Camille Saint-Saens' Elephant is a delightful miniature from The Carnival Of The Animals and is one of the few works that are attractive to learners and accomplished players alike. Its many musical and technicalchallenges have earned it a permanent place in the teaching repertoire yet it offers soloists a welcome opportunity to demonstrate their prowess and espirit even in the low register.The ease with which a greatcomposer accurately and skilfully probes the idiosyncracies of this largest of string instruments for expressive purposes - a combination of features seldom encountered in the double bass repertoire - is truly impressive. All themore astonishing therefore that the Elephant although widely known is relatively rarely heard in the concert hall.This Urtext edition of the score has been edited with critical commentaries as well as fingeringand bowing of the double bass part by Tobias Glockler. The accompaniment is notated in E flat and F and so the double bass can perform using either solo tuning or orchestra tuning.

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

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) 

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.

Time Pieces For Double Bass Volumes 1 and 2 contain well-crafted arrangements and original compositions presented in chronological order from the sixteenth century right up to the present day.Pieces feature on the ABRSM Double Bass syllabus at Grades 1-6 (Volume 1: Grades 1-3 Volume 2: Grades 4-6) and are an invaluable source of repertoire for study in contrasting styles from Louis Couperin to Giles Swayne and William Byrd to Gavin Bryars. The arrangements have been designed to cover the note ranges and keys of the early grades.

In the late 1850s when Rossini was composing only for his own private pleasure he wrote a little elegy for Double Bass and Piano that he entitled “Une Larme” (“a tear”). Its theme also servedas the basis for a larger-scale set of variations for Cello and Piano. The importance that Rossini ascribed to this short piece for Double Bass is demonstrated not least by the fact that he made a richly ornamented dedication copyof it in 1858. This hitherto little-known source is in Russia and has now been consulted for the first-ever time for a critical Urtext edition. As in Henle’s other Urtext editions for this instrument the Double Bassspecialist Tobias Glöckler has prepared a version in solo tuning and orchestral tuning and added fingerings and bowings to the solo part.

A wonderful vivacious composition full of humour and warmth. It is well suited to the needs of the less advanced player and is set as part of the ABRSM Double Bass Syllabus. Grade: 6

Sonata In G Minor For Double Bass And Piano by Henry Eccles. Edited by Fred Zimmermann.

If you can play just a few notes on the double bass then you're ready for this book. These twenty-two imaginative little pieces for the absolute beginner include traditional tunes classics and specially composed melodies all with attractive piano accompaniments.The pieces are arranged progressively so you can hear the step-by-step improvement in your playing as well as simply enjoying the music.