A.D. One is a fabulous Christmas fable that re-tells the Nativity story with words and music. Written for Solo voices Mixed SATBB chorus Flute Double Bass and Piano music by Betty Roe and Lyrics and Libretto by James Reeves. This play is suitable for small and chamber choirs both professional and amateur.

Compositeur/Auteur : CAIX d'HERVELOIS Louis Discipline/Instrument : contrebasse et piano Support : Partition Style/Genre : classique Date de parution : févr.-32

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.

The complete resource for the Grade 3 double bassist. Par . La série Grade By Grade (De degré par degré) tire sa substance du catalogue classique, contemporain et pédagogique riche et varié de Boosey

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

This new publication replaces the old Latham edition (now out of print) - popular title on both ABRSM and TG double bass syllabuses (grade 7).Dennis Leogrande writes:I began writing the melody first although every piece begins differently. I wanted to begin with a sound that for me is very characteristic of the bass that being the ½ step slide from G# to A. Looking throughout the piece you will notice other slides ie. bars 1 3 5 7 12 14 16 18 38 58 114 116 18 120 123 125 and 127. Please don't forget to notice the grace note slide in measure 100. These are the melodic motifs that give the piece its character and act as hooks(memorable ideas) for the listener to latch on to. Once I began writing the melody it just grew organically from the original idea. I hope you feel the same organic growth. The shifting harmonic tonalities (between D major and D minor) seem to ask the question 'May I?' and keep the listener involved in trying to answer the question. The jazz style keeps the 'question' light hearted a little 'tongue in cheek.' However playing this piece requires attention to these details and a great deal of musicianship. It's the fine musician who understands both the music and the instrument who can make a difficult and complicated piece sound easy light and fun. Oh and yes please enjoy!

Double Bass and Piano. Par SAINT-LEGER PASCAL. Composition à la mélodie entraînante, laissant une place à l'interprétation soliste, pour un début de cycle III/ Répertoire / Contrebasse et Piano

Ce concerto est devenu en raison de sa richesse d'invention de la qualité de sa technique d'écriture ainsi que de ses exigences sur les plans technique et musical l?une des oeuvres fréquemment requises pour les concours. L'édition répond tous les désirs : la partie de contrebasse est donnée pour l'instrument avec accord de solo et d'orchestre avec réduction pour piano en Ré majeur et en Ut majeur. En outre une deuxième partie en «notation par doigtés» spécialement conçue en fonction de l'«accord viennois» en usage l'époque de Hoffmeister permet l'instrumentiste de jouer directement sans réapprentissage fastidieux selon l'accord historique.?

L'oeuvre musicale qui a pour support une Partition + Cd a pour titre String Tunes Bass Cd. C'est une partition musicale composée par Applebaum Samuel et qui est destinée aux joueurs de Contrebasse. Le détail de l'instrumentation Contrebasse vous permettra de savoir si cette partition correspond bien à ce que vous cherchez. Son style Classique vous permettra de découvrir ô combien la musique Classique est belle et enrichissante. / Contrebasse / Partition + Cd

Par SAINT-LEGER PASCAL. Voici le dessin d'un thème, bâti en forme d'arc sur les piliers de la main gauche du Piano (d'ou le nom de la pièce...), décliné sous trois formes rythmiques (linéaire, swinguée et cadentielle) permettant ainsi d'aborder souplement certaines difficultées techniques devant être acquises au cours des années d'un 1er cycle... - Pascal SAINT-LEGER - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Contrebasse 1 Piano - Niveau de Difficulté : 3/6 - Intermédiaire - Durée : 2 mn 50 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Pascal SAINT-LEGER - / Niveau : Intermédiaire / Classique, Pédagogique / Répertoire / Contrebasse et Piano

Par ADAGAS JEAN-MICHEL. Une pièce à jouer dès la première année de contrebasse - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Contrebasse 1 Piano - Niveau de Difficulté : 1/6 - Débutant - Durée : 2 mn 10 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Jean-Michel ADAGAS - / Niveau : Débutant / Classique, Pédagogique / Répertoire / Contrebasse et Piano

La Romance pour alto et orchestre opus 85 de Max Bruch (1838-1920) est une des principales oeuvres de style romantique écrite pour cet instrument. Composée en 1910 elle est créée en 1911 par Willy Hesse, violoniste concertiste proche du compositeur. La romance est toutefois dédiée à Maurice Vieux, figure éminente de la vie musicale parisienne et fondateur de l'école française d'alto. Nous proposons ici une adaptation originale pour piano et contrebasse d'après la partition orchestrale. La partie soliste est spécialement revue et annotée par Daniel Marillier. / Contrebasse Et Piano

Compositeur et contrebassiste, je propose dix petites études transcendantales de petits niveaux de maximum une minute trente chacune, conçues pour être données en concert, afin d'habituer les élèves le plus tôt possible à la situation de récital à laquelle ils feront face plus tard, que cela soit en concert ou en concours.La partie d'accompagnement est une vraie partie de piano (bien que facile) faite pour encourager le travail de dialogue et de musique de chambre des élèves. Chaque pièce explore différents styles de musique et abordent les problèmes techniques tant de main gauche, d'archet que de solfège et expressivité. / Etudes