Par ADAGAS JEAN-MICHEL. Une pièce à jouer dès la septième année de contrebasse - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Contrebasse 1 Piano - Niveau de Difficulté : 4/6 - Intermédiaire/Avancé - Durée : 1 mn 55 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Jean-Michel ADAGAS - / Niveau : Intermédiaire à Avancé / Classique, Pédagogique / Répertoire / Contrebasse et Piano

Accompagnement De Piano Pour Contrebasse Accordée En Ut et En Ré. Par TCHAIKOVSKI PIOTR ILITCH. Composées à la demande de son éditeur et achevées en octobre 1873, les 6 pièces Op. 19 pour piano se situent entre le Sextuor 0p. 18 et le célèbre ballet 'Le Lac des cygnes' Op. 20. La transcription pour contrebasse et piano de Daniel Marillier et Régis Prudhomme, issue des deux versions du Nocturne, est proposée dans une tonalité adaptée au registre de l'instrument. / Niveau : Assez Difficile / Classique (1760-1900) / Répertoire / Contrebasse et Piano

Ideal for a popular school or informal concert. Programme note by Rodney Slatford 2008:Jack Snow Hester was born on 2 March 1907 in Chorlton Lancashire and joined the music profession as a double bass player when he was seventeen. His father Arthur Darrell Hester appears on his birth certificate as 'Manufacturer (chemicals)'; his mother was Minnie Frances Hester formerly Stamp and the family lived in South Manchester. During the 1930s as Norman Hester he worked at Daly's Theatre the Piccadilly Theatre the Palace Theatre and other London variety houses in West End productions. He married Isabella Dawson Davidson on 1 July 1940 in Worcester and shedied in 1973. He died in 2001 after a long period of ill health.During the 1960s Norman was an active freelance player working as an extra bass player with the London symphony orchestras including the BBC. Quite when The Bull Steps Out was written isn't certain but Norman sent me a copy to consider for republishing – it is assumed that the original publication appeared sometime during or just after the war. It was a 'one off' that he probably played for light music evenings in the theatres.The piece has been very popular and has been used for examinations on various syllabuses around Grade 7 level.An unpublished manuscript copy of a double bass 'method' is on file that Norman Hester wrote when he retired but it is mainly a compilation of various scales and exercises similar to many that were published in the early 20th century. A photograph of him as a young man is held at the Royal Society of Musicians in London which he joined in 1930 and of which he was a loyal supporter until he died.

Two short and delightful movements in a lighter style composed for Double Bass with Piano Accompaniment by Bryan Kelly. Based upon characters from Shakespeare's The Tempest this piece is ideal for concerts offering a wonderful enrichment to the advancing Double Bassist's repertoire.The solo Double Bass part is also included on a separate insert.

Written for David Heyes as part of his 'Fizz at 50' project. 'Gerty Goat Scuffer' (in case you wondered) is one of many nick-names we had for a much loved family dog - officially named 'Heavy Hetty' from a character in an imaginative children's book of that name. In my youth as a composition student at the RAM I discovered that walking a dog for an hour a day is the anti-dote to the long hours required as a composer 'sat you yer bum' writing at a desk and (in those pre-computer years) writing endless parts out by hand. First of these 'best friends' was a glorious Gordon Setter called 'Sophie' (my first love) who accompanied Pat and I on our honeymoon acrossScotland. Thirty years later we were privileged to enjoy the company of three therapeutic beasts; 'Merlin' (a prize winning Pyrenean Mountain Dog) 'Gael' (an over energetic Scottish Border Collie) and 'Hetty' (a unique cross between a Pyrenean Mountain Dog and a St. Bernard - something of a 'kennel-maid's Accident'). Hetty (see picture) is unfortunately no longer with us now. She had an extraordinary puppy-hood that left her with titanium plates holding her back legs together. Hetty was surprisingly active though right through to the age of nearly 10 - speciality: chasing Pheasants in the grounds at Strathmashie - but she became progressively hampered by arthritis and 'scuffed along' on her vast hairy pads with a swagger. She also used to remind our children of a mountain goat. Songs have been written about her but this is the first instrumental work that she has inspired! The pervading thematic motive of the piece (heard from the outset) cheekily alludes to an (over) famous Saint-Saëns work for double bass (but no insult is intended to Hetty!). The increasingly roving tonality and unusually sudden shifts of key combined with the use of jazz chords combines to present a short but heartfelt tribute to a unique animal that provided untold pleasure to all she came into contact with simply by just being

The edition is part of the Trinity syllabus 2007 (grade 6 & 7)The edition is part of the ABRSM Summer 2006 syllabus (grade 7)

Serenade du Barbier de Seville (Rossini) Air d'Il Trovatore (Verdi) and Finale de la Somnambule (Bellini). The best of Bottesini's arranged operatic arias short charming virtuoso pieces. Useful as encores. Grade: Moderate

The 4th movement of Vivaldi's Sonata No.1 In B Flat transcribed for the Double Bass by Zimmermann.