Description Benedetto Marcello: Six Sonatas For Cello Or Double Bass Six Sonatas for Cello or Double Bass with Piano accompaniment. Songlist Six Sonatas For Cello (Double Bass) And Piano

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

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 : 2 mn 35 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Jean-Michel ADAGAS - / Niveau : Intermédiaire à Avancé / Classique, Pédagogique / Répertoire / Contrebasse et Piano

Par CAPODAGLIO LEONELLO. / Niveau : 4 / Partition / Violoncelle et Contrebasse

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

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

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

Short and melodic; a clever and simple introduction to the tenor clef. Walton taught for many years at the Royal Academy of Music in London and Yorke Edition has a number of his works in the catalogue. Grade: 5.

A petite concerto for Double bass with three well-contrasted movements. This is an enjoyable piece with nothing unmanageable for a moderately advanced player. A versatile piece for use in music club programmes as well as ABRSM Double Bass Syllabus. Orchestral material for strings with optional percussion (1 player: glock triangle tambourine xylophone).