. The 522-page Teacherâ??s Guide incorporates all of Book 1 and 2 and includes complete lesson plans, an introduction to Music Learning Theory, connections to the National Standards, and information on testing, recruiting, scheduling, and many other critical issues.
SKU: GI.G-J337
ISBN 9781579994636. English.
SKU: GI.G-J166
