SOLO TUNING See RM722 for Orchestral Tuning The 'Dragonetti Concerto' was first published in 1925 by Alphonse Leduc in Paris as No.23 of Edouard Nanny's 'Les Classiques de la Contrebasse'. For many years no one questioned its authenticity, but as more research into Dragonetti's original works for double bass was made, concerns began to arise. Many of Dragonetti manuscripts survive in the British Library, thanks to Vincent Novello who donated them in 1849, three years after Dragonetti's death and on Novello's retirement to Italy, but there is no original manuscript for this work. As bassists began to edit and perform a wide range of Dragonetti's works it became clear that this concerto bore little resemblance to any of his other pieces. The work does, however, have many similarities to Nanny's Concerto for double bass, also to his other solo works and even studies from his Method. Eventually most people came to the conclusion that this work is not an original work by the great Venetian bassist but is by Edouard Nanny, and in the style of the late 18th-century. Having said that, this is still a charming and evocative work which has much player and audience appeal and is very easy on the ears. Many of the challenges for the soloist are technical and, almost a century after its first publication, it is still as popular as ever. Published in 1925, the first movement was performed at London's Wigmore Hall on 15 April the following year by Victor Watson (double bass) and Sidney Crooke (piano), and was described a 'Contrabass Concerto by Dragonetti-Nanny. ERRATA: Piano part: page 8 (1st movement), bar 87 - final chord of bar in right hand should be D/E/G# - a dominant 7th chord in A major Edouard Nanny was an important French double bassist and teacher, also composing and transcribing many works for double bass. He was born in Saint-Germain-en-Laye on 24 March 1872 and he studied at the Paris Conservatoire with Professor Verrimst, also teaching there from 1920-1940. He performed often as a soloist, also working as an orchestral bassist with many orchestras such as the Paris Symphony Orchestra, Concerts Lamoureux and the Orchestra de l'Opera Comique, and in 1901 he founded the Henry Casadeus Society of Old Instruments, chaired by Camille Saint-Saens, and intended to revive the works from the past centuries. Nanny's Method for double bass is still in print, over 90 years since its first publication and both volumes contain a wealth of excellent technical studies and exercises which are as relevant today as they were in the 1920s. His other volumes of studies are mostly out of print and Recital Music plan to reprint some of his orginal works for double bass, transcriptions and educational music to keep alive the name of Edouard Nanny into the 21st-century. Edouard Nanny died in Paris in 1942.

This Piano accompaniment book ideally compliments the Suzuki Bass School Volume 4 Bass Part book catalogue number ALF28359.The Suzuki Method® of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability and that man is the son of his environment. According to Dr. Suzuki a world-renowned violinist and teacher the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the 'mother-tongue' approach.

A Tear-A beautiful and poignant lament which is ideally suited to the double bass. Originally for cello this new edition returns to the cello version [Theme & Variations] adding an extended (but optional) piano introduction and demonstrates the dark and soulful colours of the solo double bass. Long flowing phrases allow the intermediate bassist to demonstrate both musical and technical accomplishment in an accessible range of the instrument. The soulful and wistful melody transcribes beautifully for double bass allowing the instrument to display its bel canto and lyrical capabilities. A three bar section towards the end of the piece is playable as written or anocatve higher giving bassists the opportunity to play high harmonics within a beautiful and evocative melody. This is an ideal study or recital work with its supportive and pulsing accompaniment and has been one of Recital Music's bestsellers since it was published. Une Larme is also available for solo double bass and string orchestra accompaniment - please contact the publishers for further details. Grade 7 - Trinity-Guildhall / ABRSM / LCM / MTB Exams (www.mtbexams.com) 

Contrebasse Et Piano-Composed by Eugène Bozza Prélude And Allegro can be played by Double Bass Tuba or Saxhorn with a Piano accompaniment. Written in F for the Double Bass Tuba or Saxhorn this piece has an intermediate level of difficulty. Really enjoyable for the players and audiences Prélude and Allegro would be ideal for a recital. Eugène Bozza won different prizes at the Conservatoire de Paris such as the First Prizes for the Violin conducting and composition as well as the Grand Prix de Rome. He composed several operas chamber works and ballets among others.

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 (not Spartan).Programme 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 unparalleled opportunity 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 with manycollections 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 particular specialism (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 in hand!).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 Royal Danish 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 approachable in its

Piano reduction-Following Dittersdorf (HN 759) and Hoffmeister (HN 721) Johann Baptist Vanhal and his sole Double-Bass concerto add a further highlight to the classical Bass literature in the Henle catalogue. The virtuosowork was transmitted only in a copy of a part owned by the famous Double-Bass player Johannes Sperger (1750 1812) and found in his estate which raises a few questions on account of the many later additions in the solo part(especially concerning the octave transpositions). In this Urtext edition Tobias Glöckler proposes a solution to this dilemma with a musical text that is outstandingly well-prepared for the performing artist. ThePiano reduction is printed in two keys (C and D major) which allows for performances in the solo and orchestral tuning or at will. Moreover an additional part written in fingering notation has been specially designed for usewith the 'Viennese tuning' customary in Vanhal's days. It allows players to use this resonant historical tuning immediately without tedious retraining.

The ?Easy Concert Pieces? series offers a wide spectrum of pieces from the Renaissance, Baroque, Classical, Romantic and Modern eras. The repertoire enriches the daily exercises and double bass tutor and is suited for all kinds of auditions. It contains original works for double bass solo as well as orchestral excerpts and arrangements of famous classical masterpieces. Volume 1 (easy) contains pieces in half and first position, with easy rhythms and melodies. It includes easy strokes and articulations such as portato, staccato and legato. Some pieces contain easy Flageolets. This volume offers a broad selection of classical masterpieces in easy arrangements.Volume 2 (easy to intermediate) contains pieces up to the 3rd position. As some new double bass tutors have a different approach in introducing position changes, volume 2 offers several pieces which reach the 2nd position, some pieces using only 1st and 3rd positions and some more difficult pieces which encompass all positions from half to third position. This volume consists of more original works.Volume 3 (intermediate) increases the repertoire up to the 6th position and requires a good control of the lower positions. It makes higher demands on expressive playing and interpretation, velocity and rhythm, as well as bowing techniques with articulation and phrasing./ Recueil / Contrebasse et Piano

Miniature was composed in 1985 and is a rhapsodic work of great character and ingenuity. A supportive and effective piano accompaniment contrasts a lyrical and cantabile solo double bass albeit in a mildly modern idiom and there are opportunities to demonstrate both musical and technical skills within a short timespan. This should appeal to anyone who enjoys the music of Teppo Hauta-aho and his personal soundworld and effective techniques. It utilses a wide range of the double bass offering a range of musical and technical challenges for the adventurous and enquiring bassist. The edition includes piano accompaniments for both solo and orchestraltunings.

A short three-movement 'characteristic' sonatina composed for Double Bass 2000 and premiered at Wells Cathedral School. Aimed at the intermediate bassist this is a work full of lyrical episodes and utilises the medium-high range of the instrument. The composer writes: 'My Sonatina a brief frivolous piece was partly written to exploit the range of the double bass both its lower and upper reaches. The first movement is in strict sonata form - exposition repeat and all. The second movement is tongue-in-cheek 18th-century form; the sonatina is a very 19th-century form. Its main theme turns up again as the middle section of the final movement a tinywaltz. Other snatches of material are common to all three movements.' 

Contrebasse Et Piano-Modern French composer Alfred Desenclos (1912-1971) created exceptional works for a variety of instruments. Aria Et Rondo for Double Bass and Piano published in 1952 is no exception. Desenclos won the 1942 Prix de Rome following studies at the Conservatory in Roubaix. The composer's compositional style is highly expressive and atmospheric with uses of extended technique. Aria Et Rondo reflects these aspects with a typical performance lasting about 12 minutes. For all advanced Double Bass players Desenclos's Aria Et Rondo isan exciting alternative piece for the repertoire.

Double Bass Part, Piano Accompaniment & Audio. Par . This book brings together in one place selected exam pieces, scales and sight-reading to support ABRSM's Initial Grade Double Bass syllabus from 2024 - ideal for both Practical and Performance Grade exams. / Date parution : 2023-08-12/ Recueil / Contrebasse et Piano

Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e. unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period some of which are dated 1698.The sonatas are both inscribed on the title page Sonata à Violone Solo. Col Basso per l'Organo o Cembalo. A third sonata bears the words Sonata à Violino e Violoncino … di Giovannino del Violone. Giovannino(=Little or Young John) must have been a performer and although the third sonata has been copied by a different hand it is conceivable that Giovannino is a connecting link between the three. He cannot however be assumed to be their author.The Violone was a six-stringed instrument with frets and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family which means that the sonatas might well have been written for a tenor or a bass Viol and not necessarily a Violone as such. Indeed when they are played on a Violone or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument to prevent inversion of the intended harmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether a Violone player owing to the very nature of his instrument would have used any but the simplest melodic decorations. Nevertheless the performer should acquaint himself thoroughly with those seventeenth century traditions that

25 Easy Pieces from 5 Centuries in half and 1st Position-The ‘Easy Concert Pieces’ series presents a varied selection of easy concert pieces for double bass and piano from the Renaissance Baroque and Classical periods through to the modern era. To facilitate choosing individual pieces for performance and auditions at music schools competitions or examinations these pieces have been ordered according to level of musical and technical difficulty.Book 1 (ED 22551) contains pieces in half and first position. Pieces in each position and some using position changes are presented from each era. Simple techniques such as portato staccato and legato bowing are introduced along with pizzicato using rudimentary dynamics rangingfrom piano to forte crescendo and decrescendo and simple phrasing. The pieces selected here are varied in character with memorable tunes a few different time signatures and simple rhythms.Book 2 (ED 22552) in preperation.