{"title":"Advanced","description":"\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eCompositions for the advanced double bassist\u003c\/p\u003e","products":[{"product_id":"harry-dixon-loes-this-little-light-of-mine-for-solo-double-bass-arranged-by-lloyd-goldstein","title":"Harry Dixon Loes: This Little Light of Mine for solo double bass (arranged by Lloyd Goldstein)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Arrangement\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis arrangement of This Little Light of Mine was inspired by a track on Yo-Yo Ma's album, Songs of Joy and Peace. The marimba in their arrangement becomes the bouncing bow in mine. There is certainly a joyful feeling about this song! People just light up when they hear it!\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/XHzv8bY3QsU?si=WJ7CMDIr8K6gQzPr\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Arranger\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhen Lloyd was in sixth grade, he had a dream. He envisioned playing the double bass in such a way listening audiences would be emotionally moved. He played the double bass through high school but was unprepared for college and, as a result, dropped out. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA crucial turning point in his life came while living on a plot of land in Central Florida. He described the experience the only way he knew how, through the relation to the Biblical reference of Moses and the burning bush.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhile attempting to cut wood on a table saw, he sliced his finger open. Frantic, a voice in his head told him he would never be able to play again. Fortunately, his finger healed, and for the first time, he had a clear understanding and direction of what he wanted to do. Play the double bass.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLloyd’s experience playing the double bass encompasses both Bachelor’s and Master’s degrees from The University of Miami under the direction of Dr. Lucas Drew, a 21-year career with The Florida Orchestra, studying under the direction of world-renowned bassist Francois Rabbath; receiving diplomas in teaching and performance from The Institute Francois Rabbath, as well as being a certified music practitioner.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePurchase a Physical Copy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePurchase all 12 of Lloyd's songs in sheet music format from Lucas Drew's\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca rel=\"nofollow\" href=\"https:\/\/www.musicfordoublebass.org\/\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.musicfordoublebass.org\/\" target=\"_blank\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMusic for Double Bass\u003c\/em\u003e\u003c\/a\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003ecatalog.\u003c\/p\u003e","brand":"Lloyd Goldstein","offers":[{"title":"Just this one","offer_id":40593925701676,"sku":"","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Bundle","offer_id":40593925734444,"sku":"","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/Lloyd-Goldstein.webp?v=1708462176"},{"product_id":"4shortpieces","title":"Dave Anderson: 4 Short Pieces for solo double bass (2025 Edition)","description":"\u003cp data-slate-node=\"element\"\u003e\u003cspan data-slate-node=\"text\"\u003e\u003cspan data-slate-leaf=\"true\"\u003e\u003cstrong data-slate-leaf=\"true\"\u003e\u003cspan data-slate-string=\"true\"\u003eAbout the New Edition (2025)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-slate-node=\"element\"\u003e\u003cspan data-slate-node=\"text\"\u003e\u003cspan data-slate-leaf=\"true\"\u003e\u003cspan data-slate-string=\"true\"\u003eDave Anderson's compositions are a mainstay in the modern double bass repertoire performed by thousands of double bassists worldwide. When Hurricane Katrina hit Dave's hometown of New Orleans in 2004, his original editions were severely damaged. But in the city's and Dave's determinative spirit, his compositions have persevered and forged a deep connection with performer and audience members alike. \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"ck-paragraph\" data-slate-node=\"element\"\u003e\u003cspan data-slate-node=\"text\"\u003e\u003cspan data-slate-leaf=\"true\"\u003e\u003cspan data-slate-string=\"true\"\u003eWhen we launched our sheet music store in 2019, we wanted Dave's compositions available to double bassists. In February 2025, we pitched Dave on creating updated versions of his beloved compositions. \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"ck-paragraph\" data-slate-node=\"element\"\u003e\u003cspan data-slate-node=\"text\"\u003e\u003cspan data-slate-leaf=\"true\"\u003e\u003cspan data-slate-string=\"true\"\u003eLauren Pierce would meticulously update Dave's works, improving the layout, including updated typeface, measure numbers, note spacing for ease of reading, standardizing bow markings, fingerings, and more. Our goal was to create an edition that would bring the joy of Dave's music to double bassists and audiences for generations. \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-slate-fragment=\"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\" class=\"ck-paragraph\" data-slate-node=\"element\"\u003e\u003cspan data-slate-node=\"text\"\u003e\u003cspan data-slate-leaf=\"true\"\u003e\u003cspan data-slate-string=\"true\"\u003eWe are thrilled with the result and hope you enjoy Dave Anderson's \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-slate-node=\"text\"\u003e\u003cspan data-slate-leaf=\"true\"\u003e\u003cem data-slate-leaf=\"true\"\u003e\u003cspan data-slate-string=\"true\"\u003e4 Short Pieces \u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-slate-node=\"text\"\u003e\u003cspan data-slate-leaf=\"true\"\u003e\u003cspan data-slate-string=\"true\"\u003efor solo double bass presented by Dave Anderson and Double Bass HQ.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-slate-fragment=\"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\" class=\"ck-paragraph\" data-slate-node=\"element\"\u003e\u003cspan data-slate-node=\"text\"\u003e\u003cspan data-slate-leaf=\"true\"\u003e\u003cspan data-slate-string=\"true\"\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/KzCuYh7-z_k?si=M2TrFB6XaP2o0U4m\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cstrong\u003eA Note From Dave\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eI wrote this piece for a fantastic bassist and close friend, Sidney King, on commission in 1994.\u003c\/p\u003e\n\u003cp\u003eMany bassists have played these pieces worldwide and I wanted to leave many of the personal interpretations open to the performer. My good friend, Hal Robinson, principal in Philly, did a segue from the Prelude to the Scherzando. that added a dramatic flavor! This was not written, but I love that!\u003c\/p\u003e\n\u003cp\u003eI wrote these 4 Pieces when I was on the road and wanted to meet the challenge of fulfilling all time as a solo instrument... and that being the bass was a serious challenge! This is one of the pieces where I used the bass as the primary composition instrument.\u003c\/p\u003e\n\u003cp\u003eThe scherzando is influenced by Bartok and Bach and the Serenade is influenced by Prokofiev's lyric side. The Capriccio is influenced by one of my teachers... Jaco Pastorius. He showed me many options with the bass that was unique to his taste and I tried to incorporate many of them into this movement.\u003c\/p\u003e\n\u003cp\u003eSid King premiered it and helped me get some kinks out of the published version.\u003c\/p\u003e\n\u003cp\u003e-Dave\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/0TVRBFIqNWU?si=7S5boVL285vbcuRd\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDave Anderson has been Principal Bass with the Louisiana Philharmonic Orchestra since 1996,  and the Britt Festival Orchestra since 1994. He has performed extensively with many diverse ensembles including the Atlanta Symphony Orchestra, Minnesota Orchestra, Louisville Orchestra, Aspen Festival, Chautauqua (NY) Festival, Colorado Philharmonic (NRO), Colorado Music Festival, the LaSalle Quartet, and as a soloist with Richard Stoltzman, Gene Bertoncini, Nigel Kennedy, Bobby McFerrin, Doc Severinsen, and many others.\u003c\/p\u003e\n\u003cp\u003eAnderson is an internationally acclaimed composer of orchestral and chamber works, with performances around the world shared on YouTube. His Concerto for Double Bass, Strings \u0026amp; Harp, was commissioned and premiered by the Philadelphia Orchestra with Principal Bassist Hal Robinson and Wolfgang Sawallisch conducting.\u003c\/p\u003e\n\u003cp\u003eAlso a prolific jazz and funk bassist, Anderson has jammed with The Radiators, Walter “Wolfman” Washington, Roy Pope, Darryl Brown, and many other great New Orleans musicians including a killer performance with guitarist Brian Stoltz of the Funky Meters as a main highlight of the French Quarter Festival.\u003c\/p\u003e\n\u003cp\u003eI began writing in 1984, while a student at Cincinnati Conservatory, seeing the need for works for solo bass. Frank Proto, my mentor and teacher at CCM, was a great influence on my early years of composition, inspiring me with his prolific creativity and endless versatility to write in many different styles of music.\u003c\/p\u003e\n\u003cp\u003eHe encouraged me to study orchestration and texture in scores of Mahler, Respighi, and Rimsky-Korsakov. I grew up hearing all the masters under the baton of George Szell and Lorin Maazel conducting the Cleveland Orchestra, as my father, Ed Anderson, was their Bass Trombonist for over 20 years.\u003c\/p\u003e\n\u003cp\u003eElliot Carter, Prokofiev, Mahler, Stravinsky and Shostakovich have had the greatest influence on my writing. I had the privilege to show my early String Symphony and Bass Concerto to Maxim Shostakovich, and was delighted he recognized his father’s spirit in my pieces.\u003c\/p\u003e\n\u003cp\u003eMy works also incorporate funk, jazz, and blues styles. I have finished several commissions, including Nonet, a work for the Musaica Chamber Ensemble. A new CD has been released and the score and parts will soon be available. \u003c\/p\u003e\n\u003cp\u003e-Dave\u003c\/p\u003e","brand":"Dave Anderson","offers":[{"title":"4 Short Pieces","offer_id":44573288857644,"sku":null,"price":19.99,"currency_code":"USD","in_stock":true},{"title":"2025 Editions (4 Short Pieces \u0026 7 Duets)","offer_id":44573288890412,"sku":null,"price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/files\/DaveAnderson-4ShortPieces-2025Edition-01.png?v=1741211853"},{"product_id":"5romances","title":"Dave Anderson: 5 Romances for double bass and harp","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eProgram Notes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis is a unique piece for Bass \u0026amp; Harp commissioned by my Mother-in-Law, Carol Reeves. This piece has initials denoting the inspiration for each movement and you may get a clue from the \u003ca rel=\"nofollow\" href=\"https:\/\/youtu.be\/Suwep7rtj70\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/youtu.be\/Suwep7rtj70\" target=\"_blank\"\u003eslide video\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe 3rd is dedicated in memory of Klauspeter Seibel, our former Music Director here in New Orleans. A wonderful man that we all miss.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDave Anderson has been Principal Bass with the Louisiana Philharmonic Orchestra since 1996,  and the Britt Festival Orchestra since 1994. He has performed extensively with many diverse ensembles including the Atlanta Symphony Orchestra, Minnesota Orchestra, Louisville Orchestra, Aspen Festival, Chautauqua (NY) Festival, Colorado Philharmonic (NRO), Colorado Music Festival, the LaSalle Quartet, and as a soloist with Richard Stoltzman, Gene Bertoncini, Nigel Kennedy, Bobby McFerrin, Doc Severinsen, and many others.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnderson is an internationally acclaimed composer of orchestral and chamber works, with performances around the world shared on YouTube. His Concerto for Double Bass, Strings \u0026amp; Harp, was commissioned and premiered by the Philadelphia Orchestra with Principal Bassist Hal Robinson and Wolfgang Sawallisch conducting.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlso a prolific jazz and funk bassist, Anderson has jammed with The Radiators, Walter “Wolfman” Washington, Roy Pope, Darryl Brown, and many other great New Orleans musicians including a killer performance with guitarist Brian Stoltz of the Funky Meters as a main highlight of the French Quarter Festival.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI began writing in 1984, while a student at Cincinnati Conservatory, seeing the need for works for solo bass. Frank Proto, my mentor and teacher at CCM, was a great influence on my early years of composition, inspiring me with his prolific creativity and endless versatility to write in many different styles of music.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe encouraged me to study orchestration and texture in scores of Mahler, Respighi, and Rimsky-Korsakov. I grew up hearing all the masters under the baton of George Szell and Lorin Maazel conducting the Cleveland Orchestra, as my father, Ed Anderson, was their Bass Trombonist for over 20 years.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElliot Carter, Prokofiev, Mahler, Stravinsky and Shostakovich have had the greatest influence on my writing. I had the privilege to show my early String Symphony and Bass Concerto to Maxim Shostakovich, and was delighted he recognized his father’s spirit in my pieces.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy works also incorporate funk, jazz, and blues styles. I have finished several commissions, including Nonet, a work for the Musaica Chamber Ensemble. A new CD has been released and the score and parts will soon be available. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e-Dave\u003c\/p\u003e","brand":"Dave Anderson","offers":[{"title":"Default Title","offer_id":40707945398316,"sku":"","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/c7ba99206840b2b286c5f0bccfbdfb3fe96bde2e9890cab524f0128f64f58b62_1.jpg?v=1664381841"},{"product_id":"anderson7duets","title":"Dave Anderson: 7 Double Bass Duets (2025 Edition)","description":"\u003cp data-slate-node=\"element\"\u003e\u003cspan data-slate-node=\"text\"\u003e\u003cspan data-slate-leaf=\"true\"\u003e\u003cstrong data-slate-leaf=\"true\"\u003e\u003cspan data-slate-string=\"true\"\u003eAbout the New Edition (2025)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-slate-node=\"element\"\u003e\u003cspan data-slate-node=\"text\"\u003e\u003cspan data-slate-leaf=\"true\"\u003e\u003cspan data-slate-string=\"true\"\u003eDave Anderson's compositions are a mainstay in the modern double bass repertoire performed by thousands of double bassists worldwide. When Hurricane Katrina hit Dave's hometown of New Orleans in 2004, his original editions were severely damaged. But in the city's and Dave's determinative spirit, his compositions have persevered and forged a deep connection with performer and audience members alike. \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-slate-node=\"element\" class=\"ck-paragraph\"\u003e\u003cspan data-slate-node=\"text\"\u003e\u003cspan data-slate-leaf=\"true\"\u003e\u003cspan data-slate-string=\"true\"\u003eWhen we launched our sheet music store in 2019, we wanted Dave's compositions available to double bassists. In February 2025, we pitched Dave on creating updated versions of his beloved compositions. \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-slate-node=\"element\" class=\"ck-paragraph\"\u003e\u003cspan data-slate-node=\"text\"\u003e\u003cspan data-slate-leaf=\"true\"\u003e\u003cspan data-slate-string=\"true\"\u003eLauren Pierce would meticulously update Dave's works, improving the layout, including updated typeface, measure numbers, note spacing for ease of reading, standardizing bow markings, fingerings, and more. Our goal was to create an edition that would bring the joy of Dave's music to double bassists and audiences for generations. \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-slate-node=\"element\" class=\"ck-paragraph\" data-slate-fragment=\"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\"\u003e\u003cspan data-slate-node=\"text\"\u003e\u003cspan data-slate-leaf=\"true\"\u003e\u003cspan data-slate-string=\"true\"\u003eWe are thrilled with the result and hope you enjoy Dave Anderson's \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-slate-node=\"text\"\u003e\u003cspan data-slate-leaf=\"true\"\u003e\u003cem data-slate-leaf=\"true\"\u003e\u003cspan data-slate-string=\"true\"\u003eSeven Double Bass Duets \u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-slate-node=\"text\"\u003e\u003cspan data-slate-leaf=\"true\"\u003e\u003cspan data-slate-string=\"true\"\u003epresented by Dave Anderson and Double Bass HQ.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cstrong\u003eAbout the Duets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBass players are always searching for new material. As far as duets go, we have raided the Bach 2 part inventions, Bartok violin duos, and many other sources from many musical periods. Modern composers have written some wonderful material, but bassists' solo and chamber repertoires are still very small compared to all other string instruments. My bass teacher and mentor, Frank Proto, has written some excellent bass duets and clever transcriptions of superb repertoire. \u003c\/p\u003e\n\u003cp\u003eWhen writing my bass duets, I could not avoid a humoristic approach. After all, we bassists are always regarded as accompanists, and solos are viewed as a “lower” art. The range of our instrument is huge, and I wanted to use all of it, including the use of the low C (and B!) extension and high harmonics. Both parts are intentionally equal and the melodic material is passed back and forth. \u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/ssSrakwD9Vs?si=gvdGiWxMH4L0nCFY\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Titles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe titles of my Seven Double Bass Duets obviously need some explanation: Kibbles'n Kibbitz-a canine-inspired dialogue. Parade of the Politically Prudent Pigs-Jimi Hendrix and Sergei Prokofiev meets Rush Limbaugh. Rush Hour-7:30AM in downtown traffic, taxi horns, of course, but check out the twisted two-part invention! Schweik Fahrt dedicated to my colleagues in the American Society of University Composers (ASUC), a self-descriptive style for this type of composition*.\u003c\/p\u003e\n\u003cp\u003eThe final measure is a complete musical representation of the movement's title. Lament-the only serious movement, a lyric miniature, recently dedicated in memory of my first bass teacher, Tony Knight. Blew Cheeze-a funky Jaco Pastorious-inspired cheesy blues mixed with the 'I Dream of Jeannie' groove and a little Led Zeppelin thrown in for good measure. This one also has a 12-tone double-time swing section and the cheesiest of endings. Gustav's 11 o'clock Dance refers, not to Klimt, Holst, or Mahler, but to my cat Gustav, who seemed to lose his mind every night at eleven, tearing around the house in a psychotic hunting fantasy frenzy. \u003c\/p\u003e\n\u003cp\u003e(Just to note: Frank Zappa suggested that the ASUC \"...change their name to Whole Earth Society of University Composers so that they would then be known as WESUC!!\"). \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDave Anderson has been Principal Bass with the Louisiana Philharmonic Orchestra since 1996,  and the Britt Festival Orchestra since 1994. He has performed extensively with many diverse ensembles including the Atlanta Symphony Orchestra, Minnesota Orchestra, Louisville Orchestra, Aspen Festival, Chautauqua (NY) Festival, Colorado Philharmonic (NRO), Colorado Music Festival, the LaSalle Quartet, and as a soloist with Richard Stoltzman, Gene Bertoncini, Nigel Kennedy, Bobby McFerrin, Doc Severinsen, and many others.\u003c\/p\u003e\n\u003cp\u003eAnderson is an internationally acclaimed composer of orchestral and chamber works, with performances around the world shared on YouTube. His Concerto for Double Bass, Strings \u0026amp; Harp, was commissioned and premiered by the Philadelphia Orchestra with Principal Bassist Hal Robinson and Wolfgang Sawallisch conducting.\u003c\/p\u003e\n\u003cp\u003eAlso a prolific jazz and funk bassist, Anderson has jammed with The Radiators, Walter “Wolfman” Washington, Roy Pope, Darryl Brown, and many other great New Orleans musicians including a killer performance with guitarist Brian Stoltz of the Funky Meters as a main highlight of the French Quarter Festival.\u003c\/p\u003e\n\u003cp\u003eI began writing in 1984, while a student at Cincinnati Conservatory, seeing the need for works for solo bass. Frank Proto, my mentor and teacher at CCM, was a great influence on my early years of composition, inspiring me with his prolific creativity and endless versatility to write in many different styles of music.\u003c\/p\u003e\n\u003cp\u003eHe encouraged me to study orchestration and texture in scores of Mahler, Respighi, and Rimsky-Korsakov. I grew up hearing all the masters under the baton of George Szell and Lorin Maazel conducting the Cleveland Orchestra, as my father, Ed Anderson, was their Bass Trombonist for over 20 years.\u003c\/p\u003e\n\u003cp\u003eElliot Carter, Prokofiev, Mahler, Stravinsky and Shostakovich have had the greatest influence on my writing. I had the privilege to show my early String Symphony and Bass Concerto to Maxim Shostakovich and was delighted he recognized his father’s spirit in my pieces.\u003c\/p\u003e\n\u003cp\u003eMy works also incorporate funk, jazz, and blues styles. I have finished several commissions, including Nonet, a work for the Musaica Chamber Ensemble. A new CD has been released and the score and parts will soon be available. \u003c\/p\u003e\n\u003cp\u003e-Dave\u003c\/p\u003e","brand":"Dave Anderson","offers":[{"title":"7 Double Bass Duets","offer_id":44573286334508,"sku":null,"price":19.99,"currency_code":"USD","in_stock":true},{"title":"2025 Editions (4 Short Pieces \u0026 7 Duets)","offer_id":44573286367276,"sku":null,"price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/files\/DaveAnderson-7DoubleBassDuets-2025Edition-01.png?v=1747430878"},{"product_id":"anderson7duetsdbc","title":"Dave Anderson: 7 Double Bass Duets (transcribed for Cello \u0026 Bass)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Duets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI have always enjoyed working with my good friend Allen Nisbet, so I decided to transcribe this for us to perform at Loyola and especially to include a real musician on a bass recital! When writing my bass duets, I could not avoid a humoristic approach. After all, we bassists are always regarded as accompanists, and solos are viewed as a \"lower\" art. The range of our instrument is huge and I wanted to use all of it including the use of the low C (and B!) extension and high harmonics. Both parts are intentionally equal and the melodic materials are passed back and forth.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe titles of my Seven Double Bass Duets obviously need some explanation: Kibbles'n Kibbitz-a canine-inspired dialogue. Parade of the Politically Prudent Pigs-Jimi Hendrix and Sergei Prokofiev meets Rush Limbaugh. Rush Hour-7:30AM in downtown traffic, taxi horns, of course, but check out the twisted two-part invention! Schweik Fahrt dedicated to my colleagues in the American Society of University Composers (ASUC), a self-descriptive style for this type of composition*.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe final measure is a complete musical representation of the movement's title. Lament-the only serious movement, a lyric miniature, recently dedicated in memory of my first bass teacher, Tony Knight. Blew Cheeze-a funky Jaco Pastorious-inspired cheesy blues mixed with the 'I Dream of Jeannie' groove and a little Led Zeppelin thrown in for good measure. This one also has a 12-tone double-time swing section and the cheesiest of endings. Gustav's 11 o'clock Dance refers, not to Klimt, Holst, or Mahler, but to my cat Gustav, who seemed to lose his mind every night at eleven, tearing around the house in a psychotic hunting fantasy frenzy. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e*\u003c\/strong\u003e(Just to note: Frank Zappa suggested that the ASUC \"...change their name to Whole Earth Society of University Composers so that they would then be known as WESUC!!\"). \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDave Anderson has been Principal Bass with the Louisiana Philharmonic Orchestra since 1996,  and the Britt Festival Orchestra since 1994. He has performed extensively with many diverse ensembles including the Atlanta Symphony Orchestra, Minnesota Orchestra, Louisville Orchestra, Aspen Festival, Chautauqua (NY) Festival, Colorado Philharmonic (NRO), Colorado Music Festival, the LaSalle Quartet, and as a soloist with Richard Stoltzman, Gene Bertoncini, Nigel Kennedy, Bobby McFerrin, Doc Severinsen, and many others.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnderson is an internationally acclaimed composer of orchestral and chamber works, with performances around the world shared on YouTube. His Concerto for Double Bass, Strings \u0026amp; Harp, was commissioned and premiered by the Philadelphia Orchestra with Principal Bassist Hal Robinson and Wolfgang Sawallisch conducting.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlso a prolific jazz and funk bassist, Anderson has jammed with The Radiators, Walter “Wolfman” Washington, Roy Pope, Darryl Brown, and many other great New Orleans musicians including a killer performance with guitarist Brian Stoltz of the Funky Meters as a main highlight of the French Quarter Festival.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI began writing in 1984, while a student at Cincinnati Conservatory, seeing the need for works for solo bass. Frank Proto, my mentor and teacher at CCM, was a great influence on my early years of composition, inspiring me with his prolific creativity and endless versatility to write in many different styles of music.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe encouraged me to study orchestration and texture in scores of Mahler, Respighi, and Rimsky-Korsakov. I grew up hearing all the masters under the baton of George Szell and Lorin Maazel conducting the Cleveland Orchestra, as my father, Ed Anderson, was their Bass Trombonist for over 20 years.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElliot Carter, Prokofiev, Mahler, Stravinsky and Shostakovich have had the greatest influence on my writing. I had the privilege to show my early String Symphony and Bass Concerto to Maxim Shostakovich, and was delighted he recognized his father’s spirit in my pieces.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy works also incorporate funk, jazz, and blues styles. I have finished several commissions, including Nonet, a work for the Musaica Chamber Ensemble. A new CD has been released and the score and parts will soon be available. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e-Dave\u003c\/p\u003e","brand":"Dave Anderson","offers":[{"title":"Default Title","offer_id":40707963224108,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/c7ba99206840b2b286c5f0bccfbdfb3fe96bde2e9890cab524f0128f64f58b62_3.jpg?v=1664382438"},{"product_id":"andersoncapriccio2","title":"Dave Anderson: Capriccio No. 2 for Solo Double Bass (1997)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis work is based on several motives from the composer's own \u003cem data-mce-fragment=\"1\"\u003eConcerto for Double Bass, Strings, \u0026amp; Harp\u003c\/em\u003e, written for Hal Robinson, Principal Bassist of the Philadelphia Orchestra.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDave Anderson has been Principal Bass with the Louisiana Philharmonic Orchestra since 1996,  and the Britt Festival Orchestra since 1994. He has performed extensively with many diverse ensembles including the Atlanta Symphony Orchestra, Minnesota Orchestra, Louisville Orchestra, Aspen Festival, Chautauqua (NY) Festival, Colorado Philharmonic (NRO), Colorado Music Festival, the LaSalle Quartet, and as a soloist with Richard Stoltzman, Gene Bertoncini, Nigel Kennedy, Bobby McFerrin, Doc Severinsen, and many others.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnderson is an internationally acclaimed composer of orchestral and chamber works, with performances around the world shared on YouTube. His Concerto for Double Bass, Strings \u0026amp; Harp, was commissioned and premiered by the Philadelphia Orchestra with Principal Bassist Hal Robinson and Wolfgang Sawallisch conducting.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlso a prolific jazz and funk bassist, Anderson has jammed with The Radiators, Walter “Wolfman” Washington, Roy Pope, Darryl Brown, and many other great New Orleans musicians including a killer performance with guitarist Brian Stoltz of the Funky Meters as a main highlight of the French Quarter Festival.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI began writing in 1984, while a student at Cincinnati Conservatory, seeing the need for works for solo bass. Frank Proto, my mentor and teacher at CCM, was a great influence on my early years of composition, inspiring me with his prolific creativity and endless versatility to write in many different styles of music.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe encouraged me to study orchestration and texture in scores of Mahler, Respighi, and Rimsky-Korsakov. I grew up hearing all the masters under the baton of George Szell and Lorin Maazel conducting the Cleveland Orchestra, as my father, Ed Anderson, was their Bass Trombonist for over 20 years.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElliot Carter, Prokofiev, Mahler, Stravinsky and Shostakovich have had the greatest influence on my writing. I had the privilege to show my early String Symphony and Bass Concerto to Maxim Shostakovich, and was delighted he recognized his father’s spirit in my pieces.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy works also incorporate funk, jazz, and blues styles. I have finished several commissions, including Nonet, a work for the Musaica Chamber Ensemble. A new CD has been released and the score and parts will soon be available. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e-Dave\u003c\/p\u003e","brand":"Dave Anderson","offers":[{"title":"Default Title","offer_id":40707967713324,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/baaca0eb0e33dc4f9d45910b8c86623f0144cea0fe0c2093c546d17d535752eb_1.jpg?v=1664382706"},{"product_id":"andersondancesuite","title":"Dave Anderson: Dance Suite for double bass and harp","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis piece is dedicated to my wonderful wife, Catherine who is a fantastic harpist. As a composer, I am very lucky to have close contact with a musician who plays one of the most difficult instruments to compose for... so we HAD to get married!\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis Suite is modeled after the Baroque form I have admired such as any of the 6 Bach Cello Suites or the Bach Orchestral Suites. The \u003cem data-mce-fragment=\"1\"\u003ePrelude \u003c\/em\u003econtains hints of each following movements. The \u003cem data-mce-fragment=\"1\"\u003eMalaguana \u003c\/em\u003eis based on the old and much slower style of early Latin music that has freedom of syncopation and lyric influence rather than the modern one that is much faster.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNext is another ancient dance influenced by the “medicine man” physical cure for a poisonous bite which was to move and\/or dance in a fast feverish movement which led to the development of the \u003cem data-mce-fragment=\"1\"\u003eTarantella \u003c\/em\u003edance. Gliere has written a Tarantella for bass and my version has some reference to it. The \u003cem data-mce-fragment=\"1\"\u003eSarabande \u003c\/em\u003eis a slow phrasing strength to the 2nd or 3rd beat rather than the downbeat in a lyric manner. Frank Proto, a wonderful bassist, composer, teacher, and mentor to me has been an inspiration to keep writing for the bass so I have dedicated a movement to him as \u003cem data-mce-fragment=\"1\"\u003eBlues for Frank \u003c\/em\u003ewhich has improvisation and jazz phrasing. The \u003cem data-mce-fragment=\"1\"\u003eRondo \u003c\/em\u003eis one of my favorite dance and composition forms (ABACADA...etc), and I try to compress each returning A section.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis Dance Suite is one of the pieces I lost in Hurricane Katrina, but, in a good way, I have now had the time to revise it to an excellent piece ready for publication.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDave Anderson has been Principal Bass with the Louisiana Philharmonic Orchestra since 1996,  and the Britt Festival Orchestra since 1994. He has performed extensively with many diverse ensembles including the Atlanta Symphony Orchestra, Minnesota Orchestra, Louisville Orchestra, Aspen Festival, Chautauqua (NY) Festival, Colorado Philharmonic (NRO), Colorado Music Festival, the LaSalle Quartet, and as a soloist with Richard Stoltzman, Gene Bertoncini, Nigel Kennedy, Bobby McFerrin, Doc Severinsen, and many others.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnderson is an internationally acclaimed composer of orchestral and chamber works, with performances around the world shared on YouTube. His Concerto for Double Bass, Strings \u0026amp; Harp, was commissioned and premiered by the Philadelphia Orchestra with Principal Bassist Hal Robinson and Wolfgang Sawallisch conducting.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlso a prolific jazz and funk bassist, Anderson has jammed with The Radiators, Walter “Wolfman” Washington, Roy Pope, Darryl Brown, and many other great New Orleans musicians including a killer performance with guitarist Brian Stoltz of the Funky Meters as a main highlight of the French Quarter Festival.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI began writing in 1984, while a student at Cincinnati Conservatory, seeing the need for works for solo bass. Frank Proto, my mentor and teacher at CCM, was a great influence on my early years of composition, inspiring me with his prolific creativity and endless versatility to write in many different styles of music.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe encouraged me to study orchestration and texture in scores of Mahler, Respighi, and Rimsky-Korsakov. I grew up hearing all the masters under the baton of George Szell and Lorin Maazel conducting the Cleveland Orchestra, as my father, Ed Anderson, was their Bass Trombonist for over 20 years.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElliot Carter, Prokofiev, Mahler, Stravinsky and Shostakovich have had the greatest influence on my writing. I had the privilege to show my early String Symphony and Bass Concerto to Maxim Shostakovich, and was delighted he recognized his father’s spirit in my pieces.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy works also incorporate funk, jazz, and blues styles. I have finished several commissions, including Nonet, a work for the Musaica Chamber Ensemble. A new CD has been released and the score and parts will soon be available. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e-Dave\u003c\/p\u003e","brand":"Dave Anderson","offers":[{"title":"Default Title","offer_id":40707979378732,"sku":"","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/c7ba99206840b2b286c5f0bccfbdfb3fe96bde2e9890cab524f0128f64f58b62_4.jpg?v=1664383026"},{"product_id":"andersondbquartet","title":"Dave Anderson: Double Bass Quartet (1987)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDave Anderson has been Principal Bass with the Louisiana Philharmonic Orchestra since 1996,  and the Britt Festival Orchestra since 1994. He has performed extensively with many diverse ensembles including the Atlanta Symphony Orchestra, Minnesota Orchestra, Louisville Orchestra, Aspen Festival, Chautauqua (NY) Festival, Colorado Philharmonic (NRO), Colorado Music Festival, the LaSalle Quartet, and as a soloist with Richard Stoltzman, Gene Bertoncini, Nigel Kennedy, Bobby McFerrin, Doc Severinsen, and many others.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnderson is an internationally acclaimed composer of orchestral and chamber works, with performances around the world shared on YouTube. His Concerto for Double Bass, Strings \u0026amp; Harp, was commissioned and premiered by the Philadelphia Orchestra with Principal Bassist Hal Robinson and Wolfgang Sawallisch conducting.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlso a prolific jazz and funk bassist, Anderson has jammed with The Radiators, Walter “Wolfman” Washington, Roy Pope, Darryl Brown, and many other great New Orleans musicians including a killer performance with guitarist Brian Stoltz of the Funky Meters as a main highlight of the French Quarter Festival.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI began writing in 1984, while a student at Cincinnati Conservatory, seeing the need for works for solo bass. Frank Proto, my mentor and teacher at CCM, was a great influence on my early years of composition, inspiring me with his prolific creativity and endless versatility to write in many different styles of music.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe encouraged me to study orchestration and texture in scores of Mahler, Respighi, and Rimsky-Korsakov. I grew up hearing all the masters under the baton of George Szell and Lorin Maazel conducting the Cleveland Orchestra, as my father, Ed Anderson, was their Bass Trombonist for over 20 years.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElliot Carter, Prokofiev, Mahler, Stravinsky and Shostakovich have had the greatest influence on my writing. I had the privilege to show my early String Symphony and Bass Concerto to Maxim Shostakovich, and was delighted he recognized his father’s spirit in my pieces.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy works also incorporate funk, jazz, and blues styles. I have finished several commissions, including Nonet, a work for the Musaica Chamber Ensemble. A new CD has been released and the score and parts will soon be available. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e-Dave\u003c\/p\u003e","brand":"Dave Anderson","offers":[{"title":"Default Title","offer_id":40707990388780,"sku":"","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/c7ba99206840b2b286c5f0bccfbdfb3fe96bde2e9890cab524f0128f64f58b62_5.jpg?v=1664383424"},{"product_id":"andersonquintet","title":"Dave Anderson: Quintet for Oboe, Clarinet, Violin, Viola, and Double Bass","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDave Anderson has been Principal Bass with the Louisiana Philharmonic Orchestra since 1996,  and the Britt Festival Orchestra since 1994. He has performed extensively with many diverse ensembles including the Atlanta Symphony Orchestra, Minnesota Orchestra, Louisville Orchestra, Aspen Festival, Chautauqua (NY) Festival, Colorado Philharmonic (NRO), Colorado Music Festival, the LaSalle Quartet, and as a soloist with Richard Stoltzman, Gene Bertoncini, Nigel Kennedy, Bobby McFerrin, Doc Severinsen, and many others.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnderson is an internationally acclaimed composer of orchestral and chamber works, with performances around the world shared on YouTube. His Concerto for Double Bass, Strings \u0026amp; Harp, was commissioned and premiered by the Philadelphia Orchestra with Principal Bassist Hal Robinson and Wolfgang Sawallisch conducting.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlso a prolific jazz and funk bassist, Anderson has jammed with The Radiators, Walter “Wolfman” Washington, Roy Pope, Darryl Brown, and many other great New Orleans musicians including a killer performance with guitarist Brian Stoltz of the Funky Meters as a main highlight of the French Quarter Festival.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI began writing in 1984, while a student at Cincinnati Conservatory, seeing the need for works for solo bass. Frank Proto, my mentor and teacher at CCM, was a great influence on my early years of composition, inspiring me with his prolific creativity and endless versatility to write in many different styles of music.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe encouraged me to study orchestration and texture in scores of Mahler, Respighi, and Rimsky-Korsakov. I grew up hearing all the masters under the baton of George Szell and Lorin Maazel conducting the Cleveland Orchestra, as my father, Ed Anderson, was their Bass Trombonist for over 20 years.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElliot Carter, Prokofiev, Mahler, Stravinsky and Shostakovich have had the greatest influence on my writing. I had the privilege to show my early String Symphony and Bass Concerto to Maxim Shostakovich, and was delighted he recognized his father’s spirit in my pieces.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy works also incorporate funk, jazz, and blues styles. I have finished several commissions, including Nonet, a work for the Musaica Chamber Ensemble. A new CD has been released and the score and parts will soon be available. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e-Dave\u003c\/p\u003e","brand":"Dave Anderson","offers":[{"title":"Default Title","offer_id":40708078665772,"sku":"","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/c7ba99206840b2b286c5f0bccfbdfb3fe96bde2e9890cab524f0128f64f58b62_6.jpg?v=1664386107"},{"product_id":"andersonsonata1","title":"Dave Anderson: Sonata #1 for Double Bass and Piano","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecording\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eListen to Jeremy Kurtz Harris \u003ca rel=\"nofollow\" href=\"https:\/\/contrabassconversations.com\/2008\/10\/18\/cbc-99-jeremy-kurtz-interview\/\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/contrabassconversations.com\/2008\/10\/18\/cbc-99-jeremy-kurtz-interview\/\" target=\"_blank\"\u003eperform the Sonata\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDave Anderson has been Principal Bass with the Louisiana Philharmonic Orchestra since 1996,  and the Britt Festival Orchestra since 1994. He has performed extensively with many diverse ensembles including the Atlanta Symphony Orchestra, Minnesota Orchestra, Louisville Orchestra, Aspen Festival, Chautauqua (NY) Festival, Colorado Philharmonic (NRO), Colorado Music Festival, the LaSalle Quartet, and as a soloist with Richard Stoltzman, Gene Bertoncini, Nigel Kennedy, Bobby McFerrin, Doc Severinsen, and many others.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnderson is an internationally acclaimed composer of orchestral and chamber works, with performances around the world shared on YouTube. His Concerto for Double Bass, Strings \u0026amp; Harp, was commissioned and premiered by the Philadelphia Orchestra with Principal Bassist Hal Robinson and Wolfgang Sawallisch conducting.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlso a prolific jazz and funk bassist, Anderson has jammed with The Radiators, Walter “Wolfman” Washington, Roy Pope, Darryl Brown, and many other great New Orleans musicians including a killer performance with guitarist Brian Stoltz of the Funky Meters as a main highlight of the French Quarter Festival.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI began writing in 1984, while a student at Cincinnati Conservatory, seeing the need for works for solo bass. Frank Proto, my mentor and teacher at CCM, was a great influence on my early years of composition, inspiring me with his prolific creativity and endless versatility to write in many different styles of music.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe encouraged me to study orchestration and texture in scores of Mahler, Respighi, and Rimsky-Korsakov. I grew up hearing all the masters under the baton of George Szell and Lorin Maazel conducting the Cleveland Orchestra, as my father, Ed Anderson, was their Bass Trombonist for over 20 years.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElliot Carter, Prokofiev, Mahler, Stravinsky and Shostakovich have had the greatest influence on my writing. I had the privilege to show my early String Symphony and Bass Concerto to Maxim Shostakovich, and was delighted he recognized his father’s spirit in my pieces.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy works also incorporate funk, jazz, and blues styles. I have finished several commissions, including Nonet, a work for the Musaica Chamber Ensemble. A new CD has been released and the score and parts will soon be available. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e-Dave\u003c\/p\u003e","brand":"Dave Anderson","offers":[{"title":"Default Title","offer_id":40708086857772,"sku":"","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/c7ba99206840b2b286c5f0bccfbdfb3fe96bde2e9890cab524f0128f64f58b62_7.jpg?v=1664386401"},{"product_id":"andersondbsonata2","title":"Dave Anderson: Sonata #2 for Double Bass and Piano","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRecording\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eListen to a \u003ca rel=\"nofollow\" href=\"https:\/\/contrabassconversations.com\/2018\/04\/09\/colin-corner-recital\/\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/contrabassconversations.com\/2018\/04\/09\/colin-corner-recital\/\" target=\"_blank\"\u003erecording of the composition\u003c\/a\u003e by Colin Corner.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDave Anderson has been Principal Bass with the Louisiana Philharmonic Orchestra since 1996,  and the Britt Festival Orchestra since 1994. He has performed extensively with many diverse ensembles including the Atlanta Symphony Orchestra, Minnesota Orchestra, Louisville Orchestra, Aspen Festival, Chautauqua (NY) Festival, Colorado Philharmonic (NRO), Colorado Music Festival, the LaSalle Quartet, and as a soloist with Richard Stoltzman, Gene Bertoncini, Nigel Kennedy, Bobby McFerrin, Doc Severinsen, and many others.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnderson is an internationally acclaimed composer of orchestral and chamber works, with performances around the world shared on YouTube. His Concerto for Double Bass, Strings \u0026amp; Harp, was commissioned and premiered by the Philadelphia Orchestra with Principal Bassist Hal Robinson and Wolfgang Sawallisch conducting.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlso a prolific jazz and funk bassist, Anderson has jammed with The Radiators, Walter “Wolfman” Washington, Roy Pope, Darryl Brown, and many other great New Orleans musicians including a killer performance with guitarist Brian Stoltz of the Funky Meters as a main highlight of the French Quarter Festival.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI began writing in 1984, while a student at Cincinnati Conservatory, seeing the need for works for solo bass. Frank Proto, my mentor and teacher at CCM, was a great influence on my early years of composition, inspiring me with his prolific creativity and endless versatility to write in many different styles of music.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe encouraged me to study orchestration and texture in scores of Mahler, Respighi, and Rimsky-Korsakov. I grew up hearing all the masters under the baton of George Szell and Lorin Maazel conducting the Cleveland Orchestra, as my father, Ed Anderson, was their Bass Trombonist for over 20 years.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElliot Carter, Prokofiev, Mahler, Stravinsky and Shostakovich have had the greatest influence on my writing. I had the privilege to show my early String Symphony and Bass Concerto to Maxim Shostakovich, and was delighted he recognized his father’s spirit in my pieces.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy works also incorporate funk, jazz, and blues styles. I have finished several commissions, including Nonet, a work for the Musaica Chamber Ensemble. A new CD has been released and the score and parts will soon be available. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e-Dave\u003c\/p\u003e","brand":"Dave Anderson","offers":[{"title":"Default Title","offer_id":40708097409068,"sku":"","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/c7ba99206840b2b286c5f0bccfbdfb3fe96bde2e9890cab524f0128f64f58b62_8.jpg?v=1664386640"},{"product_id":"andersondbharpsonata","title":"Dave Anderson: Sonata for Double Bass \u0026 Harp","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAllegro Moderato; Elegy; Rondo. This is a work for a unique pair of instruments. The composer writes: “This was written in honor and dedication to my wife, Catherine, a wonderful harpist. I have always loved the color of the harp and bass combination definitely influenced by Ginastera’s Variations Concertante and the Harp Concerto.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThere are some pedal glisses and alternative articulations. The 2nd movement is an Elegy dedicated in memory of a dear bassist friend, Arti Smith.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDave Anderson has been Principal Bass with the Louisiana Philharmonic Orchestra since 1996,  and the Britt Festival Orchestra since 1994. He has performed extensively with many diverse ensembles including the Atlanta Symphony Orchestra, Minnesota Orchestra, Louisville Orchestra, Aspen Festival, Chautauqua (NY) Festival, Colorado Philharmonic (NRO), Colorado Music Festival, the LaSalle Quartet, and as a soloist with Richard Stoltzman, Gene Bertoncini, Nigel Kennedy, Bobby McFerrin, Doc Severinsen, and many others.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnderson is an internationally acclaimed composer of orchestral and chamber works, with performances around the world shared on YouTube. His Concerto for Double Bass, Strings \u0026amp; Harp, was commissioned and premiered by the Philadelphia Orchestra with Principal Bassist Hal Robinson and Wolfgang Sawallisch conducting.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlso a prolific jazz and funk bassist, Anderson has jammed with The Radiators, Walter “Wolfman” Washington, Roy Pope, Darryl Brown, and many other great New Orleans musicians including a killer performance with guitarist Brian Stoltz of the Funky Meters as a main highlight of the French Quarter Festival.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI began writing in 1984, while a student at Cincinnati Conservatory, seeing the need for works for solo bass. Frank Proto, my mentor and teacher at CCM, was a great influence on my early years of composition, inspiring me with his prolific creativity and endless versatility to write in many different styles of music.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe encouraged me to study orchestration and texture in scores of Mahler, Respighi, and Rimsky-Korsakov. I grew up hearing all the masters under the baton of George Szell and Lorin Maazel conducting the Cleveland Orchestra, as my father, Ed Anderson, was their Bass Trombonist for over 20 years.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElliot Carter, Prokofiev, Mahler, Stravinsky and Shostakovich have had the greatest influence on my writing. I had the privilege to show my early String Symphony and Bass Concerto to Maxim Shostakovich, and was delighted he recognized his father’s spirit in my pieces.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy works also incorporate funk, jazz, and blues styles. I have finished several commissions, including Nonet, a work for the Musaica Chamber Ensemble. A new CD has been released and the score and parts will soon be available. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e-Dave\u003c\/p\u003e","brand":"Dave Anderson","offers":[{"title":"Default Title","offer_id":40708102422572,"sku":"","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/c7ba99206840b2b286c5f0bccfbdfb3fe96bde2e9890cab524f0128f64f58b62_9.jpg?v=1664386873"},{"product_id":"bottesiniopera","title":"Giovanni Bottesini: A Night at the Opera: Act One for double bass \u0026 piano","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA Night at the Opera: Act One\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003ebrings together six Italian opera arias for double bass and piano, arranged by Giovanni Bottesini. Four were included in Bottesini’s \u003cem data-mce-fragment=\"1\"\u003eMethod for Double Bass\u003c\/em\u003e, to demonstrate the lyrical and melodic potential of the double bass, and two are from his original compositions. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe arias are charming and accessible, ideal for anyone who is studying thumb position and the solo register of the double bass, and this new edition by David Heyes also includes accompaniments for both solo and orchestral tunings. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe world of opera has long inspired composers and players to plunder the best arias and melodies to transcribe for other instruments. The double bass is no exception, and Bottesini's operatic fantasias are still at the very heart of our solo repertoire into the 21st-century. It's difficult to keep a good tune down! \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eA Night at the Opera: Act One \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1. Gioacchino Rossini (1792-1868) - Sérénade du Barbier de Séville \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Barber of Seville was composed in 1816 and is probably Rossini’s most popular opera. Taken from Act One, Se il Mio Nome Saper Voi Bramate (If You Would Like to Know My Name) is a Romanza sung by Count Almaviva (baritone). \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e2. Giuseppe Verdi (1813-1901) - Air d’il Trovatore \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIl Trovatore dates from 1852-53 and the Scena \u0026amp; Aria: Il Balen Del Suo Sorriso (Bright her Smile) is sung by the Count (baritone) in Act Two. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e3. Vincenzo Bellini (1801-1835) - Final de la Sonambule \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLa Sonnambula (The Sleepwalker) dates from 1831 and Bottesini used themes from the opera for his operatic fantasia for double bass and piano. D’un Pensiero e d’un Accento (Oh, believe me, I never harbor’d) is from the end of Act One and is a duet for Amina (soprano) and Elvino (tenor). \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e4. Gaetano Donizetti (1797-1848) - Romance de L’Elisire d’Amore \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eL’Elisire d’Amore (The Elixir of Love) dates from 1832 and this popular tenor aria is sung by Nemorino (tenor). Romanza: Una furtive lagrima (A furtive tear) is from Act Two, Scene 3. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"Technically it doesn't appear demanding and with its 40 bars taking only three minutes, it will become a welcome addition to my small stack of playable favourites.\" \u003c\/em\u003e[Double Bassist] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e5. Giovanni Paisiello (1740-1816) - Nel Cor Più Non Mi Sento \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe opera L’amor contrastato, better known as La Molinara (The Miller-Woman) was composed in 1788 and is long forgotten apart from this aria, originally performed as a duet by Rachelina (soprano) and Calloandro (tenor) in Act Two. The melody was used by Bottesini as a theme and variations for double bass and piano (or orchestra) and has also been used by Beethoven, Sor, Hummel, Boehm, Vanhal and Paganini. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e6. Gaetano Donizetti (1797-1848) - Chi mi frena in tal momento \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLucia di Lammermoor, composed in c.1835, is one of Donizetti’s finest tragic operas and Bottesini used a number of themes for his operatic fantasia for double bass and piano. Chi mi frena in tal momento (What from vengeance yet restrains me) is originally a sextet from Act Two and Bottesini uses the solo register of the double \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ebass, including harmonics, to create a beautifully powerful and lyrical work which demonstrates the sonorous and cantabile qualities of the instrument. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"How he bewildered us by playing all sorts of melodies in flute-like harmonics, as though he had a hundred nightingales caged in his double bass... I never wearied of his consummate grace and finish, his fatal precision, his heavenly tone, his fine taste. One sometimes yearned for a touch of human imperfection, but he was like a dead shot; he never missed what he aimed at, and he never aimed at less than perfection.\" \u003c\/em\u003e[H.Haweis, 1888] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGiovanni Bottesini \u003c\/strong\u003e(1821-1889) was the greatest double bass virtuoso of the 19th- century, and many of his compositions for double bass are still at the heart of the solo repertoire today. He spent much of his life in the opera house as a conductor, and composer and his music is inspired by the lyrical, cantabile, and virtuosic pyrotechnics of 19th-century Italian opera. Bottesini was known as \u003cem data-mce-fragment=\"1\"\u003e‘the Paganini of the double bass’ \u003c\/em\u003eand was one of the greatest musical superstars of his day. \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40708185423916,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/60c0b2b44a660efea58ad0fa493fc8cf84b8f5b20b21f3e7488d2da4624e7faf_1.webp?v=1664390531"},{"product_id":"bach244","title":"J.S. Bach: Erbarme dich, mein Gott for double bass (BWV 244), violin (or violincello), and piano (edited by Guillermo Soteldo)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Aria\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOriginal Aria for voice alto, violin soloist, strings, and continuo. Adapted for Double Bass, Violin or Violoncello, and Piano\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe St. Matthew Passion\u003cem data-mce-fragment=\"1\"\u003e– Matthäus-Passion\u003c\/em\u003e BWV 244 –, which depicts the final sufferings, crucifixion, and resurrection of Jesus Christ, contains an aria of great sublimity. The aria expresses Peter’s penitence through the lamenting words of a poem by Bach’s contemporary, Christian Friedrich Henrici (1700 – 1764), writing under the pen name Picander \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis aria was originally scored as a duet between alto* voice and solo violin, accompanied by strings and continuo. Peter’s weeping is characterized by melismatic vocal writing and the pervasive presence of appoggiaturas, descending basslines, and clashing dissonances. In the drama, this aria reflects Peter’s solitary heartache in the garden after he denies knowing Jesus three times. It’s set in a lilting B minor at 12\/8 time, suggesting the baroque dance rhythm of the siciliano.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis music inspired by Good Friday and Easter, both sacred and secular, is in one of the most sublime and powerful corners of J.S. Bach’s\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eText\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eErbarme dich, mein Gott,\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eUm meiner Zähren willen;\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSchaue hier,\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eHerz und Auge Weint vor dir\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003ebitterlich.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eErbarme dich!\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Have mercy, my God,\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003efor my tears' sake.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLook hither,\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eheart and eyes weep\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ebitterly before Thee.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe First Performance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe first performance of the \u003cem data-mce-fragment=\"1\"\u003eSt. Matthew Passion\u003c\/em\u003e was given in 1727. Considering it his most significant work, Bach revised it in 1736. Nonetheless, it was shelved after its initial performances in the St. Thomas Church in Leipzig and promptly neglected. The \u003cem data-mce-fragment=\"1\"\u003ePassion\u003c\/em\u003e received a second premiere of sorts in 1829 when the 19-year-old Felix Mendelssohn organized a performance and conducted the work for the first time since Bach did so himself. With this, the concept of \"Classical Music\" was born, and Bach's \u003cem data-mce-fragment=\"1\"\u003eSt. Matthew Passion\u003c\/em\u003e has remained one of the monuments of the literature.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eNew Edition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis Aria has no edition in our repertoire, so I decided to include a transcription from the original score adapting the material for Double Bass, Violin or Cello, and Piano.  Adding a plus to our Bibliotheque with this sublime, beautiful, and emotionally powerful work.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e*The musical term alto, meaning \"high\" in Italian (Latin: altus), historically refers to the contrapuntal part higher than the tenor and its associated vocal range. In 4-part voice leading alto is the second highest part, sung in choruses by either low women's or high men's voices. In vocal classification, these are usually called contralto and male alto or countertenor.\u003c\/p\u003e","brand":"Guillermo Soteldo","offers":[{"title":"Default Title","offer_id":40708195549228,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/d0422b9bea23724a20a06a3ed8d02ba2537ade4ec6919a61993f71143d9c5f12.jpg?v=1664391466"},{"product_id":"quisky","title":"Michael Kurth: Quisky Rickening Theme with Three Variations for solo double bass","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eQuisky Rickening \u003c\/em\u003eis a showpiece theme and variation set for solo double bass. It's pretty effin hard. Filled with double stops, harmonics, and other brain-melting techniques. Very tonal, tuneful, fun, and virtuosic. It'll keep you busy for a while, and it will build your skills in ways you'll want to show off. About 7 1\/2 minutes long, but each movement could stand alone.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTheme: Quisky Rickening\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eVar. 1: Swicky Tritching\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eVar. 2: Sickly Twitching\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eVar. 3: Quickly Thickening\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Parts\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIncludes parts with and without an additional line that explains the harmonic pitch refernce.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/4X9axC8JPyw?si=mmpncbkCvVeJpi99\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout Michael Kurth\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKurth has been a member of the Atlanta Symphony bass section since 1994. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMichael Kurth thinks most artist biographies are pretentious and boring, and feels a welcome sense of liberation, not to mention mischief, when writing about himself in the third person. He further believes that all artist biographies should include whether the artist prefers cats or dogs, or is ambivalent. He allows that there is room for ambivalence on this issue.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKurth prefers dogs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHe also enjoys shrimp burritos, dive bars, road trips, thrift stores, found art, shiny pants, folk plumbing, collecting odd musical instruments, neologism, and bourbon.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eKurth was born in 1971 in Virginia and grew up near Baltimore. He started playing the bass in fourth grade, went to public schools, and got his Bachelor’s Degree at Peabody Conservatory, where he studied bass with Harold Robinson. He also studied cello and viola at Peabody, and did okay at cello, but his ham-fisted viola playing caused his roommate Rick to forbid him from ever practicing it in their dorm room.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHe once stole one of those convex security mirrors, just to savor the irony, but he feels a lingering sense of guilt, even though it was laying in a pile of stuff that was probably destined for the dumpster anyway. But still.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKurth has been a member of the Atlanta Symphony bass section since 1994. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe ASO has commissioned and premiered many of his orchestral and choral works. A recording on the ASO Media label is scheduled for commercial release on CD and digital platforms in February 2019, including \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eEverything Lasts Forever\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eA Thousand Words\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMay Cause Dizziness\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, and\u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003e Miserere\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e featuring Grammy Award-winning mezzo-soprano Kelley O’Connor.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHe frequently collaborates with Atlanta poet Jesse Breite on vocal works, including \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMiserere\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eTenebrae\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, and \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMagnificat\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHe was named “Best New Composer” by Atlanta Magazine in 2017.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHe has been awarded Artist-in-Residence fellowships from the Hermitage and Serenbe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMany Atlanta-area artists have commissioned and performed his works, including the Atlanta Symphony Orchestra Chorus and Chamber Chorus, the Atlanta Chamber Players, the Atlanta Young Singers, the Gwinnett Young Singers, the Morehouse College Glee Club, the Peachtree String Quartet, the Franklin Pond String Quartet, the Atlanta Contemporary Ensemble, Concert Artist Guild Award-winning violist Jennifer Stumm, the Georgia Sinfonia, the Atlanta Community Symphony Orchestra, the DeKalb Symphony, the Georgia State University Wind Ensemble, and movement artists gloATL.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHe teaches bass at Emory University.\u003c\/p\u003e","brand":"Michael Kurth","offers":[{"title":"Default Title","offer_id":40708251287596,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/710ace131ee4ea8d8a04016c817941e5794b3ebc33a25c905e56724d0a47f65f_1.webp?v=1664395083"},{"product_id":"gajdosbk1","title":"Miloslav Gajdoš: Solos Book 1 for unaccompanied double bass","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cstrong\u003eAbout the Collection\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSolos Book 1 brings together six exciting and vibrant pieces for unaccompanied double bass and is aimed at the intermediate-advanced bassist. Each piece offers musical and technical challenges in equal measure, demonstrating the potential and possibilities of the double bass throughout its entire solo range. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMiloslav Gajdoš is an acknowledged master at writing engaging, virtuosic and idiomatic music for unaccompanied double bass, and this is the first volume in a series to expand the solo repertoire for bassists of all ages. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTable of Contents\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e1. Prelude \u0026amp; Fugue in A Minor is dedicated to the double bass students at Wells Cathedral School (Somerset, UK) and was composed in 1998, shortly after the composer’s first visit to England as the guest soloist at the 1st Wells Double Bass Weekend. In two contrasting movements, which can also be performed separately, there are many challenges, including two, three and four-part chords and an opportunity to demonstrate a musical and technical prowess. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e2. Capriccio in D minor\u003cb\u003e \u003c\/b\u003ewas composed in 1978, originally entitled Capriccio No.1, and revised in 1988. It requires advanced technical, musical and bowing skills throughout the solo range of the double bass, and the opening music, which is striking and bold, contrasts a lyrical and cantabile middle section which makes use of many double stops. Capriccio in D minor is an amazing showstopper which would astound any audience. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e3. Klezmer was composed in 2014 and is based on a traditional Jewish melody. The music is colourful and inventive, exploring a range of colours and timbres primarily in the solo register, with opportunities to demonstrate more than simply a technical prowess. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e4. Koussevitsky \"I have great respect for Serge Koussevitsky's compositions, whether he wrote them himself or in collaboration with Reinhold Glière and are performed by great artists, but also by students of music schools. In my composition for solo double bass, composed in 2022, I tried to capture the characteristic features of these compositions, such as warm melodiousness, lively rhythms and interesting modulations. Excerpts from Koussevitsky's miniatures and also from his Concerto in F sharp minor are successively cited, however, the style of the double bass playing is moved to a higher technical level by the frequent use of double stops, chords and a hint of polyphonic playing.\" [MG] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e5. Kuchynka “In this short work I used three themes from Kuchynka’s music. The first is from Touha (Desire) for double bass and piano, first published by Urbánek in Prague in 1935, also with a version for violoncello by F. Berka and dedicated to J. Votruba. This highly romantic piece has a similar emotional intensity to the Romance for violin by Johann Svendsen. The second part contrasts with a waltz-tempo theme. After a brief recitative, before the finale, there is a reference from Kuchynka’s Fantasie on Smetana’s opera ‘The Bartered Bride’ - the chorus “Why wouldn’t we look forward to it.” [MG] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e6. Toccata was composed in 2018 as the imposed work for the 8th International Dittersdorf Double Bass Competition in Banská Bystrica (Slovakia) to demonstrate the technical potential of the double bass alongside lyrical melodies with a deep emotional content. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMiloslav Gajdoš\u003cb\u003e \u003c\/b\u003eis one of Europe's most active and inventive bassist-composers. He was born in northern Moravia in 1948 and initially learned violin before transferring to the double bass, studying with Alois Kříž, Jirí Bortlícek and Ludwig Streicher. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe has been Professor of Double Bass at the Vejvanovský Conservatoire in Kroměříž (Czech Republic) since 1971, and was a member of the Olomouc Symphony Orchestra for a number of years. He is Director of the Gregora International Double Bass Competition, founded in 1979 and held every two years in Kroměříž, and has been a juror at many competitions in Hungary, Germany and the Czech Republic. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMiloslav Gajdoš is a prolific composer and arranger and, for almost 40 years, has produced a vast body of original works and transcriptions for double bass which are performed worldwide. His original works combine Czech lyricism and melody with brilliant technical demands, and music from one to sixteen double basses. He writes in a traditional and accessible style, producing music for every level of performer, particularly for the advanced bassist, and his many works for unaccompanied double bass are frequently chosen as international competition repertoire. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e[Gajdoš is pronounced GUY-DOSH] \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40708276944940,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/baaca0eb0e33dc4f9d45910b8c86623f0144cea0fe0c2093c546d17d535752eb_2.webp?v=1664396420"},{"product_id":"gajdos3pieces","title":"Miloslav Gajdoš: Three Pieces for double bass quartet","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout the Compositions \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis digital publication brings together three individual works by Miloslav Gajdoš, each offering musical and technical challenges in equal measure and all aimed at the intermediate double bass quartet or ensemble. Professor Gajdoš has a unique talent to write music that is idiomatic and inventive, showcasing the qualities and possibilities of the double bass quartet, and explores the entire range and register of the double bass \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1. Lacrimosa (1998) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLacrimosa is an expressive work employing a range of interesting harmony and rhythms, within a lyrical and melodic framework. The minor tonality, contrasting a middle section in the tonic major, and effective four-part writing produces a sonorous work of poignancy and deeply felt emotion. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLacrimosa was commissioned by David Heyes and Wells Cathedral School (Somerset UK) and premiered at the school on 11 June 1998 by Jenny Knight, David Heyes, Sara Johnson and Philip Anson. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"...so haunting a piece.\" \u003c\/em\u003e(ISB) \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"A lacrimosa is usually a traditional movement of the Latin Requiem Mass, reflected here in the church-like harmony...well worth adding to the repertoire of advanced quartets.\" \u003c\/em\u003e(Bass News) \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"Gajdos brings to this quartet his usual well-balanced scoring and refreshing harmonies...Lacrimosa is a successful and enjoyable exercise in close harmony for four double basses.\" \u003c\/em\u003e(Double Bassist) \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e2. Festive Suite \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFestive Suite comprises three contrasting pieces (Fanfare \u0026amp; Sonnet \/ Memorial (Tryzna) \/ Hymnus). The outer movements abound with rhythmic energy, offering musical and technical challenges in equal measure, with a lyrical and sonorous middle movement which demonstrates the singing qualities of the double bass. Miloslav Gajdoš has composed a wealth of music for double bass over the past fifty years and writes in a traditional and tonal style which offers music popular with players and audiences alike. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e3. A Classical Puzzle \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis amazing three movement work has been created using themes from concertos of the Classical age, notably works by Dittersdorf, Vanhal, Hoffmeister, Pichl and Sperger. Each movement is a unique opportunity to perform a wealth of concertos with each theme like a beautiful piece of marble in an ornate mosaic or a piece of a jigsaw puzzle. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMiloslav Gajdoš has created a new work from older music which is an amazing addition to the quartet repertoire. How good is your knowledge of the Classical concerto repertoire? How many themes can you recognise? Surely this is a work for the musical detectives. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMiloslav Gajdoš writes\u003cem data-mce-fragment=\"1\"\u003e: \"The quartet was written for Klaus Trumpf, to mark his final time as Director of the double bass seminars at Kloster Michaelstein in Germany. My aim was to create a work that linked the music of the past with bassists of the present, and to celebrate \u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003ethe amazing work by Klaus to promote and publish many forgotten and unknown works from the Classical age. The themes have been put together in the form of a puzzle and there are opportunities for each bassist to play the melodic material. The quartet was first performed at Kloster Michaelstein in 1998 by Miloslav Gajdoš, Radoslav Šašina, Miloslav Jelínek and Klaus Trumpf.\" \u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMiloslav Gajdoš is one of Europe's most active and inventive bassist-composers. He was born in northern Moravia in 1948 and initially learned violin before transferring to the double bass, studying with Alois Kříž, Jirí Bortlícek and Ludwig Streicher. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe has been Professor of Double Bass at the Vejvanovský Conservatoire in Kroměříž (Czech Republic) since 1971, and was a member of the Olomouc Symphony Orchestra for a number of years. He is Director of the Gregora International Double Bass Competition, founded in 1979 and held every two years in Kroměříž, and has been a juror at many competitions in Hungary, Germany and the Czech Republic. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMiloslav Gajdoš is a prolific composer and arranger and, for almost 40 years, has produced a vast body of original works and transcriptions for double bass which are performed worldwide. His original works combine Czech lyricism and melody with brilliant technical demands, and music from one to sixteen double basses. He writes in a traditional and accessible style, producing music for every level of performer, particularly for the advanced bassist, and his many works for unaccompanied double bass are frequently chosen as international competition repertoire. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e[Gajdoš is pronounced GUY-DOSH] \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40710284443692,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/baaca0eb0e33dc4f9d45910b8c86623f0144cea0fe0c2093c546d17d535752eb_3.webp?v=1664456901"},{"product_id":"peregrino","title":"Rodrigo Mata: Peregrino (Pilgrim) For double bass trio (2022)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTRIO PEREGRINO \u003cem data-mce-fragment=\"1\"\u003e(PILGRIM)\u003c\/em\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e \u003c\/em\u003e\u003c\/strong\u003eis a sound journey through three spectacular places worldwide, as if the piece itself were a pilgrim who visits the top of the mountains and contemplates the immense landscape around each place. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt is divided into four movements, the first is a very brief \u003cem data-mce-fragment=\"1\"\u003ePrelude \u003c\/em\u003ein which one bass recites a phrase with subtle variations while the rest remains on two drone notes. This fragment only alludes to the expectation of starting a journey.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe second movement is inspired by the American roots music, hillbilly, and bluegrass that had their heyday in the Appalachian Mountains area in the United States, hence the movement is titled \u003cem data-mce-fragment=\"1\"\u003eApalaches (Appalachia) \u003c\/em\u003eas it portrays the musical culture of this region and develops around a simple melody accompanied by a rhythmic duet faithful to the style of bluegrass.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe third movement takes us to a contrasting sound inspired by the traditional music of the Middle East, right in the area where Europe connects with Asia. It is titled \u003cem data-mce-fragment=\"1\"\u003ePónticos (Pontics)\u003c\/em\u003e, referring to the homonymous mountains that are found in the north of Turkey. In this section, a new melody arises full of melismas, glissandi, and a very particular scale that passes through two microtonal intervals from which a peculiar sound sequence flows together with the percussive rhythm and the multiphonics that color the space with exotic textures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe last movement is titled \u003cem data-mce-fragment=\"1\"\u003eMendip\u003c\/em\u003e, alluding to the homonymous mount located in the southwest of England, which transports us to a very different landscape. This last section, inspired by the music of the English Renaissance, shows us a triumphant melody supported by chords made up of natural harmonics, ordinary notes, and a constant ternary rhythm like a Romanesca. In the end, it connects with a small coda that arises from a variation of the phrase set forth in the prelude, this time set out in a much lower register. All movements are attacca and must be played without interruption. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMost of this work has been written in a traditional manner. That is, it does not have writing that can be considered contemporary. However, in brief moments it uses some unconventional double bass technical resources to enrich the sound textures of the piece, such as multiphonics, extended ricochet, microtonalism, battuto bow on the string and on the tailpiece, percussion on the fingerboard or the bass neck and the use of scordatura for one of the basses. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCommissioned \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis work has been commissioned by David Heyes and co-commissioned by Susan Hagen, Elizabeth Harre, Lynn Hannings, Eric Hansen, David Murray, May Halyburton, David Whitla, Rob Nairn, Chris Kosky, Liz Foulser, Marcos Machado, Sergio Barbosa, Martin Penning, Simón García, Joel Quarrington, Phil Parker, Jacob Head, Malcolm Healey, Davide Botto, David Desimpelaere, Chris Clark and Randy Zigler. And it is dedicated to the same David Heyes and Susan Hagen. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBassist and composer born in 1985 in Guanajuato, Mexico, he graduated in double bass at the University of Guanajuato. Concurrently, he studied with Valeria Thierry (Mexico) in Mexico City and, in 2010, completed an academic stay at Mount Royal University in the city of Calgary, Canada, with Sheila Garrett (Canada), John Hyde (Canada) and Rubim de Toledo (Brazil). From 2019 to 2021, he studied for a Master's Degree in Music Performance at the Norwegian Academy of Music with Dan Styffe (Sweden) and Håkon Thelin (Norway). He has received master classes from renowned musicians such as Stefano Scodanibbio (Italy), Bertram Turetzky (United States), Frank Proto (United States), Markus Stockhausen (Germany), Dominic Seldis (United Kingdom), Thierry Barbe (France), Jeff Bradetich (United States), among others.\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003eAs a soloist, he has premiered works by contemporary composers in Mexico, the United States, and Norway. He has performed with Calgary Youth Orchestra in Canada, Orquesta de Cámara de Leon, the Norwegian Academy of Music Symphony Orchestra and Sinfonietta, Ensemble 3030, and the Bergen Youth Philharmonic Orchestra. He is currently a bassist in Orquesta Sinfónica de la Universidad de Guanajuato, as well as several chamber music and jazz projects. He is conductor and founder of the double bass ensemble \"Mushamukas,\" with which he has premiered works by avant-garde composers and with which, in 2022, he was a beneficiary of FONCA's Programa de Fomento a Proyectos y Coinversiones Culturales. In 2021 he was a beneficiary of Programa de Estímulos a la Creación y Desarrollo Artístico (PECDA) as a creator with trajectory.\u003cbr\u003e\u003cbr\u003eAs a composer, he has won first prize in the 2020 and 2022 ISB (International Society of Bassist) Composition Contest, first prize in the 2021 FICI (Festival Internacional de Contrabajo Infantil) Composition Contest, and has been the resident composer of the Latin Orchestra of Europe in 2021, his works have been performed in Norway, Mexico, the United Kingdom, France, the Czech Republic, Chile, Argentina, Portugal, Germany, Venezuela, Peru, and the United States.\u003cbr\u003e\u003cbr\u003eBoth as a performer, as a composer, and as a director, he has participated in numerous international events such as the International Cervantino Festival, the Fjord Classics Festival, the International Festival of Contemporary Art, the Callejón del Ruido International Festival, the International Jazz Festival in Irapuato, the Convention of the International Society of Bassists and the Baja California Latin American Double Bajos Festival, to name a few, and has made album recordings with the Tagma Records, Quindecim Recordings and Evidence Classics record labels.\u003cbr\u003e\u003cbr\u003eAdditionally, he has served as a teacher in the Community Orchestras of the Sistema Nacional de Fomento Musical, Trinitate Philharmonia, and continues as a double bass professor at the University of Guanajuato.\u003c\/p\u003e","brand":"Rodrigo Mata","offers":[{"title":"Default Title","offer_id":40710288572460,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/ec12e0d4942ce6d9380482aa744aaae9ee3212ce184776c366419a019cb584d2.webp?v=1664457208"},{"product_id":"teppowhy","title":"Teppo Hauta-aho: Why? (in memory of Ovidiu Badila) for double bass quartet","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Why? is dedicated to the memory of the Romanian double bass virtuoso Ovidiu Badila, who died in March 2001 at the age of 38, and is an elegiac meditation for this great international soloist. There is a poignant sadness and passion behind the music, almost asking the question, \"Why did he have to die?\" \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe music develops and progresses from a simple pizzicato theme, ending suddenly and dramatically after an impassioned and heartfelt climax, passing through various moods, idioms, and sound worlds along the way. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhy? is aimed at the advanced quartet, offering musical and technical challenges in equal measure, creating a work which is dramatic, passionate, evocative, and unique. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Edition \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe digital edition includes a score and two sets of parts. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e1) separate parts for basses 1-4 \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e2) parts for basses 1 \u0026amp; 2 and basses 3 \u0026amp; 4. The parts consist of two three-page spreads and the page turn for both is at the end of page 3 \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReviews \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"...the piece begins with an introspective blues-like melody which is passed from voice to voice. The work moves through a variety of emotions, from tranquillity to sorrow to anger, and belongs amongst the best pieces written for this instrument combination.\" \u003c\/em\u003e[Double Bassist] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"Why? was written in memory of the Romanian bass player Ovidiu Badila, and is a work of unusual poignancy for double bass quartet. Its beginning looks back to the melody used in Teppo's Two Dances, and as this material is developed it is, by turns, reflective, heartfelt and sad. There are some lovely harmonies and the closeness of the parts often creates an anguished tension. The impassioned climax, with its alternating chords, comes to an abrupt stop, leaving three silent bars of reflection. The upper parts are sometimes high and the work is advanced, but this quartet is worth exploring.\" \u003c\/em\u003e[ESTA - News \u0026amp; Views] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePremiere \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhy? was premiered on 6 April 2002 at Downe House School (Newbury, Berkshire) during Bass-Fest 2002 by an international quartet consisting of Teppo Hauta-aho (Finland), David Heyes (UK), Mette Hanskov (Denmark) and Peter Leerdam (Netherlands). \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the composer \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTeppo Hauta-aho \u003c\/strong\u003e(1941-2021) was the most prolific composer in the history of the double bass and composed for every ability level, from the beginner to the virtuoso. His music is evocative and atmospheric, shaped by jazz and contemporary styles, and the influence of the dramatic and bleak landscapes and vistas of his native Finland are captured throughout his engaging and accessible m \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40710341328940,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/880e2f5efb03fb813525a4237482786572bb774a0c843727567ced37f4c5998e.jpg?v=1664458274"},{"product_id":"ravelharmonics","title":"The Notation of Harmonics for Double Bass: A guide to the orchestral bass parts of Maurice Ravel by Lucas Drew","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Guide\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlthough the natural harmonic or overtone series is known to most Double Bass players, the notation of harmonics in orchestral works of Maurice Ravel (1875-1937) is sometimes difficult to interpret.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGenerally, Ravel used the diamond-shaped tablature in the bass clef to notate the desired shaped note also occurs \u003cem data-mce-fragment=\"1\"\u003ebelow \u003c\/em\u003ethe diamond-shaped note, it points out the string on which the harmonic is to be played. And if a note occurs \u003cem data-mce-fragment=\"1\"\u003eabove \u003c\/em\u003ethe diamond-shaped note, it indicates the \u003cem data-mce-fragment=\"1\"\u003epitch \u003c\/em\u003eof the harmonic. In this connection, however, it must be remembered the Double Bass actually sounds an octave lower than written, regardless of whether the note in question is a harmonic or not.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn addition to this harmonic notation system, Ravel used, at times, the term \"sons réels\" to indicate the actual pitch of the harmonic to be played. This occurs whenever he wrote the harmonic in the treble rather than the bass clef.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout Lucas Drew\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLucas Drew, after a distinguished career of more than 40 years of teaching and performing, is now Professor Emeritus at the University of Miami Frost School of Music and Principal Double Bass Emeritus of the Florida Philharmonic Orchestra. Also, he is Founder\/Artistic Director Emeritus of the Highlands - Cashiers (NC) Chamber Music Festival (1982-1999).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDr. Drew studied double bass with Allen Warner, Dmitri Shmuklovsky, and Edward Krolick and later, coached with Frederick Zimmermann. He is a graduate of the University of Miami, University of Illinois, and Florida State University. Many of his former students are active in the music profession.\u003c\/p\u003e","brand":"Lucas Drew","offers":[{"title":"Default Title","offer_id":40710353584172,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/3298c3eb001bbed90f1d616da66708480096a0a1b6e81bd4f8a2d6e9b831d301_3.webp?v=1664458676"},{"product_id":"transcriptionbk2","title":"Transcription Series Book 2 (arranged by David Heyes) for double bass \u0026 piano","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cstrong\u003eAbout the Book\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-pm-slice=\"1 1 []\"\u003eThe Transcription Series Book 2 brings together five fun and accessible works for the intermediate and advanced bassist, arranged by David Heyes. Ideal as either study or recital repertoire, each piece offers a range of musical and technical challenges, primarily in the orchestral register, and emphasizes the lyrical and cantabile potential of the double bass. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEach piece includes piano accompaniments for both solo and orchestral tuning. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTable of Contents\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003e1. Vittorio Monti - Czardas \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eterm '\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eone-hit wonder\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e' \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ecould be attached to many composers \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ebut\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e possibly none more so than Vittorio Monti. His \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eCzardas \u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003efor violin and piano is \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003esurely\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e one of the most popular works in the classical repertoire and has \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ebeen arranged\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e for almost every known instrumental combination. \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eCzardas \u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003ehas long been a \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003efavourite\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e showpiece or encore for double bassists and, in the hands of a great player, sounds as effortless as it does on the violin. \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eIt demonstrates \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eso much of\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e the \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003epotential of the instrument\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003efrom\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ethe\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e virtuosity and technical brilliance\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eto \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ethe\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e passionate and evocative melodies, alongside evocative and ethereal \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eharmonics\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e.\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMonti's\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eCzardas \u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003eis a winner and a magnificent addition to the solo repertoire. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eVittorio Monti\u003c\/span\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003e(1868-1922) was an Italian violinist, composer, mandolinist, \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003econductor\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e and was born in Naples and studied at the Conservatorio di San Pietro a Majella. At the end of the 19th century, he was appointed conductor of the Lamoureux Orchestra in Paris, where he composed \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ea number of\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e ballets and operettas. \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMonti’s\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eCzardas \u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003ewas \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ecomposed\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e during the early years of the 20th century \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eand was\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e first published in Milan by G. Ricordi in 1904 in versions for violin or mandolin and piano, or violin and orchestra. \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe piece was quickly taken up by every Gipsy ensemble or orchestra, also by classical \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003emusicians,\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e until it \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ehas become\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e a standard virtuosic showpiece for almost every instrument.\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003e2. Peter Tchaikovsky - Andante Cantabile (arranged by Josef Rambousek) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eAndante Cantabile \u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003eis an arrangement of the slow movement from \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eTchaikovsky’s\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e String Quartet No.1 in D major, Op.11. Transcribed for double bass by Josef Rambousek, it would be ideal for any progressing bassist with knowledge of thumb position and the ability to demonstrate the lyrical and sonorous qualities of the solo double bass. \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe opening melody \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eacts\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e as a recurring motif, helping to unify the melodic \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ematerial,\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ewith\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e a \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003esimple and supportive\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e piano accompaniment, \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ecreating\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e a perfect transcription \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ewhich\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e is\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e accessible and playable by both performers.\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003e3. Charles Harford Lloyd - Le Départ \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLe Départ, originally for cello and piano, was first published in 1920 by Joseph Williams Limited (Great Portland Street, London), a year after the \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ecomposer’s\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e death. \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eTypical of the salon and characteristic \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003emusic\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e of the early \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e20th-century\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, the piece is lyrical and accessible, transcribing well for the double bass and is ideal for the intermediate bassist.\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThis edition includes solo parts for violoncello (\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003euse\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e piano accompaniment marked orchestral tuning) or double bass, playable in solo or orchestral tuning, and is a \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003euseful\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e addition to the intermediate transcription repertoire.\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eCharles Harford Lloyd\u003c\/span\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003e(1849-1919) was an English composer and organist. He was a fairly prolific composer, primarily of church music, and was organist of Gloucester Cathedral, Christ Church Cathedral in Oxford, and Eton College Chapel. Between 1887 and \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e1892\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e Lloyd taught organ and composition at the Royal College of Music in London and \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eafter\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e his retirement from Eton was appointed organist of the Chapel Royal at St \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJames’s\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e Palace \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003e4. Maurice Ravel - Kaddish \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eDeux Mélodies Hébraïques by Maurice Ravel\u003c\/span\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003e(1875-1937) \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ewas written\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e in 1914 at Saint-Jean-de-Luz. The first song \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKaddish\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, here arranged for double bass and piano by David Heyes, uses an Aramaic text from the Jewish prayer book. Both songs were first performed in June 1914 by Alvina Alvi, a soprano with the St Petersburg Opera who commissioned them, with the composer at the piano. \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eRavel orchestrated the songs \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003efrom\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e 191\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e9-1\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e920.\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe piano accompaniment is primarily chordal, contrasting a more rhapsodic and melismatic solo line\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eutilizing\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e the lyrical and sonorous register of the double bass.\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKaddish has been transcribed for \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003emany\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e instrumental combinations and \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003edemonstrates\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e the vibrant \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ecolours\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e and timbres employed in \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ethe\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e musical vocabulary \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eof Maurice Ravel\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e.\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003e5. Camille Saint-Saëns - The Swan \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThis edition includes one piano part and three solo bass parts - one in G major for orchestral tuning and two in F major (high and low) for solo tuning. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eCamille Saint-Saëns\u003c\/span\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003e(1835-1921) composed\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e '\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe Carnival of the Animals\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e' \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ein February 1886. \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eSubtitled\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e '\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eGrande Fantasie Zoologiqu\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ee\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e',\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e it has fourteen movements, is scored for two pianos and \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003echamber\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e ensemble, and is a rare work of musical \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ehumour\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e which\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e never fails to thrill its audience, young or old.\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe first performance was on 9 March 1886 at the annual Shrove Tuesday concert \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eorganised\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e by \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ecellist\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e,\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eCharles Joseph Lebouc\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, a\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e few days \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003elater\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eit was played\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e at the \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLentern\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e concert of\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e '\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLa Trompett\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ee\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e',\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e a select Parisian chamber music \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003esociety,\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e but was then withdrawn for over thirty years.\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eSaint-Saëns'\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e misgivings about the popularity of\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e '\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe Carnival of the \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eAnimals'\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e overshadowing his many other \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003egreat\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e achievements \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ewas\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e entirely accurate, and it \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ewas not released\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e for publication until after \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ehis death\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e in 1921. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHis will contained the clause:\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e '\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI expressly forbid the publication of any unpublished work, except The Swan, which may be issued by my usual publishers, M.M. Durand et Ci\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ee\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e'.\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e The Swan \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ewas published\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e in 1887 \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eand\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e the complete work in 1922, just over thirty-five years after its composition. The Swan (Le Cygne) is the thirteenth of the fourteen movements, creating a moment of calm and beauty before the spirited and vibrant finale, and \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ewas originally scored\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e for \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003ecello\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e solo and two pianos. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eAt only 28 bars, this is pure perfection \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eand\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e it is understandable why the composer allowed this one piece to be published - he knew a winner when he wrote one! It transcribes beautifully for the double bass, \u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003eemphasising\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e its lyrical and cantabile qualities whether played in the high or middle register. \u003c\/span\u003e\u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40710374916140,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/baaca0eb0e33dc4f9d45910b8c86623f0144cea0fe0c2093c546d17d535752eb_4.webp?v=1664459251"},{"product_id":"contrabajisimo","title":"Astor Piazzolla: Contrabajísimo (Contrabajissimo) 1984 for string quintet","description":"\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Story\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003eIn 1979 Piazzolla had a twice meeting: He came back to Buenos Aires and to his Quintet when in the 70s he dissolved all of his musical groups. In the 80’s he recorded a few long plays (LPs) with his quintet, but he made many concerts in South America, Europe, Japan, United States; all of them were recorded, a few were edited at the exact moment, and others were posthumous.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAstor Piazzolla kept a challenging relationship with the record labels, all starting at the moment when RCA Victor made a requirement, one LP with classical tangos that Piazzolla called \u003cem data-mce-fragment=\"1\"\u003e¿Piazzolla o no? Bailable y apiazolado\u003c\/em\u003e, as a condition to recording another LP with his Works that he called \u003cem data-mce-fragment=\"1\"\u003ePiazzolla interpreta a Piazzolla\u003c\/em\u003e, for that reason we could say, Astor Piazzolla never had the producers he deserved.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn those concerts the works to play, turned around the Piazzolla four seasons, Serie del Ángel, Tristezas de un Doble A, Libertango, Adiós Nonino, Escualo, Mumuki, Chin chin and other pieces. According to this, the most important recorded concerts are:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e1982 Piazzolla - Goyeneche (The Polish) en Vivo \/ Teatro Regina\u003cbr data-mce-fragment=\"1\"\u003e1983 ‘Live in Wien'\u003cbr data-mce-fragment=\"1\"\u003e1984 Live at the Montreal Jazz Festival\u003cbr data-mce-fragment=\"1\"\u003e1984 Live at the Bouffes du Nord (Piazzolla \u0026amp; Milva in Paris)\u003cbr data-mce-fragment=\"1\"\u003e1987 The Central Park Concert\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/SAwCIFpwGWM?si=oBpZcE4lffYA-i5x\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Ensemble\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe group of musicians who played with Piazzolla were:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAstor Piazzolla (banoneón, arreglista y director)\u003cbr data-mce-fragment=\"1\"\u003eFernando Suárez Paz (violín)\u003cbr data-mce-fragment=\"1\"\u003ePablo Ziegler (piano)\u003cbr data-mce-fragment=\"1\"\u003eOscar López Ruiz \/ Horacio Malvicino (guitarra eléctrica)\u003cbr data-mce-fragment=\"1\"\u003eHéctor Console (contrabajo)\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAnd as expected, Astor Piazzolla composed for his new double bass player Hector Console the piece ‘\u003cem data-mce-fragment=\"1\"\u003eContrabajísimo’\u003c\/em\u003e in the same manner as Kicho Díaz in ‘\u003cem data-mce-fragment=\"1\"\u003eContrabajeando’\u003c\/em\u003e and ‘\u003cem data-mce-fragment=\"1\"\u003eKicho’\u003c\/em\u003e.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis work appeared on one of the LPs in 1986 but in the posthumous double CD published in 1997 by the label Milan Record, was recorded in February 1984 at the concert in the Theatre Roxy, Mar del Plata, Argentina, and it is the oldest record that ever has from \u003cem data-mce-fragment=\"1\"\u003eContrabajísimo.\u003c\/em\u003e So we could assume that \u003cem data-mce-fragment=\"1\"\u003eContrabajísimo\u003c\/em\u003e was composed between 1983 and in January-February 1984 because there is no other older record for this work.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis work in its beginning starts with a cadence for the double bass accompanied by the guitar, this cadence is a little bit longer and Hector Console never played entirely and made a resume cadence, adding some notes from him. In this edition for String Quintet, you will find both cadences, the original edition from Piazzolla and the short version from Console. \u003c\/p\u003e","brand":"Guillermo Soteldo","offers":[{"title":"Default Title","offer_id":40710484983852,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/files\/Contrabajissimo_Soteldo_-01.png?v=1715467593"},{"product_id":"elegia_bundle","title":"Bottesini: Elegia 1, 2, \u0026 3 for double bass and piano (edited by David Heyes)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout the Collection\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElegia 1, 2 \u0026amp; 3 by Giovanni Bottesini demonstrate a composer at the very height of his powers. Each offers musical and technical challenges in equal measure, demonstrating the virtuosic and lyrical potential of the double bass throughout its solo register, and the beauty and quality confirm why Bottesini’s music is still at the heart of the solo repertoire more than 130 years after his death. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eElegia No.1\u003c\/strong\u003e \u003cbr\u003eWas first published in Bottesini's \u003cem data-mce-fragment=\"1\"\u003eGrande méthod complète de contrebasse \u003c\/em\u003e(c.1869) to illustrate the lyrical capabilities of the instrument, and was rumoured to be the composer's favourite work. It has been recorded more than any other work by Bottesini and is one of his most attractive and accessible pieces for double bass. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElegia No.1  is aimed at the intermediate bassist, offers musical and technical challenges in equal measure, and is an ideal ‘easy’ virtuoso work for bassists who are venturing into the higher reaches of the instrument. This edition returns to the version published in Bottesini’s \u003cem data-mce-fragment=\"1\"\u003eGrande méthod complète de contrebasse\u003c\/em\u003e, presumably corrected and edited by the composer. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe edition is published with piano accompaniments for both solo and orchestral tunings and also includes two double bass parts - the original bowings by the composer and a newly edited part by David Heyes. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca rel=\"nofollow\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/elegiaorch%C2%A0\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/elegiaorch%C2%A0\" target=\"_blank\"\u003eElegia No.1 is also available for solo double bass and string orchestra\u003c\/a\u003e in both solo and orchestral tunings.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eElegy No.2 (Romanza Drammatica)\u003c\/strong\u003e \u003cbr\u003eHas a completely different character and style to Bottesini's other elegies, with a dramatic and serious intent that exploits many lyrical and sonorous possibilities of the double bass. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe opening theme is sensuous and evocative, suffused with the operatic flair and dramatic potential of the mid-19th century. Bottesini always exploits the technical challenges in a musical way, using powerful and dramatic double stops and harmonics to add variety and contrast, but the overall character is one of great beauty and elegance. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe bass-friendly keys of D minor and D major are used, offering many harmonic and dramatic possibilities. The minor key is wistful and reflective contrasting music of a more dramatic, optimistic, and technical nature in the tonic major, but this is Bottesini at his most serious and wistful. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElegy No.2 is not as showy as many pieces by Bottesini, but it allows the advanced bassist to demonstrate both a technical and musical prowess alongside the ability to exploit the lyrical, cantabile, and dramatic possibilities of the solo double bass. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis edition includes accompaniments for both solo and orchestral tunings and two solo parts - Bottesini’s original bowings from one manuscript source and one edited by David Heyes. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eElegia No. 3\u003c\/strong\u003e \u003cbr\u003eAlso known as \u003cem data-mce-fragment=\"1\"\u003eRomanza Patetica\u003c\/em\u003e, was first published by Richault in Paris in 1879 with the title \u003cem data-mce-fragment=\"1\"\u003eMélodie\u003c\/em\u003e, and is one of Bottesini’s most sublime pieces for the double bass. Probably composed in the middle 1870s, it emphasizes the lyrical and sonorous possibilities of the double bass across its entire solo register. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe use of D minor\/major, sounding E minor\/major for solo tuning, offers dramatic potential with the ability for the double bass to be as expressive and eloquent as the cello or violin. Although primarily in treble clef, the melodic line descends to open A, Bottesini’s lowest note, rising to high D in harmonics, one of the highest notes available to the double bass. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElegia No. 3 is a perfect piece, ideal for any audience or occasion, and demonstrates the technical and musical prowess of the bassist. It emphasizes Bottesini’s supreme compositional skills and why his music is still at the heart of the solo repertoire into the 21st-century. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAccompaniments for both solo and orchestral tunings and two solo parts - Bottesini’s original bowings from one manuscript source and one edited by David Heyes. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout the Composer \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"How he bewildered us by playing all sorts of melodies in flute-like harmonics, as though he had a hundred nightingales caged in his double bass... I never wearied of his consummate grace and finish, his fatal precision, his heavenly tone, his fine taste. One sometimes yearned for a touch of human imperfection, but he was like a dead shot; he never missed what he aimed at, and he never aimed at less than perfection.\" \u003c\/em\u003e[H.Haweis, 1888] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGiovanni Bottesini (1821-1889) was the greatest double bass virtuoso of the 19th- century, and many of his compositions for double bass are still at the heart of the solo repertoire today. He spent much of his life in the opera house as a conductor, and composer and his music is inspired by the lyrical, cantabile, and virtuosic pyrotechnics of 19th-century Italian opera. Bottesini was known as \u003cem data-mce-fragment=\"1\"\u003e‘the Paganini of the double bass’ \u003c\/em\u003eand was one of the greatest musical superstars of his day. \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40710611206188,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/f88c0c27f105662659333fe58d8944e40be71104530cfe78c88ef9c2a9207e02.jpg?v=1664464322"},{"product_id":"eccles2","title":"Eccles: Sonata No. 2 in E minor for double bass and piano (edited by Lucas Drew)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eVincent Kantorski states the following in his article, A \"New\" Eccles Sonata, in the Spring 1977 issue of the American String Teacher:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMost double bassists and cellists are familiar with the \u003ca rel=\"nofollow\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/eccles\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/eccles\" target=\"_blank\"\u003eSonata in G Minor by Henry Eccles\u003c\/a\u003e (c. 1680 - 1740), the English violinist and composer. (The G Minor Sonata has become a theme song of bassists of this generation through the published bass edition by Frederick Zimmermann and the recordings of Serge Koussevitzky and Gary Karr)*. Henry Eccles, also known as Eagles, was possibly not as well-known during his lifetime as his father, Solomon Eccles (1618-1683) an English Quaker violinist, or his brother, John Eccles (1650-1735) also a composer.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Sonata in E Minor is from a collection of twelve solo violin sonatas (Book One, Sonata No. 2) published in Paris in 1720, which bears the autograph of Henry Eccles. An additional group of twelve sonatas (Book Two) is said to have been written in 1714 by Giuseppi Valentini instead of Eccles. this particular Sonata is believed to be Henry Eccles' own composition.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eKeyboard Realization \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this edition, the treble clef of the keyboard part is a realization of the original figured bass lines. It may be played as written or adapted at the discretion of the performer. The cross ornament(+) has been retained from the original source and may be played as a short trill at the discretion of the performer. It is hoped that students and professionals will find this Sonata an interesting addition to the cello and double bass repertoires.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLucas Drew\u003cbr data-mce-fragment=\"1\"\u003eEditor, \u003ca rel=\"nofollow\" href=\"http:\/\/www.stfrancismusic.com\/\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.stfrancismusic.com\/\" target=\"_blank\"\u003eSt. Francis Music Publications\u003c\/a\u003e\u003cbr data-mce-fragment=\"1\"\u003eProfessor Emeritus, University of Miami Frost School of Music\u003cbr data-mce-fragment=\"1\"\u003eRobert Heath\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout Lucas Drew\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLucas Drew, after a distinguished career of more than 40 years of teaching and performing is now Professor Emeritus at the University of Miami Frost School of Music and Principal Double Bass Emeritus of the Florida Philharmonic Orchestra. Also, he is Founder\/Artistic Director Emeritus of the Highlands - Cashiers (NC) Chamber Music Festival (1982-1999).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDr. Drew studied double bass with Allen Warner, Dmitri Shmuklovsky, and Edward Krolick and later, coached with Frederick Zimmermann. He is a graduate of the University of Miami, University of Illinois, and Florida State University. Many of his former students are active in the music profession.\u003c\/p\u003e","brand":"Lucas Drew","offers":[{"title":"Default Title","offer_id":40710838124588,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/baaca0eb0e33dc4f9d45910b8c86623f0144cea0fe0c2093c546d17d535752eb_4.jpg?v=1664467820"},{"product_id":"faureelegie","title":"Gabriel Fauré: Élégie Op.24 for double bass \u0026 piano (arranged by David Heyes)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eÉlégie Op.27 by Gabriel Fauré is originally for cello and piano but transcribes well for the advanced bassist and is an excellent addition to the transcription repertoire. It successfully explores the sonorous, lyrical and expressive possibilities of the double bass throughout its solo register, with technical challenges that allow the soloist to demonstrate virtuosity and technical accomplishment.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eÉlégie was composed in 1889, as the slow movement of a proposed cello sonata, which was never completed, and it was first performed and published in 1883 as a stand-alone piece and with its present title. It is dedicated to the cellist Jules Loeb, who gave the first performances accompanied by the composer in December 1883 and it was later orchestrated and performed at the Société Nationale in April 1901, with Pablo Casals as the soloist and the composer as conductor.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe edition, written a fifth higher than the original and to exploit the solo register of the double bass, includes accompaniments for both solo and orchestral tuning.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Comopser\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGabriel Urbain Fauré (1845 – 1924) was a French composer, organist, pianist and teacher and was one of the foremost French composers of his generation. His musical style influenced many 20th-century composers and among his best-known works are his Pavane, Requiem, Nocturnes, Après un rêve and Clair de lune, alongside a wealth of instrumental and vocal music.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAmong his teachers was Camille Saint-Saëns, who became a lifelong friend, and after graduating in 1865, Fauré earned a modest living as an organist and teacher, leaving him little time for composition. He subsequently was appointed to the important posts of organist of the Église de la Madeleine and director of the Paris Conservatoire.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFauré's music has been described as linking the end of Romanticism with the modernism of the second quarter of the 20th century. When he was born, Chopin was still composing, and by the time of Fauré's death, jazz and the atonal music of the Second Viennese School were being heard. Grove's Dictionary of Music and Musicians describes him as the most advanced composer of his generation in France and noted that his harmonic and melodic innovations influenced the teaching of harmony for later generations.\u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40710867877932,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/4ee485d08196a648c355ed736b05bbc432aa83085fa764fafd7a77d27e5153f4.webp?v=1664468370"},{"product_id":"bukinikfantasie","title":"Mikhail Bukinik: Fantasie Op.11 for violoncello \u0026 double bass","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFantasie Op.11 for cello and double bass (orchestral tuning) is aimed at the advanced duo. In one extended movement and in orchestral tuning, the piece is dedicated to Serge Koussevitsky and was first published around 1911 by P. Jurgenson (Moscow\/Leipzig). The double bass is by no means the lesser partner and there are musical and technical challenges aplenty which should make this a welcome addition to the popular duo repertoire. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs a cellist Bukinik includes many challenges in the cello part, particularly the use of double stops, and his other published works include technical and virtuoso studies for cello. There is plenty here for both musicians to 'get their teeth into' and Fantasie Op.11 would easily complement Rossini’s 'Duetto', both being in orchestral tuning. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMikhail Bukinik\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e(1872-1947) was a Ukrainian cellist, composer, and teacher. Born in Dubno, about 400km west of Kyiv, Bukinik had a busy and successful career in Russia, also lived in Germany, France, and Switzerland, and in 1922 emigrated to America. He taught at the Mariinsky Institute (St. Petersburg), Gnessin School of Music (Moscow), and later at the Conservatoire in Kharkiv (Ukraine), and, although not a prolific composer, he produced a number of significant concert and educational works for the cello. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSerge Koussevitsky (1874-1951) is known to many as the famed conductor of the Boston Symphony Orchestra and was also one of the most important commissioners of orchestral music during the 1930s and 40s. To bassists, he is known as one of the mighty handful, alongside Dragonetti, Bottesini, and Gary Karr, and his four salon works and concerto are still performed extensively today. Less well known is that a number of works were composed for him during his solo career in the early decades of the 20th-century with the 'Duo' for bassoon and double bass by Albert Roussel being the most well-known. Other composers include Bukinik, Georgi Konius, Paul le Flem, Fabian Sevitzky, Charles Martin Loeffler, and Guido Gallignani. \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40711175209004,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/045b6391cf2a9c57d311c6bf217648128c318503a71a23a7f7e5eb3c4ad11d4c.jpg?v=1664475076"},{"product_id":"mata6etudes","title":"Rodrigo Mata: 6 Etudes for Solo Double Bass","description":"\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Collection\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis etude collection has been created with the main objective of obtaining a better preparation to perform the music by Rodrigo Mata, therefore, some of the musical ideas and techniques used in his works can be worked out in this collection. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn each etude, material that contains specific challenges has been captured within both the traditional technique and a few double bass extended techniques. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eETUDE 1 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSkills to work: - Sound projection on the double stops. - Harmonic and normal note combination. - Bow with right hand and pizzicato with the left hand at the same time. - Combination of two pizzicato lines keeping the individual resonance in each one. - Harmonic and normal note pizzicato combination. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePreparation for pieces such as \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/sones\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/sones\"\u003eSONES DE LA TIERRA\u003c\/a\u003e, \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/inmemoriam\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/inmemoriam\"\u003eIN MEMORIAM\u003c\/a\u003e, HYMN, or \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/ontheG\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/ontheG\"\u003eON THE G\u003c\/a\u003e. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eETUDE 2 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSkills to work: - Pizzicato sustain and resonance on different strings (harmonics and normal notes) at the same time. - Left-hand articulation (several pizzicato notes within a single pluck), including gliss. - Flageolet pizzicato. - Flageolet pizzicato and normal pizzicato combination. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePreparation for pieces such as \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/decenium\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/decenium\"\u003eVIII DECENNIUM\u003c\/a\u003e, \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/raindrops_db\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/raindrops_db\"\u003eRAINDROPS\u003c\/a\u003e, LUMINESCENCE, or \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/ocelote\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/ocelote\"\u003eOCELOTE DE LAS NIEVES\u003c\/a\u003e. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eETUDE 3 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSkills to work: - Harmonic flageolet pizzicato. - Flageolet pizzicato and open strings combination. - Pizzicato sustain and resonance on different strings (harmonics and normal notes) at the same time. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePreparation for pieces such as LUMINISCENCE, \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/zephyr\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/zephyr\"\u003eZEPHYR\u003c\/a\u003e, \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/lapaix\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/lapaix\"\u003eLA PAIX\u003c\/a\u003e or \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/xochipItzahuatl\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/xochipItzahuatl\"\u003eXOCHIPITZÁHUATL\u003c\/a\u003e. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eETUDE 4 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSkills to work: - Harmonic and normal note combination. - Agility in handling the bow strokes on harmonics and normal notes. - Bow position (sul ponticello) - Sound projection in some fast sections on high register. - Sound projection on fast double stops. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePreparation for pieces such as \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/sones\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/sones\"\u003eSONES DE LA TIERRA\u003c\/a\u003e, \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/desierto\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/desierto\"\u003eDESIERTO\u003c\/a\u003e, \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/raindrops_db\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/raindrops_db\"\u003eRAINDROPS\u003c\/a\u003e or \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/lapaix\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/lapaix\"\u003eLA PAIX\u003c\/a\u003e. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eETUDE 5 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSkills to work: - String crossing bowing. - High and low register combination. - Highest register harmonics. - Low normal notes and harmonics combination. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePreparation for pieces such as \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/sones\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/sones\"\u003eSONES DE LA TIERRA\u003c\/a\u003e, \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/lapaix\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/lapaix\"\u003eLA PAIX\u003c\/a\u003e, LUMINESCENCE or \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/ontheG\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/ontheG\"\u003eON THE G\u003c\/a\u003e. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eETUDE 6 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSkills to work: - Percussion sound on the fingerboard. - Flageolet harmonic pizzicato. - Hammer pizzicato with left hand. - Coordination to combine different kinds of sounds (fingerboard hit, flageolet pizz., hammer pizz., normal pizz., harmonic and open string) \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePreparation for pieces such as \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/xochipItzahuatl\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/xochipItzahuatl\"\u003eXOCHIPITZÁHUATL\u003c\/a\u003e or \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/raindrops_db\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/raindrops_db\"\u003eRAINDROPS\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBassist and composer born in 1985 in Guanajuato, Mexico, he graduated in double bass at the University of Guanajuato. Concurrently, he studied with Valeria Thierry (Mexico) in Mexico City and, in 2010, completed an academic stay at Mount Royal University in the city of Calgary, Canada, with Sheila Garrett (Canada), John Hyde (Canada) and Rubim de Toledo (Brazil). From 2019 to 2021, he studied for a Master's Degree in Music Performance at the Norwegian Academy of Music with Dan Styffe (Sweden) and Håkon Thelin (Norway). He has received master classes from renowned musicians such as Stefano Scodanibbio (Italy), Bertram Turetzky (United States), Frank Proto (United States), Markus Stockhausen (Germany), Dominic Seldis (United Kingdom), Thierry Barbe (France), Jeff Bradetich (United States), among others.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs a soloist, he has premiered works by contemporary composers in Mexico, the United States, and Norway. He has performed with Calgary Youth Orchestra in Canada, Orquesta de Cámara de Leon, the Norwegian Academy of Music Symphony Orchestra and Sinfonietta, Ensemble 3030, and the Bergen Youth Philharmonic Orchestra. He is currently a bassist in Orquesta Sinfónica de la Universidad de Guanajuato, as well as several chamber music and jazz projects. He is conductor and founder of the double bass ensemble \"Mushamukas,\" with which he has premiered works by avant-garde composers and with which, in 2022, he was a beneficiary of FONCA's Programa de Fomento a Proyectos y Coinversiones Culturales. In 2021 he was a beneficiary of Programa de Estímulos a la Creación y Desarrollo Artístico (PECDA) as a creator with trajectory.\u003cbr\u003e\u003cbr\u003eAs a composer, he has won first prize in the 2020 and 2022 ISB (International Society of Bassist) Composition Contest, first prize in the 2021 FICI (Festival Internacional de Contrabajo Infantil) Composition Contest, and has been the resident composer of the Latin Orchestra of Europe in 2021, his works have been performed in Norway, Mexico, the United Kingdom, France, the Czech Republic, Chile, Argentina, Portugal, Germany, Venezuela, Peru, and the United States.\u003cbr\u003e\u003cbr\u003eBoth as a performer, as a composer, and as a director, he has participated in numerous international events such as the International Cervantino Festival, the Fjord Classics Festival, the International Festival of Contemporary Art, the Callejón del Ruido International Festival, the International Jazz Festival in Irapuato, the Convention of the International Society of Bassists and the Baja California Latin American Double Bajos Festival, to name a few, and has made album recordings with the Tagma Records, Quindecim Recordings and Evidence Classics record labels.\u003cbr\u003e\u003cbr\u003eAdditionally, he has served as a teacher in the Community Orchestras of the Sistema Nacional de Fomento Musical, Trinitate Philharmonia, and continues as a double bass professor at the University of Guanajuato.\u003c\/p\u003e","brand":"Rodrigo Mata","offers":[{"title":"Default Title","offer_id":40711478444076,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/ec12e0d4942ce6d9380482aa744aaae9ee3212ce184776c366419a019cb584d2_1.webp?v=1664477123"},{"product_id":"tulacekconcerto","title":"Rudolf Tuláček: Concerto in C sharp minor for double bass \u0026 piano (solo tuning)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Concerto\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eComposed in 1942 and orchestrated two years later, Rudolf Tuláček's Concerto in C# minor was in manuscript until Recital Music’s first published edition in 2015 and is aimed at the advanced bassist. Written in the grand romantic style, this is a magnificent bravura concerto full of technical and musical challenges.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eInhabiting a similar sound world to the concertos by Serge Koussevitsky (1874-1951) and Frantisek Černý (1861-1940), the three contrasting movements explore a wide range of romantic passions and emotions with the soloist being tested and challenged across the entire solo register of the double bass.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe first movement is dramatic and virtuosic leading into a beautifully lyrical slow movement that emphasizes the sonorous and cantabile qualities of the solo double bass. The third movement is fast and furious bringing this almost completely unknown concerto to a confident, powerful and successful conclusion. Only available for Solo Tuning.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout Tuláček's double bass compositions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRudolf Tuláček composed a number of works for double bass between 1903 and 1953, most written during the 1940s in Brno. All demonstrate a lyrical and cantabile approach, typical of the salon and characteristic music of the early years of the 20th-century. Still, his Scherzo and Concerto in C# minor also display a technical bravura and flair, requiring an advanced technical command of the entire instrument. His music was described by Professor Krtička on the first anniversary of his death:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eTuláček’s double bass compositions are unique in their professional quality, and they show a lyrical warmth in their rendition. The noble profile of an artistically uncompromising artist who lives at the same time in harmony with his heart and has almost no equal anywhere permeates his compositions; he is kind to anybody who is good and seeks instruction or information, but he is uncompromising wherever purity of rendition was endangered by shortcomings caused by negligence.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRudolf Tuláček\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e(1885-1954) was one of the leading Czech double bassists of his generation and was a respected and influential teacher at the Janáček Academy of\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMusic in Brno. He was born in Jičín, Bohemia, and began to study the double bass at the age of eleven, having already studied flute and violin. So rapid was his progress that he soon became a member of the Jičín Municipal Orchestra and in 1901 entered the Prague Academy of Music to study with František Černý, one of the Czech capital's leading bassists and teachers.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTuláček graduated in 1907 with the highest commendations from his professors, performing the Geissel Concerto at his public graduation concert, and in 1909 was\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eoffered the post of Solo Bassist in the Zagreb Opera Orchestra. From 1920 he was also a Professor at the Zagreb State Academy of Music, and subsequently became Concert-Master of the Zagreb Philharmonic. His many recitals attest to his perfect technique, supreme musicality, and complete command of the instrument, and concerts included music by Černý, Dvořák, Geissel, Kukla, Láska, Mišek, Simandl, Stein and Tenaglia, alongside his own compositions.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn 1937 Tuláček became Professor of Double Bass at the Brno Academy of Music and in 1948 became the first Double Bass Professor at the newly founded Janáček Academy of Music in that city, where he taught until his death on 17 September 1954. After Tuláček's death, the former Principal of the Brno Academy wrote: \u003cem data-mce-fragment=\"1\"\u003e\"I liked him very much because he was not only an excellent and exemplary professor - very meticulous and conscientious but also an immensely good person, mild and quiet,\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003ewho never harmed anybody and was loved by all who met him.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRudolf Tuláček studied composition at the Prague Academy of Music and later with Antonín Dvořák, and his music displays the lyricism and melodic qualities typical of the salon music of the day, alongside compositions of great virtuosity and energy.\u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40711526613036,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/7e4220e6a47e1abbbfaf781197be23d49f7ed492c0fcdfd95f765956793599f7.jpg?v=1664477348"},{"product_id":"soundsofspain3","title":"Simón García: Sounds of Spain 3 for unaccompanied double bass","description":"\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Collection\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cem\u003eSounds of Spain 3\u003c\/em\u003e is an exciting series of evocative and vibrant works for unaccompanied double bass. An international flavor encapsulates jazzy and popular styles in effervescent music which is always engaging and invigorating, featuring recent commissions by bassists in Romania, Norway, and Great Britain. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIdeal for the intermediate-advanced bassist. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1. Fantasy on a Romanian Folk Song \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFantasy on a Romanian Folk Song is virtuoso work for unaccompanied double bass, commissioned by the Romanian virtuoso Petru Iuga, and was premiered at Galicia Graves Double Bass Festival and Competition on 10 March, 2018 in Culleredo, Spain. The work is a fantasy or theme and variations on a very popular Romanian song titled \u003cem data-mce-fragment=\"1\"\u003eCiuleandra\u003c\/em\u003e. It starts directly with variations and in the middle the audience will can recognise the folk song. I wrote the piece is a virtuoso work and use the entire range of the double bass, including double stops where the melody is changing from the low to the high register. [Simón García] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e2. The Transience of Life [In Memoriam František Pošta] \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eUnfortunately, I did not meet František Pošta but friends have told me about him and I think he was one of those people who seem that they will never leave us. When this happens it´s inevitable to reflect about life and think about the transience of life. We feel different emotions - sometimes we feel sadness or longing become helplessness or anger, or a mixture of all these feelings. In this piece I try to convey this. The piece begins with an introduction \"Slow with fantasy\" where the player can show their ability to sing; it continues with an allegro where a lot of mixed feelings are expressed. The thematic material throughout the piece is based on three notes - E-F-E. [Simón García] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Transience of Life was premiered by David Heyes on Saturday 8 March 2014 at St Michael the Archangel, Teignmouth (UK). It received its Czech premiere at Prague Conservatoire on 6 April 2014 by David Heyes and its Dutch premiere at Shouwberg Almere on 26 August 2014 by Dan Styffe. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e3. Three Dances \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThree Dances was commissioned by Dan Styffe to whom it is dedicated. He asked me to write a new work for solo double bass and I started to work on a Waltz, which pointed the way for me to write a group of pieces for him. Three Dances is in three contrasting movements and lasts about 8 minutes. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e'Waltz' begins with a gentle melody, played pizzicato, which gradually moves towards a \"grotesque\" feel. The music moves between lyricism and grotesque in a waltz which would be difficult for dancers because of the changing 3\/4 and 2\/4 bars scheme, alongside hemiolas. There are opportunities to display great virtuosity. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe second dance, 'Song of the Old Land', is full of lyricism where the bass sings an endearing lullaby. I looked for inspiration in the idea of old songs of the Nordic peoples and wrote in a way that it very vocal, but without equable measure. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e'Infernal Dance' is a fast movement brimming with great virtuosic passages where I have worked with new ideas and developed some ideas from Dance No. 2. This is a powerful dance with great rhythmic momentum and technical challenges for the performer. I would define the language as Soul of Rock music with some Stravinskian colours. The result is three very contrasting dances where I aimed to explore different aspects of the double bass. [Simón García] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThree Dances was premiered in Almere, Netherlands by Dan Styffe on 27 August 2014 at BASS2014. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBassist and composer Simón García\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003ewas born in Mugardos (Spain) in 1977 and graduated in double bass from the Conservatorio Superior of Salamanca. He has worked as a double bassist in the Royal Orchestra of Galicia, having also performed in many orchestras throughout Spain, and is the bassist in the Symphony Wind Orchestra of A Coruña. He has collaborated with many musicians and ensembles, particularly in the field of contemporary music, and has recorded and performed on many commercial recordings and for television and radio broadcasts. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSounds of Spain Bundle \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePurchase all 3 volumes of Sounds of Spain, featuring 10 compositions by Simón.\u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Sounds of Spain 3","offer_id":40711658471468,"sku":"","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Sounds of Spain 1-3 Bundle","offer_id":40711658504236,"sku":"","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/baaca0eb0e33dc4f9d45910b8c86623f0144cea0fe0c2093c546d17d535752eb_6.jpg?v=1664478141"},{"product_id":"luckoftheirishquartet","title":"Simón García: The Luck of the Irish for double bass quartet","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Luck of the Irish is a fun and exciting piece and would be ideal for any audience or occasion. It has constant rhythmic energy and drive, exploring the entire range of the double bass, and also exists in a version for double bass sextet. Aimed at the advanced quartet, this would be an ideal final concert item or encore with a standing ovation almost guaranteed!\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSimón García writes: 'The Luck of the Irish is written with an Irish flavor. I wrote it for Barry Green and it was premiered and performed during a 'Barry Green and Friends' tour in January and February 2013 in the USA. I wrote it with a joyful and carefree feel as if it was a traditional Irish reel or jig. In the beginning, the theme is presented with one bass alone, gradually adding the other instruments as if it were a spontaneous meeting (jam) in an Irish pub. In the first part, you can recognize some characteristic sounds such as tin whistle, bouzouki ́s strumming, and bodhran ́s rhythms, and in the second part the same theme is processed in a more rhythmic and fun way with an accompaniment reminiscent of the way of the violins accompany Irish folk music.'\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Spanish premiere of 'The Luck of the Irish' was on 19 May in Barcelona by Kristin Korb, Alberto Bocini, Diego Zecharies, and Simón García.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReview\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"Rhythmic drive is perhaps the most important - and unifying - music element that extends through The Luck of the Irish...Aptly marked 'Tempo de Reel', The Luck of the Irish is a jig with fleeting fiddle tunes and energetic rhythmic lines. Bass one and bass two take on the role of duelling fiddlers, alternately playing each of four unique eight-bar themes. This music allows an opportunity for the fiddlers to showcase agile left-hand technique and virtuosic bow control. Bass three and four, meanwhile, provide the rhythmic impetus in the piece. Extra interest is added with their unyielding syncopated groupings of notes...accessible to intermediate and advanced bassists fluent in thumb position and confident with rhythmic playing. Garcia's command of the instrument is clear. His idiomatic writing allows the performer to take advantage of harmonics and open strings. Frequent repetition and ostinato rhythms will help hold the ensemble together and likely inspire the audience to tap or clap along.\" \u003c\/em\u003e[Philip Alejo\/Bass World, ISB]\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBassist and composer \u003cstrong data-mce-fragment=\"1\"\u003eSimón García \u003c\/strong\u003ewas born in Mugardos (Spain) in 1977 and graduated in double bass from the Conservatorio Superior of Salamanca. He has worked as a double bassist in the Royal Orchestra of Galicia, having also performed in many orchestras throughout Spain, and is the bassist in the Symphony Wind Orchestra of A Coruña. He has collaborated with many musicians and ensembles, particularly in the field of contemporary music, and has recorded and performed on many commercial recordings and for television and radio broadcasts.\u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40711669612588,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/baaca0eb0e33dc4f9d45910b8c86623f0144cea0fe0c2093c546d17d535752eb_7.jpg?v=1664478684"},{"product_id":"bohemianbook1","title":"The Bohemian Bass Book 1 (edited by David Heyes) for double bass \u0026 piano","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Collection\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Bohemian Bass Book 1 brings together four impressive solo works for double bass and piano by leading members of the late 19th-century Czech School of Double Bass. Aimed at the intermediate-advanced bassist, each piece explores the entire register of the instrument in music in a lyrical and expressive style, emphasizing the cantabile and sonorous qualities of the double bass.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1. Danse Caprice\u003c\/strong\u003e is in one extended movement and emphasizes the lyrical, and cantabile qualities of the double bass throughout its solo register. The style is late- romantic and accessible, probably written at the end of the 19th-century, with a strongly independent and supportive piano accompaniment. Černý’s music is always beautifully written for the double bass and the title echoes the dance-like style, in waltz time, with capricious energy and effervescence throughout.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFrantišek Černý \u003c\/strong\u003e(1861-1940) studied composition with Antonín Dvořák and much of his music reflects the salon style of the late 19th-century. All his works are melodic and appealing, combining the late-Romantic idiom of Dvořák and Brahms, with Czech lyricism and influences, and he makes full use of the solo capabilities of the double bass.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e2. Scherzo in A minor\u003c\/strong\u003e was newly revised by David Heyes in 2019, the bicentenary of the birth of František Gregora, with the solo double bass part transposed into G minor and accompaniments provided for both tunings. The music is rhythmic and vibrant, with a strong momentum throughout contrasting a more lyrical middle section marked Cantabile, ending with an energetic flourish which is exciting and technically challenging. Full of character and invention, this new edition is a great addition to Recital Music’s ongoing Czech series of publications.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFrantišek Gregora \u003c\/strong\u003e(1819-1887) was a prolific composer and was born in Netolice, Bohemia on 9 January 1819 and in 1844 he entered the Vienna Conservatoire, where he studied double bass with Antonín Slama and composition with Gottfried Preyer. After graduation Gregora returned to Bohemia, settling in Písek, where he lived until his death on 27 January 1887. He became an important local musical figure as organist, choir master and music teacher, and was soon nicknamed \u003cem data-mce-fragment=\"1\"\u003e'the travelling bass virtuoso' \u003c\/em\u003e- having given many solo recitals in the area.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e3. Andante is originally for violin and piano\u003c\/strong\u003e and is a beautifully lyrical and characteristic single-movement work, composed in the late-romantic style typical of the late 19th and early 20th-century. It is dedicated to Dr. Ferdinand Pečírka (1859-1922), a leading doctor and dermatologist of his day, who was also a great lover of music and, in the mid-1890s co-founded the Czech Chamber Music Association. The opening bars of the piece have a strong resemblance to the introduction of 'Desire' for double bass and piano, followed by long and sinuous melodies contrasting an inventive, evocative, and supportive piano accompaniment.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eVojta Kuchynka \u003c\/strong\u003e(1871-1942) gave solo recitals until the day of his retirement when he celebrated his 600th recital and was known as \u003cem data-mce-fragment=\"1\"\u003e'the Kubelík of the Double Bass'\u003c\/em\u003e, after the leading Czech violinist of the day Jan Kubelík (1880-1940). He was praised for his perfect technique, impressive harmonic work, interpretation, and tasteful transcriptions of classical works. Most of his recitals were in Bohemia or Moravia and one concert in Prague, reviewed in The Strad by Miss Windust, stated: \u003cem data-mce-fragment=\"1\"\u003e\"Alongside the brilliant performances of František Ondříček and Karel Hoffmann, it was the admirable virtuosity of Vojta Kuchynka that made the deepest impression on me.\" \u003c\/em\u003eHe made the first Czech double bass recording for Parlophon, and Prague Radio broadcast recitals of his music to celebrate his 65th and 70th birthdays.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e4. Notturno Op.35\u003c\/strong\u003e is a charming and lyrical salon work for the advanced bassist. It uses much of the solo register of the instrument and has been neglected and out of print for far too long. Its blending of tender and lyrical melody contrasts passages of more dramatic intensity, producing a work that would be ideal for any audience and suitable for any bassist who has a confident knowledge of thumb position.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFrantišek [Franz] Simandl \u003c\/strong\u003e(1840-1912) was one of the leading bassists and teachers of his generation and studied double bass at the Prague Conservatoire with Josef Hrabě. He became a member of the Vienna Philharmonic and taught at the Vienna Conservatoire, teaching bassists who exported the Czech double bass school to every corner of the world. Although Simandl's music has fallen from favor in recent times, he was a pioneer of his day and his New Method for Double Bass helped succeeding generations to build and develop the standard of double bass playing.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Bohemian Bass Book 1 includes accompaniments for both solo and orchestral tuning.\u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40711685570604,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/baaca0eb0e33dc4f9d45910b8c86623f0144cea0fe0c2093c546d17d535752eb_8.jpg?v=1664479581"},{"product_id":"ascensionvla","title":"Wendell Rosa: Ascension of a Forgotten Battle, Duo for Double Bass and Viola","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe composition idea first came to me through a string-crossing technical exercise. After that, what gave life to the music was a philosophical thought about the ascension of a forgotten battle, which happens inside of the character himself.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTuning\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePlease note that the double bass part is for solo tuning only.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/wbKECrrkFCE?si=PMuX_vwan6Bw_qV9\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWendell's Biography\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWendell Rosa started his studies of acoustic double-bass in the year of 2013 in a community center social inclusion program in the city of Esteio, under the orientation of the instructor Ismael Almeida. Months later, he became a member of the Young Orchestra of Esteio, making several presentations. In the year 2014, he started his classes in the Porto Alegre Symphonic Orchestra School (OSPA School), being orientated by professor Éder Kinnape. Later, he joins the Youth Symphonic Orchestra of Porto Alegre, and the Youth Symphonic Orchestra of Rio Grande do Sul, also getting involved in many presentations, among these concerts and recitals. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn 2016 he was admitted at the Federal University of the State of Rio Grande do Sul (UFRGS), where he is attending an undergraduate course of music (specializing in acoustic double-bass), under the orientation of Dr. Alexandre Ritter, achieving his diploma in 2019. He acted in groups like the main Orchestra of OSPA, the Santa Cruz University Orchestra, the UFRGS Aluminis Orchestra, and in the UFGRS acoustic double-bass quartet, besides participating in many Saraus in UFGRS arts institute. In 2018 as one of the winners of the winter festival of the Federal University of Santa Maria (UFSM), he was prized with a full scholarship for the double bass performance course at The University of Georgia, there attending many events, including classes, concerts, recitals, being then orientated by professor Milton Masciari. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe got involved in masterclasses and summer courses, attending classes of professors like Alberto Bocini (Italy), Milton Masciari (USA), Michinori Bunia (Germany), Gustavo Fontes (Brazil), Walter Schinke (Brazil), Fabio Alves (Brazil), and George Amorim (Brazil\/USA). He has performed standard pieces like Concerto for Double bass by Nino Rota, Concerto N. 2 for Double Bass by Bottesini, Concerto for Double Bass by Koussevitsky, Concerto for Double Bass by Dittersdorf, Concerto for Double Bass by Dragonetti, etc.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhile composer, he owns the Duu Number 1 for acoustic double-bass and violin called “the forgetful battle ascension,” recorded in 2018 in Audio Porto studios, \u003ca rel=\"nofollow\" href=\"https:\/\/youtu.be\/ASytPmj12B4\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/youtu.be\/ASytPmj12B4\" target=\"_blank\"\u003eavailable on YouTube\u003c\/a\u003e, in 2019 performed his first orchestral concert, interpreting the Concerto N. 2 by Giovanni Bottesini.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eBundle Includes: \u003c\/strong\u003eArrangements for DB (solo tuning) and Vla, and DB (orch tuning) and Violin\u003c\/p\u003e","brand":"Wendell Rosa","offers":[{"title":"DB + Viola","offer_id":40711728463916,"sku":"","price":10.0,"currency_code":"USD","in_stock":true},{"title":"DB + Viola and DB + Violin Bundle","offer_id":40711728496684,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/ef5c626993264f339d4fcabffee2bf85432d399b9476520ce84539420207e901-2022-09-29T154356.364.jpg?v=1664480842"},{"product_id":"worte","title":"Wolfgang Wagenhäuser: Requiem ohne Worte (Requiem without Words) for double bass \u0026 piano","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRequiem ohne Worte (Requiem without words) for double bass and piano is an impressive, inventive, and challenging work for the advanced bassist and is only available in solo tuning. Written in a confident but accessible modern idiom, with many opportunities for the bassist to display both technical and musical excellence, this is a major new addition to the serious concert repertoire.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWolfgang Wagenhäuser writes: “Requiem ohne Worte (Requiem without words) was composed in 1997 in memory of my former student Tobias Heymann, who fell, alone, in the Alps and was covered by a blizzard lasting several days.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhen my friend, the double bassist Ovidiu Badila, asked me about writing a work for him, the associated moods kept coming into my head and soul. The line-up of double bass and piano is as if made for the abysmal, the desolate, the craggy - but also sadness, comfort and ... jazz; and Tobias had studied and loved this style of music too. The speechlessness corresponds most directly to the bewilderment. Music alone seeks to grasp this incomprehensibility.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFrom the name Tobias Heymann I derived a twelve-tone row that carries the entire work. In the execution I mix the different levels of time and sound, let them rotate and breathe. I steer the overall structure through the mixing ratio of the different techniques - whereby many a tonal passage is based on a pure twelve-tone structure.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOvidiu loved the work very much, even though he would have preferred a funny piece from me, but he immersed himself in the Requiem with great commitment. We performed some of it live at a musical summer festival in East Friesland. It deeply moved the audience. In one recording session we recorded everything except the Dies Irae, which is by far the most difficult movement and we wanted to prepare it well. It then took a relatively long time and I had a strange feeling whether we would be able to complete it. But then one day we found the time and the requiem is completely recorded.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTragically, it was also to be the swan song for Ovidiu, who died unexpectedly shortly afterward. All too soon this wonderful and diverse, deep and virtuoso musician left us. May he rest in peace!”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWolfgang Wagenhäuser - pianist, organist, composer - was born in Frankfurt am Main (Germany) in 1953. At his insistence the four-year-old Wolfgang asked his father to teach him piano and theory, and his first concert appearance was at the age of five. He was organist in his hometown from the age of nine and, as a 13-year- old gave concerts with his own improvisations. He won various first prizes in youth competitions, followed by concert invitations in Poland, Hungary, and Austria.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWolfgang Wagenhäuser studied with Wendelin Rückel and Norbert Brecht and subsequently studied piano with Gisela Sott and Leonard Hokanson at the Frankfurt University of Music, at the same time studying composition with Kurt Hessenberg and Hans - Dieter Resch. In 1974 he was the winner of the German University Competition and in 1980 and 1981 won first prize at international competitions in Florence and Paris. Over the years he has received special prizes for his Mozart, Beethoven and Schubert interpretations.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHis concerts have taken him throughout Europe from Russia to Spain and from Sweden to Italy, and has also played in various tours to Morocco, Tunisia, Namibia and South Africa, Japan, Korea and China. On many tours he played his own compositions. He has made numerous radio and television appearances, alongside live recordings, and, in recent years, streaming concerts have been a fascination.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWolfgang Wagenhäuser has had major world premieres and successful performances of his works by orchestras and chamber ensembles. Since 1987 he has been a Professor of piano at the State University of Music in Trossingen and from 2015 he has also held a Visiting Professorship in Shanghai at Tongji University, where he is also one of the senior Rectors of the Interdisciplinary Sound Research Centre.\u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40711746158636,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/baaca0eb0e33dc4f9d45910b8c86623f0144cea0fe0c2093c546d17d535752eb_12.webp?v=1664481388"},{"product_id":"77baroque","title":"77 Baroque Bass Lines (compiled and edited by Lucas Drew)","description":"\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Collection\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe collection of \"Etudes\" drawn from the basso continuo parts of various Baroque sonatas for Flute and Keyboard, as well as the chorales of J.S. Bach, will, it is hoped, prove to be of musical as well as technical value to the student and aspiring professional performers on the double bass.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEach of these lines should be studied for phrasing and sense of style, as well as technique, and the player should at all times be aware of the melodic and harmonic implications or functions of each in note, in addition to the technical demands of fingering and bowing.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis collection may be used after the student has learned the various positions in order to help reinforce their knowledge of the fingerboard. Actual fingerings have been omitted in order to permit the player to make their own decisions here, consistent with the style and tempo of each line. Further, specific bowings have also been omitted, to help the player make their own, relatively simple decisions as regards the direction of the bow.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLucas Drew\u003cbr data-mce-fragment=\"1\"\u003eEditor, \u003ca rel=\"nofollow\" href=\"http:\/\/www.stfrancismusic.com\/\" data-mce-fragment=\"1\" target=\"_blank\"\u003eSt. Francis Music Publications\u003c\/a\u003e\u003cbr data-mce-fragment=\"1\"\u003eProfessor Emeritus, University of Miami Frost School of Music\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eThis is an e-book delivered as a PDF.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/yu4WJd1aGNw?si=-k_Y8wA2ld7_V3N8\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout Lucas Drew\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLucas Drew, after a distinguished career of more than 40 years of teaching and performing is now Professor Emeritus at the University of Miami Frost School of Music and Principal Double Bass Emeritus of the Florida Philharmonic Orchestra. Also, he is Founder\/Artistic Director Emeritus of the Highlands - Cashiers (NC) Chamber Music Festival (1982-1999).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDr. Drew studied double bass with Allen Warner, Dmitri Shmuklovsky, and Edward Krolick and later, coached with Frederick Zimmermann. He is a graduate of the University of Miami, University of Illinois, and Florida State University. Many of his former students are active in the music profession.\u003c\/p\u003e","brand":"Lucas Drew","offers":[{"title":"Default Title","offer_id":40711776043052,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/130f5ff8fc9def419efa0ab94702990112cbf5db75242b0f86f438eeb1072b86.png?v=1699387273"},{"product_id":"elegia3","title":"Bottesini: Elegia No. 3 (Romanza Patetica - Melodie in E) for double bass and string quintet or string orchestra (Soteldo)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Edition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this Edition, you will find both versions, the Romanza Patetica and Melodia in E. This adaptation for solo double bass and string orchestra or string quintet is based on the piano score (Parma 47538) of the Bottesini manuscript that is located in Parma for the Romanza Patetica and the Flechsig edition for the Melodia in E.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe numbering of the three elegies comes from Bottesini himself: Elegy 1 (in D), Elegy 2 (Romanza Dramatica), and Elegy No. 3 (Romanza Patetica). The Elegy Nº 3 or Romanza Pathetic was first published by Richault in Pairs (c.1880) in E minor, titled Mélodie. Bottesini’s eight-bar introduction, omitted in the first edition, was restored in a more recent reprint edited by Flechsig.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Flechsig version transcribes the solo part down an octave, changes very little from the first edition. There is a 10 bars difference between the manuscripts and the Flechsig edition, that difference star at bar 89 when the main idea is in E major, to bar 111 (Flechsig edition) or bar 101 Bottesini´s handwritten, being this edition longer than the 3 copies in the Autograph score Parma, Library of the Music Conservatory.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the book entitled \u003cem data-mce-fragment=\"1\"\u003eGiovanni Bottesini\u003c\/em\u003e edited by \u003cem data-mce-fragment=\"1\"\u003eGaspare Nello Vetro\u003c\/em\u003e (1989) there is not a lot of information about Elegia No. 3 or the Melodia, only a short mention on pages 173 and 174 where appears cataloged together with the other works of the composer, in this pages showing the times that have been published at the time that this book was edited:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eGiovanni Bottesini\u003c\/em\u003e by \u003cem data-mce-fragment=\"1\"\u003eGaspare Nello Vetro\u003c\/em\u003e (1989)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003epage 173 - Elegy n. 3 in F, with piano accompaniment\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e(referring to the Melodia in E min., See)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAutograph score. Parma, Library of the Music Conservatory;\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003epage 174 - Melody or pathetic Romance, with piano accompaniment\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e▪   Autograph score. Parma, Library of the Music Conservatory;\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e▪   Handwritten score. Palermo, Library of the Music Conservatory;\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e▪   Paris, Richault, 1879, no. and. 15180. In the copy in possession of the Library of the Conservatory of Music of Parma (n. 61366), there are at the beginning of the composition some autograph changes by Bottesini\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEdited by R. Slatford. London, Yorke, copyright. 1974, no. and. YE 0037; (in \"Yorke Complete Bottesini\", v. I);\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEdited by L. Streicher. Wien, Doblinger, s.d. , num. and . 03978;\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEdited by Flechsig. Paris, Costallat, s.d. , num. and . 15180; (Rétirage de l'édition de Richault, 1879). Paris, Billaudot, 1982; T. Presser Editions, s.d. , num. and PRB 5\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIf you are interested in the manuscript score, find it \u003ca rel=\"nofollow\" href=\"http:\/\/www.internetculturale.it\/it\/16\/search?q=Giovanni+Bottesini\u0026amp;instance=magindice\u0026amp;pag=2\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/www.internetculturale.it\/it\/16\/search?q=Giovanni+Bottesini\u0026amp;instance=magindice\u0026amp;pag=2\" target=\"_blank\"\u003ehere.\u003c\/a\u003e\u003c\/p\u003e","brand":"Guillermo Soteldo","offers":[{"title":"Default Title","offer_id":40711819034668,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/d7c622ab7ef393e6cab37539681a404a72fe012994ae270dac70abf8fc249cfd.webp?v=1664483513"},{"product_id":"bottesini_fantasia","title":"Bottesini: Fantasia I Puritani Duetto Per Violoncello e Contrabasso (Urtext Edition) [Solo Tuning]","description":"\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBackground\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv title=\"Page 4\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eBottesini’s arrival on English soil in 1849 saw him reunited with Piatti, a musical partnership that was to delight London audiences for years to come, for instance in chamber concerts for the Musical Union, Chappell’s ‘Popular Concerts’ and as principal players with the Royal Italian Opera, Covent Garden. Together they composed the new work presented in this edition, ‘Fantasia sopra motivi dell’opera \u003c\/span\u003e\u003cspan\u003eI puritani’ \u003c\/span\u003e\u003cspan\u003efor cello and double bass with orchestral accompaniment, perhaps based on the above-mentioned ‘Gran Duet’ by Arditi and Bottesini but certainly unrelated to Piatti’s opus 9. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts first known performance was at a concert promoted by violinist Heinrich Wilhelm Ernst at the Hanover Square Rooms on the 2nd June 1851.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThis version is in solo tuning only\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAfter an orchestral (or piano) introduction, taken from the orchestral opening of the opera, and a short duo cadenza [bar 53], Piatti and Bottesini together present the Act 1 tenor aria '\u003cem data-mce-fragment=\"1\"\u003eA te, o cara\u003c\/em\u003e' [bar 56] in which Arturo sings of his love for Elvira.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA short orchestral (or piano) interlude [bar 81] - the music here taken from the Act 1 chorus '\u003cem data-mce-fragment=\"1\"\u003eA festa\u003c\/em\u003e' in which the villagers and soldiers celebrate the news of Elvira's forthcoming wedding - then leads into Piatti and Bottesini sharing a rendition of the Act 3 duet \"\u003cem data-mce-fragment=\"1\"\u003eNel mirarti un solo istante\u003c\/em\u003e\" [bar 94] in which Elvira and an apologetic Arturo are reunited.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFollowing solo variations on this number by each player, '\u003cem data-mce-fragment=\"1\"\u003eA festa\u003c\/em\u003e' is presented once more [bar 154], this time shared between our soloists, from which they segue into the Act 1 baritone aria '\u003cem data-mce-fragment=\"1\"\u003eBel sogno beato\u003c\/em\u003e' [bar 194] in which Riccardo despairs in his unrequited love for Elvira. Another cadenza [bar 250] and extended coda of the composers' own invention brings the duo concertante to a virtuoso conclusion.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePress Quote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“A duetto for violoncello and contra basso, by the two lion performers, Piatti and Bottesini, created a \u003cem data-mce-fragment=\"1\"\u003efurore. \u003c\/em\u003eIt was as though - to depart from our \u003cem data-mce-fragment=\"1\"\u003elion \u003c\/em\u003emetaphor - a rhinoceros contended with an elephant, and neither could obtain the mastery. Such an instrumental trial of strength was perhaps never before witnessed.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHad Paganini come to life and fiddle in hand encountered Ernst, the struggle for priority could scarcely have excited more interest or created more applause. Each artist was on his metal and surpassed himself. Italian art was never made more manifest, or rendered more triumphant than on this occasion. To describe the performance is impossible; to describe the effect on the audience is equally impossible. Not dealing in impossibilities, we shall attempt neither, but consign both to the imagination of our readers.\" -Musical World\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWhat You'll Receive in the Piano Reduction Version\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDigital copies of the double bass and cello parts, piano reduction, manuscript, and a list of edits are attributed to Bottesini's autographed score housed at Stanford University.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWhat You'll Receive in the Orchestral Version\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDigital copies of the full instrumentation double bass and cello parts, and the rest of the parts.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eThis edition contains a complete authentic edition of this piece, including all the cut material from the original manuscript as an optional performance extra. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eThis edition referenced six different sources, bringing all the information together into one edition. This edition has been made in collaboration with two of the world's leading researchers into Piatti and Bottesini, Adrian Bradbury and Chris West. Within the edition is an Urtext and Critical edition with both the authentic period orchestration and a critical edition for modern-day orchestral instruments. This piece is only for bass in solo tuning.\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePrint Versions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAre available at \u003ca data-mce-fragment=\"1\" rel=\"nofollow\" href=\"http:\/\/www.bottesiniurtext.com\" data-mce-href=\"http:\/\/www.bottesiniurtext.com\" target=\"_blank\"\u003ewww.bottesiniurtext.com\u003c\/a\u003e\u003c\/p\u003e","brand":"Stephen Street","offers":[{"title":"Piano Reduction","offer_id":43772727459884,"sku":"","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Orchestral","offer_id":43772727492652,"sku":"","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/files\/Fantasia_sopra_motivi_dell_Opera_I_Puritani_Duetto_per_Violincello_e_Contrabasso_Piano_Reduction_-_Piano_Reduction-001.png?v=1725393409"},{"product_id":"reverieguitar","title":"Bottesini: Reverie for double bass and guitar (arr. by Luis G. Pérez)","description":"\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Arrangement\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis version of Reverie, by the great Italian composer Giovanni Bottesini, for double bass and guitar, take the piece to a more intimate level of sonority where both instruments fit perfectly respecting each other, making this beautiful melody a new and\u003cbr data-mce-fragment=\"1\"\u003efascinating version.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGiovanni Bottesini\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e(1821-1889) was the greatest double bass virtuoso of the 19th- century and many of his compositions for double bass are still at the heart of the solo repertoire today. He spent much of his life in the opera house, as conductor and composer, and his music is inspired by the lyrical, cantabile, and virtuosic pyrotechnics of 19th-century Italian opera. He also transcribed a number of works for his own recitals and both arias are attributed to Bottesini but are in fact by other composers.\u003c\/p\u003e","brand":"Luis Peréz","offers":[{"title":"Default Title","offer_id":40711869202476,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/392601d5081952f02b29c525bce141f36ceb16da15d4ea37f0839426193667b5.jpg?v=1664484769"},{"product_id":"aiminghigh","title":"David Heyes: Aiming High: 12 Thumb Position Pieces for Double Bass","description":"\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Pieces\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003eAiming High is a set of twelve melodic and inventive pieces in thumb position for the advancing double bassist, each in a different key. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe challenges are musical and technical in equal measure, in a range of styles, with a few harmonics and false harmonics added to create variety and contrast. Scale and arpeggio figures help to consolidate a sense of tonality in the higher register and each piece can be played successfully with a range of fingering patterns and hand shapes. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAiming High was commissioned for her students by Susan Hagen (Berklee College of Music\/Principal Bass, Boston Pops Orchestra) and builds on the technical skills acquired in Scaling the Heights, which focused on moving into and out of thumb position. It is suggested that the appropriate scale and arpeggio are studied alongside each piece. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eThe book is written in treble clef.\u003c\/em\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDavid Heyes studied double bass with Laurence Gray and Bronwen Naish, later at the Royal College of Music in London, and completed his post-graduate studies in Prague with František Pošta (Principal Bass, Czech Philharmonic Orchestra). He has given recitals and masterclasses in 20 countries over the past few years and has been a juror at a number of international competitions, three times as chairman. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDavid's collaborative work gained him a prestigious award from the David Walter Charitable Trust of New York for his pioneering activities as a soloist, teacher, publisher, and commissioner of new music for double bass, and he works with composers throughout the world to expand the double bass repertoire by commissioning new music and by rediscovering forgotten ones. Since 1983, more than 700 works have been written for him, music from one to twenty basses and from beginner to virtuoso, and he has premiered ten contemporary concertos with orchestra. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDavid began to compose in 2013 and has had music performed and recorded in 27 countries across five continents. He is a D'Addario Performing Artist and has recently commissioned a solo double bass from British master-luthier Martin Penning. \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":45206812590124,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/files\/Aiming_High_for_Socials.png?v=1768797030"},{"product_id":"melodies","title":"Lawrence Wolfe: MELODIES from the album 'Home Bass' for double bass and piano","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eComposed by Assistant Principal Double Bass of the Boston Symphony, Lawrence Wolfe, and recorded by Stephen on his album, \u003ca data-mce-fragment=\"1\" href=\"https:\/\/stephentramontozzi.hearnow.com\/\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/stephentramontozzi.hearnow.com\/\"\u003eHome Bass\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eListen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tiptap__raw\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/NjzHQvO4uS0?si=E3HL75WT1ga1X5vE\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout Stephen Tramontozzi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eStephen Tramontozzi is the Assistant Principal Bass with the San Francisco Symphony since 1980. A native of Arlington, Massachusetts, he studied at the Eastman School of Music, New England Conservatory, and the San Francisco Conservatory. Mr. Tramontozzi is on the faculty at the San Francisco Conservatory, has led master classes across the United States, and has coached members of the SFS Youth Orchestra bass section since its inception. He also formerly served on the faculties of Stanford University, the University of California, Berkeley, and UC Santa Cruz.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHis publications include his solo album, \u003ca data-mce-fragment=\"1\" href=\"https:\/\/stephentramontozzi.hearnow.com\/walkabout\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/stephentramontozzi.hearnow.com\/walkabout\"\u003eWalkabout\u003c\/a\u003e, chamber music album \u003ca data-mce-fragment=\"1\" href=\"https:\/\/stephentramontozzi.hearnow.com\/urban-bass\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/stephentramontozzi.hearnow.com\/urban-bass\"\u003eUrban Bass\u003c\/a\u003e and the Solo Cello Suites of \u003ca data-mce-fragment=\"1\" href=\"https:\/\/dbbpublications.gumroad.com\/?query=tramontozzi%20bach\u0026amp;sort=newest\" rel=\"nofollow\" target=\"_blank\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/?query=tramontozzi%20bach\u0026amp;sort=newest\"\u003eJ.S. Bach for Double Bass Nos. 1 - 5\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe has recorded the Books of Madrigals by George Crumb under his supervision; the keyboard concerti of J.S. Bach with Awadagin Pratt and the St. Lawrence Quartet; and a CD of chamber music by Lou Harrison.\u003c\/p\u003e","brand":"Stephen Tramontozzi","offers":[{"title":"Default Title","offer_id":40714479304748,"sku":"","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/3298c3eb001bbed90f1d616da66708480096a0a1b6e81bd4f8a2d6e9b831d301_5.png?v=1664557440"},{"product_id":"brickteeth","title":"Michael Kurth: Brick Teeth for double bass and piano","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBrick Teeth\u003c\/em\u003e is a funky, rhythmically perplexing virtuosic piece for bass and piano, about 3 minutes long. Perfect for a recital encore, it features a Latin-inspired theme, artificial harmonics, percussive effects, and spans the entire range of the bass. It's an arrangement of a piece originally for string quartet, and a recording of that version can be \u003ca rel=\"nofollow\" href=\"https:\/\/www.reverbnation.com\/michaelkurth\/song\/28648237-3-brick-teeth\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.reverbnation.com\/michaelkurth\/song\/28648237-3-brick-teeth\" target=\"_blank\"\u003efound here\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKurth has been a member of the Atlanta Symphony bass section since 1994. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMichael Kurth thinks most artist biographies are pretentious and boring, and feels a welcome sense of liberation, not to mention mischief, when writing about himself in the third person. He further believes that all artist biographies should include whether the artist prefers cats or dogs, or is ambivalent. He allows that there is room for ambivalence on this issue.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKurth prefers dogs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHe also enjoys shrimp burritos, dive bars, road trips, thrift stores, found art, shiny pants, folk plumbing, collecting odd musical instruments, neologism, and bourbon.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eKurth was born in 1971 in Virginia and grew up near Baltimore. He started playing the bass in fourth grade, went to public schools, and got his Bachelor’s Degree at Peabody Conservatory, where he studied bass with Harold Robinson. He also studied cello and viola at Peabody, and did okay at cello, but his ham-fisted viola playing caused his roommate Rick to forbid him from ever practicing it in their dorm room.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHe once stole one of those convex security mirrors, just to savor the irony, but he feels a lingering sense of guilt, even though it was laying in a pile of stuff that was probably destined for the dumpster anyway. But still.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKurth has been a member of the Atlanta Symphony bass section since 1994. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe ASO has commissioned and premiered many of his orchestral and choral works. A recording on the ASO Media label is scheduled for commercial release on CD and digital platforms in February 2019, including \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eEverything Lasts Forever\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eA Thousand Words\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMay Cause Dizziness\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, and\u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003e Miserere\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e featuring Grammy Award-winning mezzo-soprano Kelley O’Connor.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHe frequently collaborates with Atlanta poet Jesse Breite on vocal works, including \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMiserere\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eTenebrae\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, and \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMagnificat\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHe was named “Best New Composer” by Atlanta Magazine in 2017.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHe has been awarded Artist-in-Residence fellowships from the Hermitage and Serenbe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMany Atlanta-area artists have commissioned and performed his works, including the Atlanta Symphony Orchestra Chorus and Chamber Chorus, the Atlanta Chamber Players, the Atlanta Young Singers, the Gwinnett Young Singers, the Morehouse College Glee Club, the Peachtree String Quartet, the Franklin Pond String Quartet, the Atlanta Contemporary Ensemble, Concert Artist Guild Award-winning violist Jennifer Stumm, the Georgia Sinfonia, the Atlanta Community Symphony Orchestra, the DeKalb Symphony, the Georgia State University Wind Ensemble, and movement artists gloATL.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHe teaches bass at Emory University.\u003c\/p\u003e","brand":"Michael Kurth","offers":[{"title":"Default Title","offer_id":40714484809772,"sku":"","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/130f5ff8fc9def419efa0ab94702990112cbf5db75242b0f86f438eeb1072b86_1.webp?v=1664557948"},{"product_id":"grumble","title":"Michael Kurth: Let's Get Ready to Grumble: Double Bass Technique Exercises","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cstrong\u003eTable of Contents\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e1. Modal Pivot Exercises \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e13 pages of modal exercises built around the \"pivot\" technique.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e2. Several Pleasant Harmonic Progressions \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003eThree-note and Four-note chords in all major keys Useful for Double-Bassists in the Practice of Arpeggiation, the Use of Bowing Variations, the Crossing of Strings, Shifting, and the Development of Reliable Intonation, Either By Oneself, or Perhaps in an Ensemble of Other Like-Minded Double-Bassists. Also Rather Useful for Mastering the Reading of Each of the Various Clefs Employed (but Not Necessarily Enjoyed) by Double-Bassists: the Bass Clef, the Treble Clef, and the Dreaded yet Sadly Misunderstood Tenor Clef. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e3. Transmodal 3-Octave Scales \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003eWith apologies to the mysterious Locrian Mode for its unfortunate exclusion; which exclusion might be forgiven considering the mode's admittedly chequered history involving demons and exorcisms and inquisitions \u0026amp;c.; but which mode might be re-inserted at the user's own prayerful discretion, though such inclusion must inevitably occur at the expense of one or another (less demonic) Modes, given the three-octave format here presented, yet hopefully not at the peril of the user's immortal soul.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eUsers unfamiliar with the Locrian Mode's aforementioned history are encouraged to pursue further research into the fascinating story, perhaps in a book at a library, or perhaps while using a \"Computer\" or \"Smart Telephone\" device.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e4. Thumb-peggios \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003eNine studies in various keys to assist the double-bassist in developing the use of the thumb within the context of the arpeggio, toward the noble aims of the preparation and performance of the 'Cello Suites of J. S. Bach.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e5. Twisted Scales, Vol. 1 \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003eVolume 1 of the mind-numbing, finger-twisting, ear-bending scale exercises to help you develop secure intonation in awkward situations, and also, very probably, annoy the crap out of your roommates.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout Michael Kurth\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKurth has been a member of the Atlanta Symphony bass section since 1994. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMichael Kurth thinks most artist biographies are pretentious and boring, and feels a welcome sense of liberation, not to mention mischief, when writing about himself in the third person. He further believes that all artist biographies should include whether the artist prefers cats or dogs, or is ambivalent. He allows that there is room for ambivalence on this issue.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKurth prefers dogs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHe also enjoys shrimp burritos, dive bars, road trips, thrift stores, found art, shiny pants, folk plumbing, collecting odd musical instruments, neologism, and bourbon.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eKurth was born in 1971 in Virginia and grew up near Baltimore. He started playing the bass in fourth grade, went to public schools, and got his Bachelor’s Degree at Peabody Conservatory, where he studied bass with Harold Robinson. He also studied cello and viola at Peabody, and did okay at cello, but his ham-fisted viola playing caused his roommate Rick to forbid him from ever practicing it in their dorm room.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHe once stole one of those convex security mirrors, just to savor the irony, but he feels a lingering sense of guilt, even though it was laying in a pile of stuff that was probably destined for the dumpster anyway. But still.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKurth has been a member of the Atlanta Symphony bass section since 1994. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe ASO has commissioned and premiered many of his orchestral and choral works. A recording on the ASO Media label is scheduled for commercial release on CD and digital platforms in February 2019, including \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eEverything Lasts Forever\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eA Thousand Words\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMay Cause Dizziness\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, and\u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003e Miserere\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e featuring Grammy Award-winning mezzo-soprano Kelley O’Connor.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHe frequently collaborates with Atlanta poet Jesse Breite on vocal works, including \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMiserere\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eTenebrae\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, and \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMagnificat\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHe was named “Best New Composer” by Atlanta Magazine in 2017.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHe has been awarded Artist-in-Residence fellowships from the Hermitage and Serenbe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMany Atlanta-area artists have commissioned and performed his works, including the Atlanta Symphony Orchestra Chorus and Chamber Chorus, the Atlanta Chamber Players, the Atlanta Young Singers, the Gwinnett Young Singers, the Morehouse College Glee Club, the Peachtree String Quartet, the Franklin Pond String Quartet, the Atlanta Contemporary Ensemble, Concert Artist Guild Award-winning violist Jennifer Stumm, the Georgia Sinfonia, the Atlanta Community Symphony Orchestra, the DeKalb Symphony, the Georgia State University Wind Ensemble, and movement artists gloATL.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHe teaches bass at Emory University.\u003c\/p\u003e","brand":"Michael Kurth","offers":[{"title":"Default Title","offer_id":40714494148652,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/baaca0eb0e33dc4f9d45910b8c86623f0144cea0fe0c2093c546d17d535752eb_16.webp?v=1664558254"},{"product_id":"murmuration","title":"Michael Kurth: Murmuration for double bass and piano","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMurmuration\u003c\/em\u003e was originally written for string quartet, arranged here for bass and piano, with piano parts in both tunings included. It's extremely lyrical, with a sostenuto melody in the solo and a flurry of avian wing-fluttering in the accompaniment. Duration about 4 minutes.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eListen to the \u003ca rel=\"nofollow\" href=\"https:\/\/www.reverbnation.com\/michaelkurth\/song\/28648235-2-murmuration\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.reverbnation.com\/michaelkurth\/song\/28648235-2-murmuration\" target=\"_blank\"\u003eoriginal version\u003c\/a\u003e for string quartet. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKurth has been a member of the Atlanta Symphony bass section since 1994. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMichael Kurth thinks most artist biographies are pretentious and boring, and feels a welcome sense of liberation, not to mention mischief, when writing about himself in the third person. He further believes that all artist biographies should include whether the artist prefers cats or dogs, or is ambivalent. He allows that there is room for ambivalence on this issue.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKurth prefers dogs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHe also enjoys shrimp burritos, dive bars, road trips, thrift stores, found art, shiny pants, folk plumbing, collecting odd musical instruments, neologism, and bourbon.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eKurth was born in 1971 in Virginia and grew up near Baltimore. He started playing the bass in fourth grade, went to public schools, and got his Bachelor’s Degree at Peabody Conservatory, where he studied bass with Harold Robinson. He also studied cello and viola at Peabody, and did okay at cello, but his ham-fisted viola playing caused his roommate Rick to forbid him from ever practicing it in their dorm room.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHe once stole one of those convex security mirrors, just to savor the irony, but he feels a lingering sense of guilt, even though it was laying in a pile of stuff that was probably destined for the dumpster anyway. But still.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKurth has been a member of the Atlanta Symphony bass section since 1994. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe ASO has commissioned and premiered many of his orchestral and choral works. A recording on the ASO Media label is scheduled for commercial release on CD and digital platforms in February 2019, including \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eEverything Lasts Forever\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eA Thousand Words\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMay Cause Dizziness\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, and\u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003e Miserere\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e featuring Grammy Award-winning mezzo-soprano Kelley O’Connor.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHe frequently collaborates with Atlanta poet Jesse Breite on vocal works, including \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMiserere\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eTenebrae\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, and \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMagnificat\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHe was named “Best New Composer” by Atlanta Magazine in 2017.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHe has been awarded Artist-in-Residence fellowships from the Hermitage and Serenbe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMany Atlanta-area artists have commissioned and performed his works, including the Atlanta Symphony Orchestra Chorus and Chamber Chorus, the Atlanta Chamber Players, the Atlanta Young Singers, the Gwinnett Young Singers, the Morehouse College Glee Club, the Peachtree String Quartet, the Franklin Pond String Quartet, the Atlanta Contemporary Ensemble, Concert Artist Guild Award-winning violist Jennifer Stumm, the Georgia Sinfonia, the Atlanta Community Symphony Orchestra, the DeKalb Symphony, the Georgia State University Wind Ensemble, and movement artists gloATL.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHe teaches bass at Emory University.\u003c\/p\u003e","brand":"Michael Kurth","offers":[{"title":"Default Title","offer_id":40714509287468,"sku":"","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/0419e0a4b3c42fc1544b0286d7b01e31fb44a2e955bf1bd1b41e239644403f0b.png?v=1664558497"},{"product_id":"verbunkociousness","title":"Michael Kurth: Verbunkociousness for violin and double bass","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eVerbunkociousness\u003c\/em\u003e is a virtuosic duet for violin and double bass (in standard tuning), about four minutes long. I wrote it for Tracy Woodard, an Atlanta friend\/violinist\/superhero activist and advocate for the homeless.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI will donate 50% of my proceeds from the sale of this work to her non-profit \u003cem data-mce-fragment=\"1\"\u003eMad Housers, \u003c\/em\u003ewho build shelters for the homeless. Or just donate directly at \u003ca rel=\"nofollow\" href=\"http:\/\/madhousers.org\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/madhousers.org\" target=\"_blank\"\u003emadhousers.org\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA \u003cem data-mce-fragment=\"1\"\u003everbunkos\u003c\/em\u003e is a Hungarian folk dance that began as a way that hussars would recruit men into the army of the Hapsburg Empire because apparently prospective recruits were easily convinced that a soldiering career mostly involved fancy costumes and dancing. And  Wikipedia thinks it's important to know that spur-clicking was involved.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWikipedia, stop, you had me at \"spur-clicking.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKurth has been a member of the Atlanta Symphony bass section since 1994. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMichael Kurth thinks most artist biographies are pretentious and boring, and feels a welcome sense of liberation, not to mention mischief, when writing about himself in the third person. He further believes that all artist biographies should include whether the artist prefers cats or dogs, or is ambivalent. He allows that there is room for ambivalence on this issue.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKurth prefers dogs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHe also enjoys shrimp burritos, dive bars, road trips, thrift stores, found art, shiny pants, folk plumbing, collecting odd musical instruments, neologism, and bourbon.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eKurth was born in 1971 in Virginia and grew up near Baltimore. He started playing the bass in fourth grade, went to public schools, and got his Bachelor’s Degree at Peabody Conservatory, where he studied bass with Harold Robinson. He also studied cello and viola at Peabody, and did okay at cello, but his ham-fisted viola playing caused his roommate Rick to forbid him from ever practicing it in their dorm room.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHe once stole one of those convex security mirrors, just to savor the irony, but he feels a lingering sense of guilt, even though it was laying in a pile of stuff that was probably destined for the dumpster anyway. But still.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eKurth has been a member of the Atlanta Symphony bass section since 1994. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe ASO has commissioned and premiered many of his orchestral and choral works. A recording on the ASO Media label is scheduled for commercial release on CD and digital platforms in February 2019, including \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eEverything Lasts Forever\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eA Thousand Words\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMay Cause Dizziness\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, and\u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003e Miserere\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e featuring Grammy Award-winning mezzo-soprano Kelley O’Connor.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHe frequently collaborates with Atlanta poet Jesse Breite on vocal works, including \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMiserere\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eTenebrae\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e, and \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMagnificat\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHe was named “Best New Composer” by Atlanta Magazine in 2017.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHe has been awarded Artist-in-Residence fellowships from the Hermitage and Serenbe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eMany Atlanta-area artists have commissioned and performed his works, including the Atlanta Symphony Orchestra Chorus and Chamber Chorus, the Atlanta Chamber Players, the Atlanta Young Singers, the Gwinnett Young Singers, the Morehouse College Glee Club, the Peachtree String Quartet, the Franklin Pond String Quartet, the Atlanta Contemporary Ensemble, Concert Artist Guild Award-winning violist Jennifer Stumm, the Georgia Sinfonia, the Atlanta Community Symphony Orchestra, the DeKalb Symphony, the Georgia State University Wind Ensemble, and movement artists gloATL.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHe teaches bass at Emory University.\u003c\/p\u003e","brand":"Michael Kurth","offers":[{"title":"Default Title","offer_id":40714523181100,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/419b4c214e443d33e06ebb18f46e9f4f15a114b00fe152f23e3547e7863944b6_2.jpg?v=1664558744"},{"product_id":"luckoftheirish","title":"Simón García: The Luck of the Irish for Double Bass Sextet","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Luck of the Irish is for the advanced sextet and also exists in a version for double bass quartet. It has an amazing rhythmic drive and momentum, is a fun and exciting piece exploiting all the colors and timbres available to the double bass sextet.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSimón García writes: 'The Luck of the Irish is written with an Irish flavor. I wrote it for Barry Green and it was premiered and performed during a 'Barry Green and friends' tour in January and February 2013 in the USA. I wrote it with a joyful and carefree feel as if it was a traditional Irish reel or jig. At the beginning the theme is presented with one bass alone, gradually adding the other instruments as if it were a spontaneous meeting (jam) in an Irish pub. In the first part, you can recognize some characteristic sounds such as tin whistle, bouzouki ́s strumming, and bodhran ́s rhythms, and in the second part the same theme is processed in a more rhythmic and fun way with an accompaniment reminiscent of the way of the violins accompany Irish folk music.'\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReview\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"Rhythmic drive is perhaps the most important - and unifying - music element that extends through The Luck of the Irish...Aptly marked 'Tempo de Reel', The Luck of the Irish is a jig with fleeting fiddle tunes and energetic rhythmic lines. Bass one and bass two take on the role of dueling fiddlers, alternately playing each of four unique eight-bar themes. This music allows an opportunity for the fiddlers to showcase agile left-hand technique and virtuosic bow control. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBass three and four, meanwhile, provide the rhythmic impetus in the piece. Extra interest is added with their unyielding syncopated groupings of notes...accessible to intermediate and advanced bassists fluent in thumb position and confident with rhythmic playing. Garcia's command of the instrument is clear. His idiomatic writing allows the performer to take advantage of harmonics and open strings. Frequent repetition and ostinato rhythms will help hold the ensemble together and likely inspire the audience to tap or clap along.\" \u003c\/em\u003e[Philip Alejo\/Bass World, ISB]\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBassist and composer \u003cstrong data-mce-fragment=\"1\"\u003eSimón García \u003c\/strong\u003ewas born in Mugardos (Spain) in 1977 and graduated in double bass from the Conservatorio Superior of Salamanca. He has worked as a double bassist in the Royal Orchestra of Galicia, having also performed in many orchestras throughout Spain, and is the bassist in the Symphony Wind Orchestra of A Coruña. He has collaborated with many musicians and ensembles, particularly in the field of contemporary music, and has recorded and performed on many commercial recordings and for television and radio broadcasts.\u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40714672799788,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/d6987c9156dba29362fd300830c600b36d759c752c0fc0df847c2ccccb33c4e0_1.webp?v=1664561090"},{"product_id":"bassmonsters","title":"Simón García: Bass Monsters for double bass \u0026 piano","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBass Monsters is originally for double bass quartet and was arranged for double bass and piano by the composer. It is a fun, exciting, and vibrant piece that is aimed at the advanced bassist. It has great rhythmic energy and momentum, using the entire range of the solo double bass, and has been popular with bassists and audiences alike.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis edition includes piano accompaniments for both solo and orchestral tunings. Simón García writes: \"Bass Monsters was commissioned by Claus Freudenstein, leader of the international double bass ensemble of the same name who play rock music as a double bass quartet. The piece begins with an introduction in epic style where, little by little, the music reaches a climax and from here the main piece begins, which was inspired by the British Heavy Metal 'Iron Maiden'.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTo give the maximum possible realism I wrote it the same as any song of this style, with slow and fast differentiated parts, lyrics and chorus, guitar solo... Accompaniments with a rhythmic force along, with virtuosic solos, make this piece very fresh and very forceful. The changes of sections and modulations surprise the audience at every moment and the piece transmits an energy that soon spreads.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSimón García Bundle\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSelect the 'Simón García Bundle' option and you will receive Bass Monsters, Sounds of Spain \u003ca rel=\"nofollow\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/soundsofspain\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/soundsofspain\" target=\"_blank\"\u003e1\u003c\/a\u003e and \u003ca rel=\"nofollow\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/soundsofspain2\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/soundsofspain2\" target=\"_blank\"\u003e2\u003c\/a\u003e, all for 25% off.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBassist and composer Simón García was born in Mugardos (Spain) in 1977 and graduated in double bass from the Conservatorio Superior of Salamanca. He has worked as a double bassist in the Royal Orchestra of Galicia, having also performed in many orchestras throughout Spain, and is the bassist in the Symphony Wind Orchestra of A. Coruna. He has collaborated with many musicians and ensembles, particularly in the field of contemporary music, and has recorded and performed on many commercial recordings and for television and radio broadcasts.\u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Bass Monsters","offer_id":40714716381228,"sku":"","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Simón García Bundle","offer_id":40714716413996,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/8795c0cd98062be355bd084206445f305910c3b720763a894046945b337cd49c_1.jpg?v=1664561728"},{"product_id":"echoesshadows","title":"Simón García: Echoes \u0026 Shadows for 2 double basses \u0026 piano","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEchoes \u0026amp; Shadows is originally for 12 double basses and was newly arranged for the German bassist, Manuela Uhlmann, by the composer. Aimed at the intermediate-advanced bassists, the piece is rhythmically exciting, exploring a wealth of colors and timbres, alongside the energy and excitement which is typical of Simón García’s music.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eA Note from Simón\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhen I received the proposal from David Heyes to write a piece for twelve basses to end my BASS2014 concert I thought it a brilliant idea. The first word that came into my mind when thinking of twelve basses was 'noise', so I started looking for the opposite sounds. Would it be possible for twelve basses to sound kindly or gentle? That was my challenge! I started creating a minimalist soundscape, highly enriched rhythmically with harmonics which would work well. I searched through various types of pizzicato sounds but these created 'noise' rather than my original target. I needed a more 'brilliant' sound, so I opened the case of my old electric mandolin and started to play my bass with the pick. That was what I needed!\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFinally, the piece consists of a powerful melody that passes among all players over a harmonic and rhythmical ostinato. It is a piece full of contained energy, highly rhythmic, and timbral richness. We asked friends on Facebook to suggest a title and received 70 entries, and the winning title was by Chino Chinoski Parrilla from Galicia (Spain).\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis edition includes accompaniments for both solo and orchestral tunings.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBassist and composer Simón García\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003ewas born in Mugardos (Spain) in 1977 and graduated in double bass from the Conservatorio Superior of Salamanca. He has worked as a double bassist in the Royal Orchestra of Galicia, having also performed in many orchestras throughout Spain, and is the bassist in the Symphony Wind Orchestra of A. Coruna. He has collaborated with many musicians and ensembles, particularly in the field of contemporary music, and has recorded and performed on many commercial recordings and for television and radio broadcasts.\u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40714761863212,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/d6987c9156dba29362fd300830c600b36d759c752c0fc0df847c2ccccb33c4e0.jpg?v=1664562268"},{"product_id":"gorenfantasy","title":"Teppo Hauta-aho: A Sad Fantasy in memory of Eli Goren for double bass duet","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA Sad Fantasy in Memory of Eli Goren, subtitled Duettino III, is an amazingly inventive and evocative addition to the advanced duo repertoire and was composed in 2001.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe two basses play almost entirely independently of each other, creating a rhapsodic freedom and soundscape which will be unique at each performance. It is an inspired and exotic fantasy with an amazing panoply of sounds and textures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout Teppo's Compositions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTeppo Hauta-aho has written a wealth of duets for double bass, many published by Recital Music, and is a past master at writing music that offers far more than simply technical prowess.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"Teppo's bass duets are worth a second, third and fourth look. His music inhabits a sound world completely different from everyone else and he has followed his own and unique compositional path throughout his career. These are impressive and inventive duets which are in a direct line to the grand duets of Bottesini.\"\u003c\/em\u003eDavid Heyes\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEli Goren\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e(1923-1999), a violinist and teacher, was the leader of the Allegri String Quartet and former leader of the BBC Symphony Orchestra. He was an influential teacher, with important posts at the Guildhall School of Music (London) and Royal Northern College of Music (Manchester), alongside teaching at the Utrecht Conservatory from 1982-88. In retirement, he continued to teach and gave masterclasses at Lake District Summer Music and at the Kuhmo Chamber Music Festival in Finland.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTeppo Hauta-aho\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e(1941-2021) was the most prolific composer in the history of the double bass and has composed for every ability level, from the beginner to the virtuoso. His music is evocative and atmospheric, shaped by jazz and contemporary styles, and the influence of the dramatic and bleak landscapes and vistas of his native Finland are captured throughout his engaging and accessible music.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eIn Memory Bass Duo Bundle\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSelect the 'In Memory bundle' and receive \u003ca rel=\"nofollow\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/memoryRB\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/memoryRB\" target=\"_blank\"\u003eA Sad Fantasy and Duo Basso II 'In Memory of Ray Brown' for 2 double basses\u003c\/a\u003e for a discount.\u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Sad Fantasy","offer_id":40724502249516,"sku":"","price":15.0,"currency_code":"USD","in_stock":true},{"title":"In Memory Bass Duo Bundle","offer_id":40724502282284,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/880e2f5efb03fb813525a4237482786572bb774a0c843727567ced37f4c5998e_5.jpg?v=1664803859"},{"product_id":"koraaliaana","title":"Teppo Hauta-aho: Koraaliaana - Miniature for double bass quartet","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e'Koraaliaana - Miniature' is a magical work for the advanced quartet, composed in 1985, and was a favorite work at Bass-Fest (UK) for many years.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLasting around 9-10 minutes, this is Teppo Hauta-aho at his very best, writing music that is engaging and interesting to play and demonstrating the wealth of tonal and timbral possibilities of the double bass quartet. In four clearly defined sections, the piece offers much to the enterprising and adventurous quartet who are looking for an original work that has much to say.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe introduction is rhythmically free. Basses 3 and 4 work together in time as a ground bass with bass 1 and 2 playing without meters and in the higher registers. The second section is the introduction of the chorale theme, now in time, but with added 'Teppo touches' to create something a little different. A slower middle section, played\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eprimarily in the lower register, contrasts music of a more chordal nature, with varied rhythms and chromatic notes to add interest and atmosphere. The piece slowly winds down and relaxes onto a chord of A and E, neither major nor minor.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e'Koraaliaana' is a fascinating work and full of colorful textures and timbres. There is scope to create wonderful musical tapestries and soundscapes and to demonstrate the more lyrical and sonorous qualities of the double bass quartet. Beautiful music from a great composer.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/JnoXvdHU6zc?si=7iEyKra7agaWtLm5\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePerformance Notes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e1) The first page of the score is also the first page of each individual part. Basses 1 and\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e2 play freely and independently, beginning approximately where it states in the score. The file is called ‘first page’.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e2) Basses 3 and 4 play together, in time, independently of the other basses.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e3) The music should eventually die away until there is a moment of silence before beginning with bar 2 which is the first bar of each individual part.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e4) There are two possible endings and the details are included on pages 9 and 10 of the score.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWatch a Performance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tiptap__raw\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003ciframe data-mce-fragment=\"1\" src=\"\/\/cdn.iframe.ly\/api\/iframe?url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DJnoXvdHU6zc\u0026amp;key=31708e31359468f73bc5b03e9dcab7da\" allow=\"accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *;\" scrolling=\"no\" allowfullscreen=\"\" data-mce-src=\"\/\/cdn.iframe.ly\/api\/iframe?url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DJnoXvdHU6zc\u0026amp;key=31708e31359468f73bc5b03e9dcab7da\"\u003e\u003c\/iframe\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTeppo Hauta-aho (1941-2021) was the most prolific composer in the history of the double bass and has composed for every ability level, from the beginner to the virtuoso. His music is evocative and atmospheric, shaped by jazz and contemporary styles, and the influence of the dramatic and bleak landscapes and vistas of his native Finland are captured throughout his engaging and accessible music.\u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40724565950508,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/files\/Hauta-aho-KoraaliaanaFrontCover.png?v=1728674528"},{"product_id":"berceuseinam","title":"Wendell Rosa: Berceuse in A Major for solo double bass","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe majority of this piece was conceived in a morning of practicing and improvisation. Since I was composing my other solo piece \u003ca rel=\"nofollow\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/rosaballade\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/dbbpublications.gumroad.com\/l\/rosaballade\" target=\"_blank\"\u003eBallade in A minor for Double for solo double bass\u003c\/a\u003e it is possible to find materials from that music being developed in different ways in the berceuse.  \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWendell Rosa started his studies of acoustic double-bass in the year of 2013 in a community center social inclusion program in the city of Esteio, under the orientation of the instructor Ismael Almeida. Months later, he became a member of the Young Orchestra of Esteio, making several presentations. In the year 2014, he started his classes in the Porto Alegre Symphonic Orchestra School (OSPA School), being orientated by professor Éder Kinnape. Later, he joins the Youth Symphonic Orchestra of Porto Alegre, and the Youth Symphonic Orchestra of Rio Grande do Sul, also getting involved in many presentations, among these concerts and recitals. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn 2016 he was admitted at the Federal University of the State of Rio Grande do Sul (UFRGS), where he is attending an undergraduate course of music (specializing in acoustic double-bass), under the orientation of Dr. Alexandre Ritter, achieving his diploma in 2019. He acted in groups like the main Orchestra of OSPA, the Santa Cruz University Orchestra, the UFRGS Aluminis Orchestra, and in the UFGRS acoustic double-bass quartet, besides participating in many Saraus in UFGRS arts institute. In 2018 as one of the winners of the winter festival of the Federal University of Santa Maria (UFSM), he was prized with a full scholarship for the double bass performance course at The University of Georgia, there attending many events, including classes, concerts, recitals, being then orientated by professor Milton Masciari. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe got involved in masterclasses and summer courses, attending classes of professors like Alberto Bocini (Italy), Milton Masciari (USA), Michinori Bunia (Germany), Gustavo Fontes (Brazil), Walter Schinke (Brazil), Fabio Alves (Brazil), and George Amorim (Brazil\/USA). He has performed standard pieces like Concerto for Double bass by Nino Rota, Concerto N. 2 for Double Bass by Bottesini, Concerto for Double Bass by Koussevitsky, Concerto for Double Bass by Dittersdorf, Concerto for Double Bass by Dragonetti, etc.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhile composer, he owns the Duo Number 1 for acoustic double-bass and violin called “the forgetful battle ascension,” recorded in 2018 in Audio Porto studios, \u003ca href=\"https:\/\/youtu.be\/ASytPmj12B4\" rel=\"nofollow noopener\" target=\"_blank\" data-mce-href=\"https:\/\/youtu.be\/ASytPmj12B4\" data-mce-fragment=\"1\"\u003eavailable on YouTube\u003c\/a\u003e, in 2019 performed his first orchestral concert, interpreting the Concerto N. 2 by Giovanni Bottesini.\u003c\/p\u003e","brand":"Wendell Rosa","offers":[{"title":"Default Title","offer_id":40724985708588,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/baaca0eb0e33dc4f9d45910b8c86623f0144cea0fe0c2093c546d17d535752eb_17.webp?v=1664807593"},{"product_id":"rhythm-changes-treble","title":"Cole Davis: Rhythm Changes In All 12 Keys (treble clef edition)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Etudes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRhythm Changes is one of the hardest harmonic structures to play accurately on bass. I, like most bass players, have caught myself resorting to “bass-friendly” language when playing Rhythm Changes. The problem with that is, that’s usually not nailing the changes. It’s an approximation of the changes, which can still sound good, but it’s not the changes. I became fascinated with working on playing each individual change when playing Rhythm Changes, and the result was this book\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eBundle includes: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e1.\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/ii-v-i\" data-mce-href=\"https:\/\/shop.doublebasshq.com\/products\/ii-v-i\" target=\"_blank\"\u003eii-V-I Licks\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(bass and treble clef)\u003cbr\u003e2.\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/blues_cole\" data-mce-href=\"https:\/\/shop.doublebasshq.com\/products\/blues_cole\" target=\"_blank\"\u003eBlues in All 12 Keys\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(bass and treble clef, backing tracks)\u003cbr\u003e3.\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/rhythmchangest\" data-mce-href=\"https:\/\/shop.doublebasshq.com\/products\/rhythmchangest\" target=\"_blank\"\u003eRhythm Changes\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(bass and treble clef, backing tracks)\u003cbr\u003e\u003cbr\u003e*Audio tracks are included with Rhythm Changes and Blues only.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eAll Books Are Delivered as Digital Files\u003c\/strong\u003e\u003c\/p\u003e","brand":"Cole Davis","offers":[{"title":"Rhythm Changes in All 12 Keys (treble edition)","offer_id":40725569765420,"sku":"","price":13.0,"currency_code":"USD","in_stock":true},{"title":"Jazz Bundle","offer_id":40725569798188,"sku":"","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/3298c3eb001bbed90f1d616da66708480096a0a1b6e81bd4f8a2d6e9b831d301_11.png?v=1664813563"}],"url":"https:\/\/shop.doublebasshq.com\/collections\/advanced.oembed?page=12","provider":"Double Bass Sheet Music","version":"1.0","type":"link"}