{"title":"Instrumentation","description":"Search our catalog of double bass music by instrumentation by using the filter menus below.","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":"ii-v-i","title":"Cole Davis: 10 ii-V-I Licks on Upright Bass (bass 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 Book\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThere are plenty of ii-V-I books out there, but few of them are actually meant for the upright bass. The ii-V-I books that do exist for upright focus almost exclusively on walking bass lines, which, as we all know, is more important than soloing. The dearth of resources on 8th note lines that actually work on upright bass is what inspired me to make this book.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMost bass players, myself included, struggle over “flat keys” such as Db, Eb, etc; often because of the awkward shifting involved in hitting the dominant chords of the key. Rhythm changes and blues can be uncomfortable in those keys using the “standard” methods of fingering and positioning. This book is somewhat of a precursor to the Rhythm Changes in all 12 keys and Blues in all 12 keys books that I have available; much of the language used in this book is translated into the Rhythm Changes and Blues.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn all 3 books, I use open strings to create more possibilities, both technically and harmonically.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eBundle includes: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e1. \u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/ii-v-i\" target=\"_blank\"\u003eii-V-I Licks\u003c\/a\u003e (bass and treble clef)\u003cbr\u003e2. \u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/blues_cole\" target=\"_blank\"\u003eBlues in All 12 Keys\u003c\/a\u003e (bass and treble clef, backing tracks)\u003cbr\u003e3. \u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/rhythmchangest\" target=\"_blank\"\u003eRhythm Changes\u003c\/a\u003e (bass and treble clef, backing tracks)\u003cbr\u003e\u003cbr\u003e*Audio tracks are included with Rhythm Changes and Blues only.\u003cbr\u003e\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":"ii-V-I Licks On Upright Bass","offer_id":40702274437164,"sku":"","price":19.99,"currency_code":"USD","in_stock":true},{"title":"Jazz Bundle","offer_id":40702274469932,"sku":"","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/3298c3eb001bbed90f1d616da66708480096a0a1b6e81bd4f8a2d6e9b831d301.webp?v=1664239668"},{"product_id":"dvoraklargotrio","title":"Antonín Dvořák: Largo (Symphony No.9 'From the New World') for double bass trio (arranged by Miloslav Gajdoš)","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\"\u003eAntonín Dvořák\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e(1892-1904) was the most popular composer of the Czech national school and Symphony No.9 \u003cem data-mce-fragment=\"1\"\u003e‘From the New World’\u003c\/em\u003e, composed in 1893 and premiered at Carnegie Hall (New York), is one of his most successful and performed works. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe second movement (Largo) is instantly appealing with its plaintive and sorrowful theme, one of Dvořák’s greatest musical creations, played by the cor anglais. During the composers three year stay in America (1892-95) he became homesick for his native Bohemia and the movement is often interpreted as an expression of his longing to return home. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Transcription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis masterly transcription for double bass trio by Miloslav Gajdoš includes the main themes of the movement, creating an arrangement which is both magical and evocative. There is something of interest for each player with opportunities to display the rich sonorous qualities of the double bass and the transcription has been transposed into C major, a semitone lower than the original key. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDvořák really admired African-American spirituals and melodies, especially their use of pentatonic scales and syncopations, and although he didn’t quote any original ones in the symphony stated: \u003cem data-mce-fragment=\"1\"\u003e“It was my intention only to write in the spirit of these national American melodies…The motifs are my own, and some I brought with me. This is and remains Czech music.” \u003c\/em\u003e\u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40707606773804,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/ffd67c1dc3bf55e2cb258b874b5182d9109f70c987c9d84e6e8283bcbc14c863.webp?v=1664373386"},{"product_id":"baroquequartets","title":"Bach, Funck, Handel \u0026 Pachelbel: Baroque Bass Quartets (arranged by David Heyes)","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-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003eBaroque Bass Quartets brings together a wealth of amazing music by Bach, Handel, Funck and Pachelbel, arranged for the intermediate double bass quartet by David Heyes. Ideal as concert repertoire or simply to play with friends, they offer technical and musical challenges in equal measure, and all are audience and player friendly. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTable of Contents\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e1. J.S. Bach (1685-1750) - Air on a G string \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBach’s Air from Orchestral Suite No.3 in D major is probably one of the most famous melodies ever composed. Originally arranged by David Heyes in the 1980s for The Col Legno Double Bass Ensemble in London and newly edited in 2007, this Baroque 'classic' offers effective challenges for the good intermediate quartet and would be ideal for any concert or occasion. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe majority of the melodic material is played by Bass 1, with wonderfully contrapuntal writing for Bass 2 and 3, grounded by an evocative and iconic pizzicato bass line. Bass 1 and 2 have passages which could be played an octave higher than written which will add height, clarity and added vitality. Bach's Air is almost 300 years old and is as fresh and beautiful as the day it was written. Many players have edited and revised it but still the mastery of the piece shines through. A great addition to the double bass quartet transcription repertoire. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e2. G.F. Handel (1685-1759) - Sarabande \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSarabande is originally the third movement of Handel’s Concerto No.3 for oboe and strings, transposed and arranged for double bass quartet by David Heyes, and the edition includes two versions: 1) Double Bass Quartet - the solo line has been shared equally between all four players 2) Solo Double Bass \u0026amp; Double Bass Trio - bass 1 plays the original solo melody accompanied by the other basses. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThere are few dynamics included, allowing each quartet to create their own unique performance, and the accompaniment should always be carefully balanced against the solo melody. All players should read from the same score format. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eComposed in about 1703 when Georg Frideric Handel\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e(1685-1759) was in Hamburg, it is generally known as Oboe Concerto No.3 today, although in reality it was probably the first of the three concertos to be written. It was first published in Leipzig in 1863, well over 150 years after it was composed. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e3. David Funck (1648-c.1699) - Suite for Bass Viols \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDavid Funck was born in Bohemia, spent some time in Italy before returning to Germany, and was an accomplished writer, theorist, and composer. Stricturæ Viola-di Gambicæ is a collection of dance suites for four viols. The forty-three pieces are simple and straightforward dances and are low enough that they can be performed entirely on bass viols. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDavid Heyes has selected fourteen movements that transcribe well for double bass quartet and players may perform the suite complete or a selection of movements at their discretion. There are few dynamic suggestions allowing performers to create unique performances, with vibrato used sparingly if at all, to create organ-like textures and repeats can be added as necessary. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJohann Pachelbel (1653-1706) - Canon \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThree editions in D major (Higher\/Lower) and G major are published together, and this is an excellent exercise in ensemble playing. Great fun for all - audience and players alike. Bass 4 plays the repetitive ground bass but, with a little judicious editing, this can be equally shared between the four basses. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCanon in D\/G is useful repertoire for players of equal ability and excellent transcription repertoire for any good bass quartet. The musical notation has been changed (no demi-semiquavers\/16th notes) for ease of reading. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJohann Pachelbel (1653-1706) was a German composer and teacher; although he composed a wealth of sacred and secular music, he is known primarily for the Canon in D. His music was popular during his lifetime, and was one of the most important composers of the middle Baroque period. \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40707679027244,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/09996c208efc776c7bd2124e8b3a9e98f04d6df2c81ee28f067772316ad213d7.webp?v=1664375099"},{"product_id":"donkinbeginners","title":"Christine Donkin: Bass-Time Beginners: 6 Easy Pieces for the Young Bassist for Double Bass \u0026 Piano","description":"\u003cp\u003e\u003cstrong data-mce-fragment=\"1\" style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eAbout the Compositions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBass-Time Beginners is a set of six short easy pieces for the beginner bassist. They offer simple musical and technical challenges, using a limited number of notes, keys and positions to encourage confidence in the early years of study, also introducing simple harmonics and pizzicato effects to create a greater awareness of the possibilities of the double bass.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe piano accompaniments are independent and supportive, written for the double bass teacher with some pianistic skills, creating music that is useful for both educational and concert use. Written in a popular and accessible style, Bass-Time Beginners were composed in 2010 for Recital Music's BassLines Project to create new repertoire for beginners.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eGrading\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNo.1 The Ogre’s Dance - ABRSM Grade 1 \/ TCL Grade 2 \/ MTB Exams Grade 2 \u003cbr\u003eNo.2 Evening Star - ABRSM Grade 1 \/ MTB Exams Grade 2\u003cbr data-mce-fragment=\"1\"\u003eNo.4 Romance - ABRSM Grade 4 \/ MTB Exams Grade 3 \u003cbr\u003eNo.5 A Summer Day - MTB Exams Grade 4\u003cbr data-mce-fragment=\"1\"\u003eNo.6 Serenade - ABRSM Grade 4\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\"\u003eEach piece makes a good teaching point well, for example 'Ogre's Dance' playing with string and light bowing and early use of slurs. 'Masquerade Waltz' is very good for supporting the use of half and first positions, and 'A Summer Day' has a smooth melody line that takes the performer into neck position. I found that 'Evening Star' is a beginner's equivalent to 'Deep Song' by John Walton, with lovely romantic piano harmony; it is a pretty piece for the early use of slurs. I think these pieces would also make a good addition for enjoyable sight-reading practice.\u003c\/em\u003e [Liz Bradley\/ESTA\/Arco]\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSo far, so good\u003c\/strong\u003e!\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt is a fun piece for the progressing young bassist. Suitable as a study or concert piece, the mood is upbeat and joyful, with effective musical and technical challenges in the lower positions of the double bass. The accompaniment is rhythmic and supportive and ideal for the double bass teacher with some pianistic abilities.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“When learning to distinguish between the sounds of major and minor chords, I was told to remember that major chords ‘sound happy’ and minor chords ‘sound sad’. I suppose it’s a useful starting point for learning to identify chords on their own, but when they are used in progressions and in combination with rhythm, tone colours, and so on, the overall effect doesn’t always reflect the individual chords’ characteristics in a way that one might expect. In other words, I find it interesting that I (and many other composers) often use so-called sad chords to create music that is anything but sad. ‘So far, so good!’ is a simple piece that features both major and minor sections, but is light-hearted and cheerful throughout.” [Christine Donkin]\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\"\u003eChristine Donkinis a Canadian composer of educational, choral, and instrumental music. Born in Grande Prairie, Alberta, she holds degrees from the University of Alberta and the University of British Columbia and, in addition to her work as a piano teacher, she is active as an adjudicator, clinician, judge, and guest speaker at educational events across Canada.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eChristine's compositions have won awards at national and international competitions notably the DaCapo Chamber Choir's NewWorks Competition (Ontario, 2010); International Music Prize for Excellence in Composition (Greece, 2009); Living Music Under Living Skies Competition (Saskatchewan, 2009); Choral Horizons Competition (Minneapolis, 2009); Classical Marimba League International Composition Competition (2009); Guelph Chamber Choir Young Composers Competition (Ontario, 2008) and Sorel Medallion Competition (New York, 2008).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eChristine Donkin's music is increasingly being performed throughout Canada and\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAmerica, and also in many European countries. Her educational and choral music has been particularly popular and her works are available from a number of international publishers.\u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40707702128684,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/8795c0cd98062be355bd084206445f305910c3b720763a894046945b337cd49c.jpg?v=1664375406"},{"product_id":"coletechnique","title":"Cole Davis: A complete guide to shifting-free, simple scales and arpeggios over all Major, Minor and Dominant chords.","description":"\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eAbout the Guide\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003eThese are the scales and arpeggios that I use to warm up every day, as well as the foundation for my improvisational ideas.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eYou’ll notice that I don’t really think in terms of modes (although several of my students do). I have no problem with modes, I prefer to deal with arpeggios and the extensions themselves, as opposed to the scales that encompass those extensions.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the Dominant Arpeggios, I deal with each extension separately. Each page of Dominant Arpeggios is dedicated to a different extension (#11, b9, #5, #9, respectively). In the Major and Minor arpeggios, there are only 3 extensions, which simplifies things. Unless you are Thelonious Monk, in which case a b9 on a major7 chord is somehow the right choice.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe purpose of this packet is not only to simplify the harmonic information but to show how these scales and arpeggios can be played without shifting. Many upright bass players tend to shy away from extended harmony because of all the shifting that is often involved. With these scales and arpeggios, there is no shifting, just practical use of the open strings so you can move around the bass more freely.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs always, thank you for your support and for exploring the bass with me. My line is always open for comments, questions, or feedback.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e-Cole\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/yBSM2aY77fk?si=EPq7gzwfWCWab8b4\" 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\u003e\u003cstrong\u003eEtude Bundle Option Includes 4 etude books\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e1.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/coletechnique\" target=\"_blank\" data-mce-href=\"https:\/\/shop.doublebasshq.com\/products\/coletechnique\"\u003eShift Free Scales and Arpeggios\u003c\/a\u003e\u003cbr\u003e2.\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/unleashed_bass\" data-mce-href=\"https:\/\/shop.doublebasshq.com\/products\/unleashed_bass\" target=\"_blank\"\u003eLines (bass clef, backing tracks)\u003c\/a\u003e\u003cbr\u003e3.\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/freedom_bass\" data-mce-href=\"https:\/\/shop.doublebasshq.com\/products\/freedom_bass\" target=\"_blank\"\u003eFreedom of Movement\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/freedom_bass\" data-mce-href=\"https:\/\/shop.doublebasshq.com\/products\/freedom_bass\" target=\"_blank\"\u003ebass\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/freedom_treble\" data-mce-href=\"https:\/\/shop.doublebasshq.com\/products\/freedom_treble\"\u003etreble clef\u003c\/a\u003e, backing tracks)\u003cbr\u003e4. \u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/the-new-simandl\" target=\"_blank\"\u003e\u003cspan\u003eThe New Simandl\u003cbr\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e5. \u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/understanding-thumb-position-cole-davis\" target=\"_blank\"\u003eUnderstanding Thumb Position\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eAll Books Are Delivered as Digital Files\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Cole Davis","offers":[{"title":"Scale and Arpeggio Guide","offer_id":41195114496044,"sku":"","price":17.0,"currency_code":"USD","in_stock":true},{"title":"5 Book Bundle","offer_id":41195114528812,"sku":"","price":92.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/files\/ScalesandArpeggios_ColeDavis.png?v=1683051875"},{"product_id":"cpeduets","title":"CPE Bach: Two Duets for 2 Double Basses (arr. by Michael Kurth)","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 Duets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThese 2 duets by one of those Sons of a Bach, Carl Philip Emmanuel Bach, are a delightful addition to the bass duo repertoire. Early classical in style, great for teaching and demonstrating phrasing while playing along with a student. Or use them to help yourself figure out how to make one of those split-screen videos on the Tik Tok thingie that the kids are into.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePlayer 1 goes up to E above the first G octave and uses a lot of treble clef. Player 2's range tops out at B above the G octave, with minimal treble clef. \u003cbr\u003e\u003cbr\u003eThe difficulty levels for both parts are\u003cb\u003e \u003c\/b\u003ecomparable to Eccles or Dragonetti.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/gS_jaCu58yU?si=9YNiQ_Awt6Ey_O_M\" 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\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.\u003cbr\u003e\u003c\/p\u003e","brand":"Michael Kurth","offers":[{"title":"Default Title","offer_id":40707751084076,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/files\/CPEBach2duets-Scoreandparts-01.png?v=1728673677"},{"product_id":"andersoncatalog","title":"Dave Anderson Catalog for Double Bass","description":"\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Compositions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis bundle is a \u003cem data-mce-fragment=\"1\"\u003epartial\u003c\/em\u003e collection of Dave's incredible catalog of double bass works. You save 25% when you purchase as a bundle compared to each composition individually.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTable of Contents\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/andersoncapriccio2\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eCapriccio No. 2 for Solo Double Bass (1997)\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/andersondancesuite\"\u003eSonata for Double Bass \u0026amp; Harp\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/andersonsonata1\"\u003eSonata #1 for Double Bass and Piano\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/andersondbsonata2\"\u003eSonata #2 for Double Bass and Piano\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/andersonquintet\"\u003eQuintet for Oboe, Clarinet, Violin, Viola, and Double Bass\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/andersondbquartet\"\u003eDouble Bass Quartet (1987)\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/anderson7duets\"\u003e7 Double Bass Duets (2025 Edition)\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/anderson7duetsdbc\"\u003e7 Double Bass Duets (transcribed for Cello \u0026amp; Bass)\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/andersondancesuite\"\u003eDance Suite for double bass and harp\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/5romances\"\u003e5 Romances for double bass and harp\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/4shortpieces\"\u003e4 Short Pieces for solo double bass (2025 Edition)\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/shop.doublebasshq.com\/products\/couperinsextet\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e“Couperin Variations” - Sextet for Flute, Trombone, Violin, Viola, Double Bass \u0026amp; Harp\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout Dave Anderson\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":40707895459884,"sku":"","price":249.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/baaca0eb0e33dc4f9d45910b8c86623f0144cea0fe0c2093c546d17d535752eb.jpg?v=1664380103"},{"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=\"JTVCJTdCJTIydHlwZSUyMiUzQSUyMmRvY3VtZW50JTIyJTJDJTIydGhlbWUlMjIlM0ElN0IlMjJkb2N1bWVudCUyMiUzQSU3QiUyMmJhY2tncm91bmRDb2xvciUyMiUzQSUyMiUyM0ZGRkZGRiUyMiU3RCUyQyUyMmJ1dHRvbiUyMiUzQSU3QiUyMmJhY2tncm91bmRDb2xvciUyMiUzQSUyMiUyM2ZkNTM1MyUyMiUyQyUyMmNvbG9yJTIyJTNBJTIyJTIzZmZmZmZmJTIyJTJDJTIyYm9yZGVyUmFkaXVzJTIyJTNBJTIyMjQlMjIlN0QlN0QlMkMlMjJjaGlsZHJlbiUyMiUzQSU1QiU3QiUyMnR5cGUlMjIlM0ElMjJoZWFkaW5nLXRocmVlJTIyJTJDJTIyY2hpbGRyZW4lMjIlM0ElNUIlN0IlMjJ0ZXh0JTIyJTNBJTIyQWJvdXQlMjB0aGUlMjBOZXclMjBFZGl0aW9uJTIyJTJDJTIyYm9sZCUyMiUzQXRydWUlN0QlNUQlN0QlMkMlN0IlMjJ0eXBlJTIyJTNBJTIycGFyYWdyYXBoJTIyJTJDJTIyY2hpbGRyZW4lMjIlM0ElNUIlN0IlMjJ0ZXh0JTIyJTNBJTIyRGF2ZSUyMEFuZGVyc29uJ3MlMjBjb21wb3NpdGlvbnMlMjBhcmUlMjBhJTIwbWFpbnN0YXklMjBpbiUyMHRoZSUyMG1vZGVybiUyMGRvdWJsZSUyMGJhc3MlMjByZXBlcnRvaXJlJTIwcGVyZm9ybWVkJTIwYnklMjB0aG91c2FuZHMlMjBvZiUyMGRvdWJsZSUyMGJhc3Npc3RzJTIwd29ybGR3aWRlLiUyMFdoZW4lMjBIdXJyaWNhbmUlMjBLYXRyaW5hJTIwaGl0JTIwRGF2ZSdzJTIwaG9tZXRvd24lMjBvZiUyME5ldyUyME9ybGVhbnMlMjBpbiUyMDIwMDQlMkMlMjBoaXMlMjBvcmlnaW5hbCUyMGVkaXRpb25zJTIwd2VyZSUyMHNldmVyZWx5JTIwZGFtYWdlZC4lMjBCdXQlMjBpbiUyMHRoZSUyMGNpdHkncyUyMGFuZCUyMERhdmUncyUyMGRldGVybWluYXRpdmUlMjBzcGlyaXQlMkMlMjBoaXMlMjBjb21wb3NpdGlvbnMlMjBoYXZlJTIwcGVyc2V2ZXJlZCUyMGFuZCUyMGZvcmdlZCUyMGElMjBkZWVwJTIwY29ubmVjdGlvbiUyMHdpdGglMjBwZXJmb3JtZXIlMjBhbmQlMjBhdWRpZW5jZSUyMG1lbWJlcnMlMjBhbGlrZS4lMjAlMjIlN0QlNUQlN0QlMkMlN0IlMjJ0eXBlJTIyJTNBJTIycGFyYWdyYXBoJTIyJTJDJTIyY2hpbGRyZW4lMjIlM0ElNUIlN0IlMjJ0ZXh0JTIyJTNBJTIyV2hlbiUyMHdlJTIwbGF1bmNoZWQlMjBvdXIlMjBzaGVldCUyMG11c2ljJTIwc3RvcmUlMjBpbiUyMDIwMTklMkMlMjB3ZSUyMHdhbnRlZCUyMERhdmUncyUyMGNvbXBvc2l0aW9ucyUyMGF2YWlsYWJsZSUyMHRvJTIwZG91YmxlJTIwYmFzc2lzdHMuJTIwSW4lMjBGZWJydWFyeSUyMDIwMjUlMkMlMjB3ZSUyMHBpdGNoZWQlMjBEYXZlJTIwb24lMjBjcmVhdGluZyUyMHVwZGF0ZWQlMjB2ZXJzaW9ucyUyMG9mJTIwaGlzJTIwYmVsb3ZlZCUyMGNvbXBvc2l0aW9ucy4lMjBMYXVyZW4lMjBQaWVyY2UlMjB3b3VsZCUyMG1ldGljdWxvdXNseSUyMHVwZGF0ZSUyMERhdmUncyUyMHdvcmtzJTJDJTIwaW1wcm92aW5nJTIwdGhlJTIwbGF5b3V0JTJDJTIwaW5jbHVkaW5nJTIwdXBkYXRlZCUyMHR5cGVmYWNlJTJDJTIwbWVhc3VyZSUyMG51bWJlcnMlMkMlMjBub3RlJTIwc3BhY2luZyUyMGZvciUyMGVhc2UlMjBvZiUyMHJlYWRpbmclMkMlMjBzdGFuZGFyZGl6aW5nJTIwYm93JTIwbWFya2luZ3MlMkMlMjBmaW5nZXJpbmdzJTJDJTIwYW5kJTIwbW9yZS4lMjBPdXIlMjBnb2FsJTIwd2FzJTIwdG8lMjBjcmVhdGUlMjBhbiUyMGVkaXRpb24lMjB0aGF0JTIwd291bGQlMjBicmluZyUyMHRoZSUyMGpveSUyMG9mJTIwRGF2ZSdzJTIwbXVzaWMlMjB0byUyMGRvdWJsZSUyMGJhc3Npc3RzJTIwYW5kJTIwYXVkaWVuY2VzJTIwZm9yJTIwZ2VuZXJhdGlvbnMuJTIwJTIyJTdEJTVEJTdEJTJDJTdCJTIydHlwZSUyMiUzQSUyMnBhcmFncmFwaCUyMiUyQyUyMmNoaWxkcmVuJTIyJTNBJTVCJTdCJTIydGV4dCUyMiUzQSUyMldlJTIwYXJlJTIwdGhyaWxsZWQlMjB3aXRoJTIwdGhlJTIwcmVzdWx0JTIwYW5kJTIwaG9wZSUyMHlvdSUyMGVuam95JTIwRGF2ZSUyMEFuZGVyc29uJ3MlMjAlMjIlN0QlMkMlN0IlMjJ0ZXh0JTIyJTNBJTIyNCUyMFNob3J0JTIwUGllY2VzJTIwJTIyJTJDJTIyaXRhbGljJTIyJTNBdHJ1ZSU3RCUyQyU3QiUyMnRleHQlMjIlM0ElMjJmb3IlMjBzb2xvJTIwZG91YmxlJTIwYmFzcyUyMHByZXNlbnRlZCUyMGJ5JTIwRGF2ZSUyMEFuZGVyc29uJTIwYW5kJTIwRG91YmxlJTIwQmFzcyUyMEhRLiUyMiU3RCU1RCU3RCU1RCU3RCU1RA==\" 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":"21solopieces","title":"David Heyes: Bass Clef Unaccompanied Solos Book 2: 21 pieces for unaccompanied double bass","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout the Book\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBass Clef Unaccompanied Solos Book 2 brings together 21 pieces for unaccompanied double bass, all composed for friends and students of David Heyes in recent years. Each solo is a mini-musical soundscape, in the lower register of the double bass, offering musical and technical challenges in equal measure, which exploit the colours, timbres and playing effects available to the 21st-century bassist. Some pieces are short and succinct, others more extended, but none outstay their welcome and are ideal as study or recital repertoire. \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\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eA Small Suite \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"Over the years I have had a number of students with various left hand injuries or weaknesses. After focusing on lots of bow work, these students are desperate to have pieces they can play while gradually increasing their left hand strength…With this suite, students have the ability to work on pieces that don’t tax their left hand too much; they can actually build left hand strength and have fun! This suite is even more beautiful than I could have ever imagined and my students love it!\" [Susan Hagen \/ Principal Bass, \u003c\/em\u003eBoston Pops Orchestra \/ Assistant Professor of Double Bass, Berklee College of Music, Boston, USA] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThree Nocturnes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe overall mood is dark and evocative with slow tempi and a generally expressive and legato feel. Nocturne No.2 employs simple harmonics in lower positions with an open string drone played pizzicato, contrasting the dark and brooding sounds of No.1 which is slow moving and sonorous. No.3 has more momentum but is still rhapsodic and sustained, with changing bar lengths and a recurring melodic motif which adds unity and cohesion. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMoonshine \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCommissioned by P Kellach Waddle in Texas with the brief of a work lasting about 90 seconds and with a 'beverage theme' for a concert in July 2016. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"OMG I love it !!! what a hoot !! ... I wouldn't have imagined moonshine would be prestissimo .. but I LOVE when my own idea is subverted... love it .. this is a wonderful little piece and I have decided instead of 2nd to last .. It will be the LAST of the 11 piece set of yours I shall do on that late July concert !! thank you so much !! :\" \u003c\/em\u003e[P Kellach Waddle] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDesert Landscapes \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e‘Desert Landscapes’ was composed for Holly Reinhardt who had played 'Sahara' and said it was \u003cem data-mce-fragment=\"1\"\u003e\"her favourite double bass piece ever!\" \u003c\/em\u003eIt includes arco melodies, pizzicato, sul ponticello, tremolando, col legno, double stops, harmonics and left-hand pizzicato, and is a patchwork of short motifs and themes echoing the brilliant colours and breath-taking landscapes of the ever changing sand dunes. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGeorge strolls along the Left Bank \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eImagine walking along the Left Bank in Paris, on a sunny summer’s afternoon, when you hear the distant sound of an accordionist playing a lyrical and relaxed Parisian waltz. The music is evocative and colourful and fades away as you walk towards a beautiful and elegant carousel which is gradually slowing down. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"I've just taken a minute (finally) to read through the Grand Tour album and it is magnificent! I cannot wait to start using this when my 11-year-old finished up her first book of George's Adventures. Thank you, thank you for creating these little gems!\" \u003c\/em\u003e[Gaelen McCormick \/ Eastman School of Music, USA] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRiff-Raff! \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e‘Riff-Raff!’ was composed for Raphael Davey, one of my young students, and uses a limited number of notes and positions in the lower register of the instrument. Known to his family and friends as Rafi, the piece is fun, lively and rhythmic, with a constant energy which totally reflects the spirit and personality of Rafi. Repetitions are used to create cohesion and unity alongside col legno, sul ponticello, percussion and harmonics which add interest and variety. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePostcard No.3 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e‘Postcards from Prague’ is played pizzicato throughout and ‘Postcard No.3’ (Lento) depicts the stillness and history of the Old Jewish Cemetery in Prague which dates back to the first half of the 15th-century. The music is peaceful and slow moving, with a recurring ringing open D string acting as a drone, and a simple melodic line which emphasises the sonorous qualities of the double bass in its lower register. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eValse Sentimentale \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e‘Valse Sentimentale’ was composed in 2020 as a 28th wedding anniversary present for David and Kathy MacGeoch and was premiered at an open-air concert in their garden in Glastonbury on Saturday 5 September 2020. In 3\/4 time, it has an old world charm and elegance, harking back to a different time, allowing the double bass to sing throughout its middle and higher register. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWaltz-Time \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eComposed in 2021, ‘Waltz-Time’ is the seventh piece from ‘Scaling the Heights’ and has been transposed a fifth lower and into bass clef. The music is charming and lyrical, encouraging the bassist to develop a ‘singing’ quality and to focus on bow speeds and placement to ensure long melodic lines. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThat’s Life! \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e‘That's Life!’ is played pizzicato throughout and employs a number of jazz and contemporary idioms with the addition of a few effects which are common to classical and contemporary styles such as glissandi, 'hammer-on', pedal notes and left hand pizzicato. It has a strong rhythmic momentum and drive, remaining in bass clef throughout. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eShadows \u0026amp; Silhouettes \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e‘Shadows \u0026amp; Silhouettes’ is dedicated to Elsen Price and the music is built on three letters from his name [C, E, E flat] and is a description of the dark and mysterious corners of old Prague. The cobbled streets and hidden squares exude the magical history of the city, of legend and folklore, ghosts and spirits. The music is episodic, atmospheric, and evocative, exploring the colours of the solo bass. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDreamcatcher \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e‘Dreamcatcher’ was composed for a talented young bassist called Benjamin Alge. The musical material is based on four letters’ from Ben's name (BEAG) and explores a wealth of \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ecolours and playing effects available to the progressing young bassist. The sound world, on the whole, is atmospheric and mysterious, written in an episodic style and exploring a range of colours and textures in the orchestral register of the double bass. \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\"\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":40708105404460,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/fb70e54a8403c6e159b3ceaff92a77ee6ec6aaf548e3b2e57515b6ae452e7149.webp?v=1664387243"},{"product_id":"basstimeduets","title":"David Heyes: Bass-Time Duets: 24 Duets in First Position for 2 Double Basses","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Duets\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBass-Time Duets is a collection of 24 fun and enjoyable duets in First Position and aimed at the beginner double bass duo. Each duet offers accessible technical and musical challenges, employing a limited number of notes, rhythms, articulations and keys, which would be ideal for sight-reading study or concert repertoire. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDynamics have been kept to a minimum with an opportunity for each duo to create their own unique version. The duets are short and can easily be repeated once or twice to extend their duration and bassists should feel free to add or change dynamics, articulations and tempos as they wish. The first seven duets include an open string part for bass 2, playable pizzicato or arco. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA number of simple major and minor keys have been used, which can be the starting point for introducing scale and arpeggio study, and the duets only use the G, D and A strings. Some duets can also be played an octave higher for more advanced students who are beginning to play in thumb position. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBass-Time Duets are ideal for bassists of all ages with the primary aim of enjoyment and making music with friends. Chamber music is an essential part of the study of a musical instrument, and these duets ensure that bassists can begin to develop ensemble skills from the earliest stages of study. '\u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReviews\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“These duets are incredibly fun and versatile. I am excited to work on them with my students. I love that you can even add octave dispositions if it suits the student’s needs. With clever names, interesting rhythms, and great advanced techniques\/effects, these duets will keep students engaged while working on blending tone, improving pitch, and matching articulations. David continues to create fabulous music for bassists of all ages and levels. This collection is sure to be another hit!” \u003c\/em\u003e[\u003cstrong data-mce-fragment=\"1\"\u003eSusan Hagen\u003c\/strong\u003e, Boston Pops Orchestra\/Berklee College of Music] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“What a fantastic and generous selection of duets! A great way for beginner bassists to really consolidate first position with a wonderful variety of styles and rhythms! Having some with an open string line is ideal for beginners to get duetting with other student players or their teacher right from the beginning! I love your use of special effects such as tapping, as young players really enjoy this and it is so good for rhythm and coordination. I especially love that you have included these techniques in the open string parts, so new bassists can explore them straight away. These pieces are perfect for all ages to play and I will not only be using them with my beginners but also with my older students as using notes only in first position, frees them up so they can focus on detail and ensemble playing. Thank you so much for writing these. Another gem in the Recital Music catalogue!” \u003c\/em\u003e[\u003cstrong data-mce-fragment=\"1\"\u003eMay Halyburton\u003c\/strong\u003e, Double Bassist\/Music Educator\/Director of Bessy Bass Ltd.] \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDavid Heyes\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003estudied 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 28 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":40708115234860,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/9208fdf3d0c638486978b56ea6b035a62ad34df3a1758db4a8bdb3893bdd02f2_1.webp?v=1664387756"},{"product_id":"bessytrios","title":"David Heyes: Bessy's Beginner Bass Trios for Junior Double Bass Trio","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003eAbout the Trios\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBessy’s Beginner Bass Trios are for junior double bass trio, or larger forces, and are primarily in 1st position, with a few easy harmonics in 4th position. A number of playing techniques such as col legno, sul ponticello, Bartók pizz. and bass percussion create interest and contrasts. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e1) Bessy's Big Day out is lively and fun with a limited number of notes and rhythms suitable for young bassists. The addition of harmonics in 4th position creates height alongside col legno and sul ponticello which add colour and contrast. The melodic interest is passed between basses 1 and 3 but each player is an important part of the team. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e2) Bessy's Highland Fling uses the 'Scotch snap', alongside bagpipe effects, producing a piece which is Scottish-influenced from beginning to end. There is a strong forward momentum, with the repetition of themes and rhythms, and the addition of percussion adds character and drive. More challenging than 'Bessy's Big Day Out', this is a fun and energetic piece which would make an ideal final item in any concert.\" \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDavid Heyes writes: \"Composing for the beginner bass ensemble is a great challenge to a composer and, fortunately, my experience as a professional double bassist and teacher helped with many aspects of both pieces. The low tessitura of the beginner bass trio has the potential to be muddy and unfocused but, with careful editing and writing, the textures can be open and bright offering exciting challenges for the performers alongside music which is enjoyable for audiences. I tried to make each part interesting and there are effective musical and technical challenges suitable for young bassists. Both pieces will work as a trio or with massed forces and it was also interesting to create this version from the original double bass quartet version.” \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Author\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMay Halyburton, the founder and driving force behind the Bessy Bass empire, has written an exciting story for each quartet which can be read out before each piece is played. Both stories are included with the score and parts. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMay Hayburton writes: \"Bessy Bass is a young double bass from Scotland who loves to travel and have adventures with other instrument family and friends. As the central character in the “Around the World with Bessy” series of children’s books with music, Bessy learns a little about the language, culture and of course, the music of each destination she visits, as well as the importance of friendship, kindness and inclusion. Through her stories, Bessy aims to sow the seed of curiosity about the wonderful world of music in the minds of her young readers, with the hope that they might even be inspired to find their musical instrument. Bessy was overwhelmed when the wonderful double bassist and composer, David Heyes offered to write a suite of beginner double bass quartets for her! David suggested the idea of accompanying each piece with a short “Bessy” story and so began our exciting collaboration.\" \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDavid Heyes\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003estudied 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 28 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":40708117757996,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/8795c0cd98062be355bd084206445f305910c3b720763a894046945b337cd49c.webp?v=1664388031"},{"product_id":"passchendaele2basses","title":"David Heyes: Passchendaele - a Meditation 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\"\u003ePasschendaele - a Meditation for 2 double basses and piano was inspired by an \u003ca rel=\"nofollow\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Chateauwood.jpg)\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Chateauwood.jpg)\" target=\"_blank\"\u003eiconic photograph\u003c\/a\u003e of Australian gunners on a duckboard track in Château Wood near Hooge taken by by Frank Hurley on 29 October 1917.  \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe music is simple and slow-moving, contrasting strong and powerful emotions from the two soloists, set against a simple and repetitive accompaniment that subtly underpins the melodic lines. There are opportunities to display the lyrical and sonorous qualities of the double bass, whether as a duet or in the two solo soliloquies, which eventually die away into nothingness and into the mists of time. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe original version for 2 double basses and string quartet was premiered at Lanlivery Church (Lanlivery, Cornwall) on Saturday, 17 July 2015, by David Heyes (double bass), Joe Prindl (double bass) and the Liskeard Chamber Players. \u003c\/p\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\"\u003eThe version for 2 double basses and piano was premiered on Sunday 25 October 2015 at Clifton College (Bristol, UK) by David Heyes (double bass), Ben Groenevelt (double bass) and Rustom Battiwalla (piano) and received its Mexican premiere on 20 November 2015 by Marco Antonio Quiñones Martinez (double bass), Hector Tirado (double bass) and Patricia Miravete (piano). \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Battle of Passchendaele, also known as the Third Battle of Ypres, was a campaign of the First World War, fought by the Allies against the German Empire. The battle took place on the Western Front, from July to November 1917, for control of the ridges south and east of the Belgian city of Ypres in West Flanders, as part of a strategy decided by the Allies at conferences in November 1916 and May 1917 Now spelt Passendale, this small village five miles north-east of Ypres is the name by which the final stages of the Third Battle of Ypres is known. It is the name, along with the Somme, which has come to symbolise the Great War for many. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePasschendaele church was totally destroyed by shellfire in 1917 but has since been reconstructed and now dominates the village square. Within the church are memorial windows in honour of the 66th Division. There are three windows. The left states \"1914\" at the bottom, with the names and shields of several northern towns above, including Bury, Accrington, Bolton, Blackburn and Wigan. \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\"Passchendaele is a wonderful piece...\" \u003c\/em\u003e(Marco Antonio Quiñones Martinez, Mexico) \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"What a privilege to share the stage with you both. It was a thoroughly enjoyable evening. I have rarely seen an audience, adults and young children alike, so visibly moved as during Passchendaele - a Meditation. Extraordinary stuff.\" \u003c\/em\u003e[Ruth O'Shea, violinist] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"Passchendaele was extraordinary both as a piece and as a performance by you both. I haven't heard something as wonderful as that for some time.\" \u003c\/em\u003e[Luke, member of the audience] \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\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003estudied 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 \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ehas 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":40708120182828,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/dbb60a954a67a47571d40de5d2a1ce1f0996c6a5ea0b74b5cc31dc387ced2987.webp?v=1664388289"},{"product_id":"postcardsprague","title":"David Heyes: Postcards from Prague for unaccompanied double bass","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Collection\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePostcards from Prague brings together three evocative and inventive works for unaccompanied double bass by David Heyes,\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003ewhich were composed in memory of the Czech double bass virtuoso František Pošta (1919-1991), who was Principal Bass of the Czech Philharmonic Orchestra for over 40 years. The pieces are short and succinct, and none outstay their welcome, exploring a wealth of colors and timbres and creating a series of atmospheric musical landscapes emphasizing the lyrical and sonorous qualities of the solo double bass. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePostcards from Prague\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003eis a series of seven musical snapshots of Prague and is played pizzicato throughout. It was composed in August 2015 for a CD celebrating the life and career of František Pošta and recalls memories of the composer studying in Prague in 1986, when the country was still under communist rule. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePostcards from Prague was premiered at Village Hall, Templecombe (Somerset UK) on 6 September 2015 by David Heyes, with its German premiere in Dortmund on 12 September 2015. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePrague is represented by the opening three notes (A-G-E), and František Pošta is depicted by the notes F-A-E-E flat. Each movement portrays a different memory or image of Prague and its beautiful architecture, history, and culture. \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTestimonial \u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"We had two successful mini-concerts yesterday. \"Postcards from Prague\" was a huge success!!! Many visitors then talked to us about your composition and how they loved this work!\" \u003c\/em\u003e[Manuela Uhlmann] \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTable of Contents\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePostcards for Pošta \u003c\/strong\u003eis a suite of six evocative and colourful one-minute pieces for unaccompanied double bass composed in memory of František Pošta (1919-1991). Each is dedicated to a different musical friend in the international double bass community. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e1. WALKS BY MOONLIGHT (Dedicated to Karol Cieśluk) 2. CROWDED PLACES (Dedicated to Dritan Gani) 3. SHADOWS \u0026amp; SILHOUETTES (Dedicated to Elsen Price) 4. A CANDLE BURNS - Remembering Jan Palach (1948-1969) - Dedicated to Frank Proto 5. LESSONS FOR LIFE (Dedicated to Lise Proto) 6. PRAGUE (Dedicated to Bert Turetzky) \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRemembrance \u003c\/strong\u003ewas completed on 28 August 2020, a few days after the anniversary of the 101st birthday of František Pošta (1919-1991). It is centred around the letters F and A, from his name, and remains in F major throughout and without using any added accidentals. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRemembrance uses a three octave range with a wealth of technical and musical challenges in equal measure. The overall mood is one of happy memories of studies in Prague with František Pošta in the late 1980s, tinged with sadness and loss for the death of a much loved husband, father, grandfather, friend and teacher. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRemembrance has been recorded on YouTube by Susan Hagen in Boston (USA) and Dritan Gani in Ankara (Turkey). \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDavid Heyes \u003c\/strong\u003estudied 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 28 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":40708134305836,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/3298c3eb001bbed90f1d616da66708480096a0a1b6e81bd4f8a2d6e9b831d301_1.webp?v=1664388585"},{"product_id":"dragonetticoncertoc","title":"Dragonetti: Concerto in C Major for double bass and piano (edited by David Heyes)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cstrong\u003eAbout the Composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDragonetti's Concerto in C major is a charming and accessible three-movement work and ideal for the good intermediate bassist. The first movement is longer than the other two movements combined and is similar to Cimador's Concerto in G major in terms of structure and level of difficulty. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis new edition for double bass and piano is in orchestral tuning and includes two double bass parts - one edited and corrected by David Heyes and a second copy which is a typeset version of Dragonetti's original, wrong notes and all! The music is lively and rhythmic, dramatic and lyrical, and this new edition brings this long-forgotten work back to life. There are few technical challenges but much to enjoy, particularly in the orchestral register of the instrument, and this is ideal as both a study work and also for the concert hall. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFew dynamics were included in the original manuscript and editorial ones have been added in brackets [ ]. Wrong notes and missing accidentals have been added, which can be compared between the two solo parts, and a new piano accompaniment, which is both lively and supportive has been created for this first edition. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDragonetti's Concerto in C major is originally scored for Solo Double Bass (orchestral tuning), 2 Oboes, 2 Horns and Strings. \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\"\u003eDomenico Dragonetti (1763-1846) was the leading double bassist of his generation and lived in London from 1794 until his death. He was one of the highest-paid orchestral musicians of his day and appeared at the leading concerts and festivals in London and the provinces for over 50 years, alongside his continuo partner, the cellist Robert Lindley (1776-1855). Dragonetti often performed as a soloist during his first years in London and it is likely that much of his music was written at this time. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his will, Dragonetti bequeathed his manuscripts to his good friend Vincent Novello, the composer and founder of Novello's publishing house, who donated them to the British Library a few years later on his retirement to Italy. The manuscripts have been a fascination to bassists for over 150 years and the 21st century has seen a resurgence of interest in Dragonetti's music. \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40931602661420,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/40ce2ebf8b54d6ceda9f067e282587d935465e61a23547d248b701bb9e90c9f8.jpg?v=1664388930"},{"product_id":"8duets","title":"Duets Book 1: 8 Duets for Violoncello \u0026 Double Bass (edited by David Heyes)","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Collection\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Duets Book 1 is a collection of eight accessible and fun duets for the intermediate cello and double bass duo. Ideal as recital repertoire or playable by friends, each piece offers simple musical and technical challenges in the orchestral register of the instrument. Three of the duets are original for cello and double bass and five are transcriptions. \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTable of Contents\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLuigi Cherubini (1760-1842) - Duet in G minor \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eItalian composer Luigi Cherubini was a prolific composer of operas and sacred music and in 1822 was appointed Director of the Paris Conservatoire. His Duet in G minor was included in Otto Langey’s Practical Tutor for the Double Bass and is an extended fugue, probably composed as a sight-reading exercise for students at Paris Conservatoire, offering ensemble study in the orchestral register of the double bass. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLouise Farrenc (1804-1875) - Duet in F major \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFrench composer and pianist Louise Farrenc enjoyed a significant reputation as a performer and teacher during her lifetime but it is only in recent years that the breadth and quality of her considerable output as a composer has been recognised. The Duet in F major is probably an arrangement from a two-part piano piece, and was included in Otto Langey’s Practical Tutor for the Double Bass, wrongly attributed to Louise Farreng. The duet is elegant and stylish, instantly appealing and engaging, with effective challenges for both performers. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJean-Baptiste Lully (1632-1687) - Les Folies d’Espagne \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLa Folia, also known as Les Folies d’Espagne, is a dance which appeared in the 15th-century, possibly in Portugal, and the theme has been used for variations by more than 150 composers. Arranged by Arcangelo Corelli (1653-1713), this version for cello and double bass was included in Méthode complète de contre-basse (c.1836) by Armand Charles Durier. The theme and eight variations offer many possibilities and the players can change parts occasionally to add variety and contrast. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDuet in D major \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis lively and rhythmic duet was published in Otto Langey’s Practical Tutor for the Double Bass and in Carl Fischer’s Method for the Three String Double Bass, both from the late 19th-century, but neither include the name of the composer. Otto Langey (1851-1922) was a prolific composer and arranger, alongside writing methods for most orchestral instrument, and it likely to have been composed by Langey but at the moment the attribution is not confirmed. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJules Massenet (1842-1912) - Duo \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMassenet was one of the leading French opera composers of his day and taught composition at the Paris Conservatoire from 1878-96. The Duo was likely composed as a sight-reading for double bass, accompanied by cello, and written during his years at the conservatoire. In bass clef throughout, it is lively and engaging, with few technical challenges and would be an ideal filler in a recital or playable with a friend. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFrancesco Durante (1684-1755) - Fugue in C minor \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFugue in C minor for cello and double bass is unlikely to be original for this ensemble and was included in Méthode complète de contre-basse (c.1836) by Armand Charles Durier. Durante was a Neapolitan composer, known as a popular and successful teacher, who composed a significant amount of sacred music. The Fugue is useful for ensemble study, also playable by two double basses, and is instantly appealing. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLuigi Cherubini (1760-1842) - Solfège du Conservatoire No.131 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCherubini was appointed Director of the Paris Conservatoire in 1822, a post he held for twenty years, and during this time composed many teaching and test pieces for the students. In the original edition, included in Méthode complète de contre-basse (c.1836) by Armand Charles Durier, a footnote states that the piece can be played in retrograde, the first part (cello) becoming the bass and the double bass becoming the first part, confirming Cherubini’s mastery of all musical forms. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLéo Delibes (1836-1891) - Leçon à déchiffrer pour la contrebasse \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDelibes was a French Romantic composer known for his many ballets and operas. He was appointed professor of composition at the Paris Conservatoire in 1881, despite admitting that he knew nothing about fugue or counterpoint. Leçon à déchiffrer pour la contrebasse was composed in June 1884, as a test piece for double bass, accompanied by cello, and is a fun, light-hearted and brief work which makes use of the lower orchestral register of the instrument. \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40708162977836,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/c36447eab8d065c4aa6421a61b53e5ffc922282ed5c4c5517586ab5468cf1f6c_2.webp?v=1664389338"},{"product_id":"funkcelebrations7","title":"Eric Funk: Celebrations Book 7: Seven Pieces for Unaccompanied Double Bass","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cstrong\u003eAbout the Book\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCelebrations Book 7 brings together seven exciting, evocative and inventive works for unaccompanied double bass by American composer Eric Funk. Composed over the past few years, each piece celebrates a specific bassist, commemoration, or anniversary, and all are aimed at the adventurous intermediate bassist. \u003c\/p\u003e\n\u003cp\u003eEric Funk has composed a colorful and impressive number of works for double bass, and each work is beautifully crafted until every musical detail and nuance is perfect. None outstay their welcome, and each piece offers musical and technical challenges in equal measure written in a contemporary but accessible and approachable idiom. \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/FsampyICYLI?si=npnN37X-sDWN-5sx\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTable of Contents\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Trochu Rondo Op.141 - composed for Pošta 100 to commemorate the centenary of the birth of František Pošta (1919-1991) in 2019. \u003c\/p\u003e\n\u003cp\u003e2. Aria - composed in 2017, having originally been commissioned for Teppo-Fest a year earlier to celebrate the 75th birthday of Teppo Hauta-aho \u003c\/p\u003e\n\u003cp\u003e3. Now Cracks the Noble Heart Good Night, sweet prince: And flights of angels sing thee to thy rest - composed in memory of Tony Osborne (1947-2019) \u003c\/p\u003e\n\u003cp\u003e4. Self-Portrait: Eric D F - written ‘Self Portrait 2021’ \u003c\/p\u003e\n\u003cp\u003e5. Retrospective Glance - composed to celebrate the 85th birthday of the legendary American bassist Bert Turetzky \u003c\/p\u003e\n\u003cp\u003e6. nalVurtlV Op.151 - composed for Da Vinci 500 (2019) \u003c\/p\u003e\n\u003cp\u003e7. Syrinx's Century-Late Echo - composed for The Syrinx Project (2018) to commemorate the centenary of the death of Claude Debussy (1862-1918) \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEric Funk (b.1949) has composed 170 major works, one third of which were commissioned, including nine symphonies, four operas, nineteen concertos, six string quartets, numerous large and small choral works and chamber works. \u003c\/p\u003e\n\u003cp\u003eHis music has been recorded and performed by Warsaw Philharmonic, Czech Radio Symphony Orchestra, Latvian National Symphony Orchestra, Moscow String Quartet, Moyzes String Quartet, Elizabeth Croy (soprano), Gregory Young (clarinet) and the Meritage String Quartet. \u003c\/p\u003e\n\u003cp\u003eIn 2018 he was received an Emmy Award for \u003cem\u003eBest Music Composition \u003c\/em\u003eas part of the six Emmy Awards given for the Montana PBS\/Scott Sterling documentary \"The Violin Alone\", the 2018 \u003cem\u003eAmerican Prize in Composition \"Best Concerto of the Year\" (Variations on a Theme by Jan Hanus for Violin \u0026amp; String Orchestra), \u003c\/em\u003eand the leading international \u003cem\u003e2018 Global Music Award \u003c\/em\u003ewith two gold medals for classical music and composition for his Piano Concerto No.1. Eric Funk teaches at the School of Music at Montana State University (USA). \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40708175593516,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/fb583ba7b7bfa7a1890399a75573db58731d86ed1d3f0f8b01270b7848c0a6a4.jpg?v=1664389810"},{"product_id":"lafoi","title":"Georg Goltermann: La Foi, Op. 95, No.1 for double bass and piano (arranged by Luis. G Pérez)","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 Arrangement \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA gorgeous flowing melody arranged by the German composer for the intermediate to advanced double bassist.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer (Wiki)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGoltermann was born in Hannover. His father was an organist, and therefore he got an early introduction to music. He received cello lessons from Joseph Menter [de] in Munich, the most important Bavarian cello virtuoso of his time.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe took composition lessons from Ignaz Lachner.\u003ca rel=\"nofollow\" href=\"https:\/\/en.wikipedia.org\/wiki\/Georg_Goltermann#cite_note-MGG-2\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/en.wikipedia.org\/wiki\/Georg_Goltermann#cite_note-MGG-2\" target=\"_blank\"\u003e[2]\u003c\/a\u003e He also learned to conduct. In 1852, after briefly touring Europe as a solo cellist, he became music director in Würzburg. In 1853 he accepted an offer to become deputy music director of the municipal theater \u003cem data-mce-fragment=\"1\"\u003eStadttheater\u003c\/em\u003e in Frankfurt am Main, where he was promoted to Kapellmeister (principal music director) in 1874. He died in Frankfurt am Main.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Arranger\u003c\/strong\u003e\u003c\/p\u003e","brand":"Luis Peréz","offers":[{"title":"Default Title","offer_id":40708182278188,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/46e1899addd58dd8a1f885172861ad64db124a09e63a698b58bc60115dd21655.webp?v=1664390198"},{"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":"titansextet","title":"Gustav Mahler: A Titan's Fantasy (from Symphony No.1) for double bass sextet (Arranged by Tim Van Medegael)","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 Arrangement\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA Titan’s Fantasy by Gustav Mahler, primarily based on the third movement of Symphony No.1, is a masterly arrangement for the intermediate double bass sextet by Tim Van Medegael, Bass Trombonist of Brussels Philharmonic Orchestra. The arrangement is colorful and inventive, with something of interest for each player, and ideal for both study and concert use. \u003c\/p\u003e\n\u003cp 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\"\u003eSymphony No.1 in D major by Gustav Mahler\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003e(1860-1911) was composed between late 1887 and March 1888. At the time, Mahler was a conductor at Leipzig Opera in Germany, and it premiered in Budapest in 1889. He made revisions and changes several times before publication in 1898 and conducted it more than any of his later works. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe opening of the third movement is remarkable for its double bass solo, accompanied by timpani, based on the popular round ‘Bruder Jakob’, although Mahler calls it ‘Bruder Martin’ and is more commonly known as ‘Frère Jacques’. The eight-bar theme is in the key of D minor, and it is believed that the round was sung in the minor key in 19th-century Austria. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTim Van Medegael writes: “On 13 and 15 December 2019, Brussels Philharmonic Orchestra programmed Mahler’s Symphony No.1 in their Hall Flagey, Brussels. To announce this concert, I made a short reflection of Mahler’s symphony with the members of the double bass section of the orchestra. The beginning of the piece is actually also the beginning of the symphony. It moves quickly to the third movement because this opens with timpani and the well-known introduction of the theme by our principal double bass. We recorded it in the rehearsal week at Studio 1 of our beloved Flagey.” \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40708188307500,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/baaca0eb0e33dc4f9d45910b8c86623f0144cea0fe0c2093c546d17d535752eb.webp?v=1664390804"},{"product_id":"clucasbaroquesuite","title":"Humphrey Clucas: Baroque Suite for Unaccompanied Double Bass","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis publication brings together Baroque Suite and two short pieces for unaccompanied double bass by the English composer Humphrey Clucas. Known particularly for his vocal and organ music, Humphrey has composed a wealth of music for double bass over the past twenty years, which is beautifully written and instantly appealing. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePrimarily written for younger bassists, his music offers musical and technical challenges in the orchestral register of the instrument, creating a body of music that emphasizes the lyrical and sonorous qualities of the double bass. \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTable of Contents\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBaroque Suite \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBaroque Suite is in six short movements, entirely in bass clef, was composed in 2008 and is ideal for the intermediate bassist, \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“My Baroque Suite was an attempt to provide for the double bass something a little like the Bach Cello Suites. It is shorter, simpler, and of course, infinitely less distinguished, but I hope it may be useful. It follows the standard Suite pattern: a Prelude followed by a series of dance movements. The Courante is faster than it looks: Allegretto only, but three beats to a bar. The second half of the Gigue, as is common in Bach’s keyboard suites, starts with an inversion of the first half.” [Humphrey Clucas, 2009] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBaroque Suite was premiered by Eloise Riddell on 26 April 2009 at Wells Cathedral School (Wells, Somerset) as part of Bass-Fest@Wells. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePhantasmata \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePhantasmata (Fantasies) was composed in May 2020 for Teppo \u0026amp; Frank @ 80, a project devised by David Heyes to celebrate the 80th birthdays of bass legends Frank Proto and Teppo Hauta-aho, who both celebrated significant birthdays in 2020. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"The basis for this piece is the plainsong hymn 'Te lucis ante terminum'. My epigraph is the English version of half the second verse. (Phantasmata: Latin for 'fantasies') The first fifteen bars represent ill dreams, nightly fears, etc. The last note of bar 15 begins the plainsong tune, representing the forces of light; it is compromised, however, by succeeding lines starting in the wrong key. The piece ends with a question mark; neither side wins.\" [Humphrey Clucas] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePrelude \u0026amp; Gigue \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePrelude \u0026amp; Gigue was composed in July 2019 as an early birthday present for David Heyes, founder of Recital Music, who celebrated his 60th birthday in September 2020. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"How does one write a 60-second piece? Remembering my Baroque Suite, also for unaccompanied double bass, I thought it might be fun to do more of the same. The Prelude in Bach-like, the Gigue rather less so.\" \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePrelude \u0026amp; Fugue was premiered on Sunday 21 July 2019, at Church Crookham Memorial Hall (Fleet, Hampshire) by David Heyes (double bass) \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHumphrey Clucas \u003c\/strong\u003ewas born in 1941 and read English at King’s College, Cambridge, where he was a Choral Scholar. Having taught English for twenty-seven years, he subsequently became a Lay Vicar at Westminster Abbey but is now retired. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs a composer, he is self-taught, and although he is well known for a set of Anglican Responses written as an undergraduate, almost all his serious music has been written over \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ethe last twenty-five years. He has a growing reputation as a choral composer and has produced an impressive and steady stream of choral works, both sacred and secular, alongside much instrumental music. He has written works for Cathedrals in Chichester, Guildford, Salisbury, and Winchester, as well as for King’s College, Cambridge, Southwell Minster, and Westminster Abbey. \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40708192436268,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/e5ae8e0cfcf7a52a4945cfbd6bbec6d5a1b930f3280ab5b25ecdc65d85dc529b.webp?v=1664391167"},{"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":"faulknerbass","title":"Jan Faulkner: First \u0026 Second Bass: 14 pieces for the beginner double bass \u0026 piano","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Compositions\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFirst Bass \u003c\/strong\u003eincludes six short, colorful, and engaging pieces for the beginner bassist. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWritten in a lively, enjoyable, and accessible style, each piece uses a limited number of notes and rhythmic patterns to help develop musical and technical skills from the first lessons. The piano accompaniments are simple and supportive, and the book offers fun and inventive first concert or exam repertoire. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLimited to 1st position, they feature a number of keys and musical styles which should appeal to players and teachers alike. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSecond Bass \u003c\/strong\u003eincludes eight short, inventive, and enjoyable pieces for the progressing young bassist. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe pieces are fun, with lively and rhythmic accompaniments, and are ideal as study or concert material. Second Bass introduces half, second and third positions in a friendly and unchallenging way, alongside new rhythmic patterns and keys. Much to enjoy. \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer \u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJan Faulkner \u003c\/strong\u003ewas a member of the Bournemouth Symphony Orchestra for many years and was also a Specialist Percussion Teacher at Wells Cathedral School, alongside her appointment as Outreach Officer at the school. She has composed music for almost every occasion, including many pieces for percussion, and has written two books [First Bass\/Second Bass] for the young bassist. \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eExam Repertoire \u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFirst Bass \u003c\/strong\u003eNo.1 Bowling Along - ABRSM Initial Grade No.2 Marching Together - MTB Exams Grade 1 No.3 The Haunted House - MTB Exams Grade 1 No.4 Raggy Times - ABRSM Initial Grade \/ TCL Initial Grade No.6 On the Water - TCL Grade 1 \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSecond Bass \u003c\/strong\u003eNo.8 Rio Rumba - ABRSM Grade 3 \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40708198826028,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/25da8c3eadf6bba985fd6c3e782adf586ef5dad53c6d7489854acd259331dfa4.webp?v=1664391841"},{"product_id":"hispanicdances","title":"Lourdes C. Montgomery: Hispanic Dances for double bass \u0026 piano","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\"\u003eHispanic Dances is a set of five exciting, engaging, and lively pieces for the intermediate bassist. There are simple and effective challenges in offering music that has both an educational and recital use. These are pieces abounding with great energy and drive, with something to suit most tastes. Enjoy! \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. The Cuban Guaguanco, a type of rumba, originated with rhythms brought by slaves from Africa in the 1800's. Early musical instruments for rumba included common household items such as the side of a cabinet, an overturned drawer, or a pair of spoons. The opening five-bar Afro lament sets the tone of the work. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=CRM8N4K5Q9s\u0026amp;list=PLL_0_ixnfdiBMUbLxgIhlpkOWppGGnP7m\u0026amp;index=3\u0026amp;pp=gAQBiAQB8AUB\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eWatch a performance\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e2. The Mexican Huapango is often danced atop a wooden platform which enhances the percussive sounds dancers make with their shoes. The metre of this piece alternates between 6\/8 and 3\/4. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=IHlq909Oat4\u0026amp;list=PLL_0_ixnfdiBMUbLxgIhlpkOWppGGnP7m\u0026amp;index=5\u0026amp;pp=gAQBiAQB8AUB\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eWatch a performance\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e3. Acámbaro, a simple waltz with an A section and B section repeated, is named after a local restaurant here in the Ozark Mountains, which was in turn named for the owners' hometown in the southeastern corner of Guanajuato, Mexico. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=bMsN7AHuSSM\u0026amp;list=PLL_0_ixnfdiBMUbLxgIhlpkOWppGGnP7m\u0026amp;index=6\u0026amp;pp=gAQBiAQB8AUB\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eWatch a performance\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e4. The flavor of Calle Ocho (8th Street) in old Miami is reminiscent of the Cuba of yesteryear, and the Afro-Caribbean music of my youth is still heard on every corner. This piece features a sustained melody in the bass accompanied by a more rhythmic underpinning in the piano accompaniment. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=2Znf5gAe20w\u0026amp;list=PLL_0_ixnfdiBMUbLxgIhlpkOWppGGnP7m\u0026amp;index=7\u0026amp;pp=gAQBiAQB8AUB\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eWatch a performance\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e5. The Colla Tempestada is a storm in the Philippines whose features include strong southwestern winds accompanied by heavy rains. The work begins in a somewhat dramatic manner (the storm), which eventually calms to a lull before returning \"Con Fuoco\" for an exciting last few bars. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=Y5uxs3zu-wg\u0026amp;list=PLL_0_ixnfdiBMUbLxgIhlpkOWppGGnP7m\u0026amp;index=8\u0026amp;pp=gAQBiAQB8AUB\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eWatch a performance\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e(Programme notes by Lourdes C. Montgomery) \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"ck-paragraph\" data-slate-node=\"element\"\u003e\u003cspan data-slate-node=\"text\"\u003eBorn in Havana, Cuba, Lourdes C. Montgomery moved to the United States at age five. She studied jazz piano at Miami-Dade Community College with Sanford Gold and, at the University of Miami, music composition with Dr. Dennis Kam, as well as classical piano with Dr. Rosalina Sackstein. Many of Lourdes' sacred and liturgical compositions are published by Oregon Catholic Press, who also produced her CD entitled \"De La Cruz a la Gloria\" and World Library Publications. \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\"\u003eIn 2008, Lourdes was honored to have her song Bienaventurados (\"The Beatitudes\") was performed at the mass of Pope Benedict XVI that was held at the National Stadium in Washington, D.C., and televised nationally. In 2005, Lourdes became music director at St. Vincent de Paul Church in the Ozark Mountains of NW Arkansas, where she now lives with her double bassist husband, Michael Montgomery. \u003c\/span\u003e\u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":43210538025004,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/files\/HispanicDances.png?v=1713639126"},{"product_id":"dauthage20pieces","title":"Max Dauthage: 20 Melodic Pieces: Book 1 for double bass \u0026 piano","description":"\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e\u003cstrong\u003eAbout the Pieces\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" data-pm-slice=\"1 1 []\"\u003e20 Melodic Pieces was first published in Vienna and Leipzig in 1911. They offer excellent teaching and recital repertoire for the good intermediate bassist, combining musical and technical challenges in equal measure. The accompaniments are interesting and supportive, complementing inventive, lyrical, and dramatic solo lines for the double bass and written in a lyrical and late-romantic style.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBook 1 includes five colourful and engaging pieces, primarily in the orchestral register but also venturing into low thumb position.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eThe edition includes piano accompaniments for both solo and orchestral tuning.\u003c\/em\u003e\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. Abendlied has a gently lyrical melody against a supportive and chordal accompaniment, with much to say within its 26 bars. In four-bar phrases, it emphasizes the singing qualities of the double bass over a two-octave range.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e2. Albumblatt is marked ‘very slow’, with contrasting musical ideas creating a mini tone poem that explores a wealth of colours and timbres. A flowing melodic line, supported by a simple and stable accompaniment, features dramatic episodes that offer contrast and interest. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e3. Furioso is in six parts with fast and dramatic episodes contrasting music of a more lyrical and song-like nature. There are musical and technical challenges aplenty in an exciting piece which will be popular with players and audiences alike. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e4. Idylle is slow moving, with a sonorous grandeur, and isprimarily in the solo register of the double bass. The accompaniment is both independent and supportive, creating a cushion of sound above which the long and sinuous double bass melodies are weaved. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e5. Alla Mazurka has a rhythmic energy throughout with a supportive accompaniment which adds drive and momentum. A middle section modulation adds engaging melodic interest before the opening music brings the piece to a positive and successful conclusion. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Rqfls8-0Bx8?si=C_M4XGEWdaNbJqBp\" 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\u003eAbout the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAustrian bassist-composer Max Dauthage (1862-1937) studied at the Vienna Conservatoire with František [Franz] Simandl. He completed his studies in 1884 and joined the Vienna Philharmonic Orchestra, where he played until his retirement in 1918. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDauthage taught at the Vienna Conservatoire from 1910-31 and composed a number of recital and educational works for the double bass including 20 Melodische Übungsstücke [20 Melodic Pieces] (Db\/Pno), A School of Virtuosity, Concerto (Db\/Orch), Andante \u0026amp; Humoresque (Db\/Pno) and Andante (4Db) amongst others. \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Book 1","offer_id":43990157557804,"sku":"","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Book 1 and 2","offer_id":43990157590572,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/files\/Dauthage-Book1FRONTCOVER.png?v=1722402811"},{"product_id":"charles","title":"Michael Kurth: Charles, at His Leisure 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\"Charles, at His Leisure\" is a pretty little two-minute pizz solo with a lot of double and triple stops. They look pretty scary, but they all lie pretty well. I wrote it for a student of mine who has a bass named Charles.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/QY5HxwYEUrc?si=-b3nvPPbfkZTT--q\" 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 Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eKurth has been a member of the Atlanta Symphony bass section since 1994. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\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 \u003cem data-mce-fragment=\"1\"\u003eEverything Lasts Forever\u003c\/em\u003e, \u003cem data-mce-fragment=\"1\"\u003eA Thousand Words\u003c\/em\u003e, \u003cem data-mce-fragment=\"1\"\u003eMay Cause Dizziness\u003c\/em\u003e, and\u003cem data-mce-fragment=\"1\"\u003e Miserere\u003c\/em\u003e featuring Grammy Award-winning mezzo-soprano Kelley O’Connor.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe frequently collaborates with Atlanta poet Jesse Breite on vocal works, including \u003cem data-mce-fragment=\"1\"\u003eMiserere\u003c\/em\u003e, \u003cem data-mce-fragment=\"1\"\u003eTenebrae\u003c\/em\u003e, and \u003cem data-mce-fragment=\"1\"\u003eMagnificat\u003c\/em\u003e. He was named “Best New Composer” by Atlanta Magazine in 2017. He has been awarded Artist-in-Residence fellowships from the Hermitage and Serenbe.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\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\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe teaches bass at Emory University.\u003c\/p\u003e","brand":"Michael Kurth","offers":[{"title":"Default Title","offer_id":40708248928300,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/ef5c626993264f339d4fcabffee2bf85432d399b9476520ce84539420207e901_62.jpg?v=1664394804"},{"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":"giantsgods","title":"Michael Montgomery: Giants \u0026 Gods: Five Quartets for Young Bassists","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Quartets\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGiants \u0026amp; Gods is a suite of five accessible, inventive and colourful quartets for young double bassists. A number of playing effects are introduced, alongside harmonics and percussion, to create atmospheric and evocative soundscapes which are playable by quartet or larger forces. Ostinatos add energy and rhythmic momentum, each piece exploring different musical landscapes, and all are ideal for both ensemble study and recital repertoire. \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003eTable of Contents\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eKnown for their great intellect and capacity for food and drink as well their incredibly large size, the giant king \u003cstrong data-mce-fragment=\"1\"\u003eGargantua \u003c\/strong\u003eand his son Pantagruel were the subjects of many a yarn in the series of five novels written by Francois Rabelais in the 1530s, an author who loved to poke fun at the way of life of his French contemporaries. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWe are told by the ancient Greeks that \u003cstrong data-mce-fragment=\"1\"\u003eHarmonia\u003c\/strong\u003e, the daughter of Aphrodite (the goddess of love) and Ares (the god of war), was a benevolent deity who sought to soothe strife and discord and preserve cosmic serenity. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBelugas\u003c\/strong\u003e, among the most social of all whales, have long been known to be great vocalizers who communicate with one another via a sophisticated assortment of sounds that include clicks, chirps, grunts, squeals, screeches and whistles, oftentimes making such a potpourri of song that they have earned for themselves the nickname “sea canaries.” \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe ancient Romans believed that the moon was a goddess, whom they named \u003cstrong data-mce-fragment=\"1\"\u003eLuna\u003c\/strong\u003e, and she drove her chariot across the heavens lighting up the night time sky\u003cstrong data-mce-fragment=\"1\"\u003e. \u003c\/strong\u003eOf her Homer writes, in his Hymn to Selene (as Luna was known to the Greeks), “From her immortal head a radiance is shown from heaven and embraces earth; and great is the beauty that arises from her shining light.” \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe giant monolithic rock that is the single most distinguishing landmark of \u003cstrong data-mce-fragment=\"1\"\u003eGibraltar\u003c\/strong\u003e, according to the ancient Greeks, is in fact the northernmost of the “Pillars of Hercules,” formed when this son of Zeus, on his way to the Garden of the Hesperides, smashed through the Atlas Mountains that had up to that time separated the Mediterranean Sea from the Atlantic Ocean. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt is our desire that the extended sonorities presented in these quartets will enable the young bassist to conjure up in his own mind's eye some of the imagery depicted in these five quartets. [Programme notes by Michael Montgomery] \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDouble bassist \u003cstrong data-mce-fragment=\"1\"\u003eMichael Montgomery\u003c\/strong\u003e, a student of Robert Rohe (Principal Bass, New Orleans Symphony) and Lucas Drew (Principal Bass, Miami Philharmonic), earned his Doctor of Musical Arts degree in double bass performance from the University of Miami, played full-time in the bass section of the Florida Philharmonic Orchestra for two decades. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe now lives in the Ozark Mountains of Arkansas, where he teaches double bass at the University of Arkansas Fayetteville and privately in his home studio. Michael has composed numerous works for young double bassists (including over five dozen short bass quartets for young students) which are published by Recital Music and two American publishers. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHis articles about bass performance, literature, and teaching have been published in American Suzuki Journal, Bass World, and Pastoral Music. \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40708254367788,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/baaca0eb0e33dc4f9d45910b8c86623f0144cea0fe0c2093c546d17d535752eb_2.jpg?v=1664395565"},{"product_id":"newheights","title":"Michael Montgomery: New Heights: Five Duets for Two Double Basses","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\"\u003eNew Heights is a collection of five inventive and enjoyable double bass duets by American bassist-composer Michael Montgomery. Bass 1 plays entirely in harmonics and bass 2 is in bass clef and in the lower register of the instrument, enabling them to be performed by the teacher and a student, two students or friends. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIdeal as recital repertoire or study material, each duet offers fun and effective musical and technical challenges in equal measure, and could be repeated with each bassist changing parts. None outstay their welcome and all are colourful and engaging, offering a new style of double bass duet. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eListen to Michael perform these works on his \u003ca href=\"https:\/\/www.youtube.com\/watch?v=9-in1azLj3I\u0026amp;list=PLL_0_ixnfdiD8kDig9tTjCq1rA8z__892\u0026amp;pp=gAQBiAQB\"\u003e\u003cspan class=\"s1\"\u003eYouTube playlist\u003c\/span\u003e\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eA note from the Composer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“When I began studying the double bass many years ago, the harmonics on the instrument were something of a mystery to me and my fellow students. Those of us who began our double bass journey with Simandl’s “New Method” worked for quite some time in the “orchestral” register of the instrument exclusively. My own first encounter with harmonics occurred while studying the Dittersdorf Concerto, and later the Hindemith Sonata. But there has been a noticeable movement in recent decades to introduce the entire range of the bass to students early on, with some pedagogues even suggesting the youngsters should begin their studies by playing near the mid-point of the instrument’s string length rather than down in the low positions at the nut end of the string. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNotable in this respect are the “Progressive Repertory” books of George Vance, which follow the explanation of fingerboard positions set forth by François Rabbath. In these volumes, we find that melodies which have initially been introduced in the low register of the bass are often repeated in what is labelled 4th position (at the mid-point of the string) and 6th position (using harmonics that occur near the end of the fingerboard). To be sure, the Rabbath\/Vance 6th position harmonics are quite accessible, though perhaps still somewhat unfamiliar to most bass students, which points (I believe) to a need for more repertory scored in that register. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBass 1 part of these five short duets can be played almost entirely in the 6th position (as described by Rabbath) or 2nd position (according to Simandl nomenclature), the terrain that was so unfamiliar to me and many of my friends in our early years of study. As the title implies, they were written to help students to become familiar with the highest register. The lower voice can be played by a younger student who is not yet comfortable moving beyond 1st position. The duets may be played with multiple players on each part as well, which may work well for a studio or bass class; indeed, the premiere presentation on May 9th, 2017 worked quite well performed with a total twenty bassists of different levels on stage. We hope you will find these pieces both useful and enjoyable.” [Michael Montgomery] \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\"\u003eDouble bassist Michael Montgomery, a student of Robert Rohe (Principal Bass, New Orleans Symphony) and Lucas Drew (Principal Bass, Miami Philharmonic), earned his Doctor of Musical Arts degree in double bass performance from the University of Miami, played full-time in the bass section of the Florida Philharmonic Orchestra for two decades. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe now lives in the Ozark Mountains of Arkansas, where he teaches double bass at the University of Arkansas Fayetteville and privately in his home studio. Michael has composed numerous works for young double bassists (including over five dozen short bass quartets for young students) which are published by Recital Music and two American publishers. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHis articles about bass performance, literature, and teaching have been published in American Suzuki Journal, Bass World, and Pastoral Music. \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40708256333868,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/files\/Montgomery-NewHeightsFRONTCOVER.png?v=1708724602"},{"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":"bassmonstersquartet","title":"Simón García: Bass Monsters 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\"\u003eBass Monsters is rhythmic and energetic, brimming full of bravado and character. Anyone who knows the music of Simón García will love this quartet, which is both player and audience friendly and explores the entire register of the double bass. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAimed at the advanced bass quartet, there are musical and technical challenges for each player, creating an amazing work that never fails to thrill. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSimón 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. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe 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'. To 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\"\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":40710317932588,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/fb583ba7b7bfa7a1890399a75573db58731d86ed1d3f0f8b01270b7848c0a6a4.webp?v=1664457766"},{"product_id":"twofunpieces","title":"Teppo Hauta-aho: Two Fun Pieces for Double Bass \u0026 Triangle","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 Compositions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOnly Teppo Hauta-aho would combine such disparate instruments in these two fun duos for double bass and triangle. His light-hearted approach to life are ever present and these are ideal for any audience or occasion. Aimed at the intermediate bassist, what’s not to like? \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEva’s Valse Poem \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSubtitled 'Duettino’, this lively and accessible piece was written for the young English bassist Eva [Mae] Cowlishaw, and the musical material is derived from the letters of her name. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAimed at the progressing beginner bassist, there are musical and technical challenges in the lower positions of the instrument, 'accompanied' by the triangle. A range of techniques are employed to introduce the bassist to different playing styles - pizzicato, arco, double-stops, left-hand pizzicato, harmonics - and this will be effective both as a study piece and for recitals. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMikkos Menuet \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMikkos Menuet can be played 'straight' or with a jazz swing and does not need a virtuoso triangle player! Composed in 1993, it was revised and extended in 2000 to include 'Georgina's Coda', written for the talented young bassist, Georgina Poad, who is now a member of the Concertgebouw Orchestra in Amsterdam. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"Charming and humorous, it could become a regular item in school concerts, and might even sneak onto professional recital programmes.\" \u003c\/em\u003e(Double Bassist) \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"Light and humorous, Mikkos Menuet would be a great crowd pleaser.\" \u003c\/em\u003e(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\"\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 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":40710329696300,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/880e2f5efb03fb813525a4237482786572bb774a0c843727567ced37f4c5998e.webp?v=1664457957"},{"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":"threnody","title":"Tony Osborne: Threnody for Ovidiu for double bass trio","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composition\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThrenody for Ovidiu is a heartrending and passionate lament and is one of Tony Osborne's finest works for the double bass. The music is powerful and dramatic, utilising the lyrical and sonorous potential of the instrument throughout its solo range, and is aimed at the advanced bass trio. There are challenges for each bassist, creating a mini-masterpiece which has appealed to performers and audiences alike throughout the world. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Threnody for Ovidiu was commissioned by David Heyes as a heartfelt tribute to the memory and work of his close friend, the Romanian virtuoso Ovidiu Badila, following his untimely death. The piece has a characteristically elegiac mood and flows at a slow pulse to reflect on the sadness of the occasion, but there is also a sense of the lyricism that one would associate with Ovidiu's playing, and reflecting his devotion to his art. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThere are several moments where the music reaches a starker cadence on a chord of open fifths - often referred to as 'power chords' in rock guitar playing - but especially heard in traditional Georgian 'Rustavi' choir style. This is not directly related to Ovidiu or his playing, but provides an essence of firm resolve, that however sad events may be, life goes on, and this is further emphasised in the more triumphant conclusion of the piece, reflecting a fine player who was loved and respected in the world of music.” [Tony Osborne, 2001] \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRomanian double bass virtuoso Ovidiu Badila died on 21 March 2001 at the age of 38 and Threnody for Ovidiu was composed between 24-25 March. It was premiered on 9 April 2001 at Bass-Fest (Downe House, Newbury, Berkshire) by Mette Hanskov, David Heyes, and Teppo Hauta-aho, who had each worked with Ovidiu the previous year in Denmark. \u003c\/p\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Composer\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBorn in 1947 into a musical family, Tony Osborne\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003estudied at the Royal Academy of Music (London) with John Walton (double bass) and Richard Stoker (composition), and divided a busy career between composing, teaching, and performing. A prolific composer and arranger, Tony's original compositions include works in almost every genre, notably \u003cem data-mce-fragment=\"1\"\u003eChaconne Syncopations \u003c\/em\u003eand \u003cem data-mce-fragment=\"1\"\u003eWainwright's \u003c\/em\u003eWays for brass \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003equintet, \u003cem data-mce-fragment=\"1\"\u003eCelebration Fanfare \u003c\/em\u003efor brass ensemble, the musical \u003cem data-mce-fragment=\"1\"\u003eA Fine Time for Wine\u003c\/em\u003e, a beautiful and dramatic \u003cem data-mce-fragment=\"1\"\u003eRequiem, \u003c\/em\u003eand many works for string orchestra. Tony’s music for young bassists is very much at the heart of the teaching repertoire, particularly his jazzy and enjoyable bass trios and quartets, and he had the rare ability to create wonderful music which is always player and audience-friendly. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn 2001 Tony Osborne was elected an ARAM (Associate of the Royal Academy of Music) for his pioneering and important work for double bass and was a featured com- poser at Bass-Fest for over ten years. He was a very successful BIBF Composer-in-residence in 2002-3, was a judge for the British Composer Awards and a judge for the BIBF Composition Competition from 1999 until 2015. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTony Osborne died on 30 March 2019 at the age of 71. \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40710363873324,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/406b774f3d53c1a3f792cdaa54f91e0ce988bb666052c8930c8a445811860517.webp?v=1664458987"},{"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":"transcriptionbk3","title":"Transcription Series Book 3 (arranged by David Heyes) for double bass \u0026 piano","description":"\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout the Collection\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTranscription Series Book 3 brings together five evocative, lively and accessible works for the intermediate and advanced bassist, arranged by David Heyes. \u003c\/p\u003e\n\u003cp\u003eIdeal for both study and recital repertoire, each piece offers a range of musical and technical challenges, throughout the orchestral and solo register, emphasising the lyrical and cantabile potential of the double bass. \u003c\/p\u003e\n\u003cp\u003eThe edition includes piano accompaniments for both solo and orchestral tuning. \u003c\/p\u003e\n\u003cp data-pm-slice=\"1 1 []\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTable of Contents\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e1. Ludvig van Beethoven (1770-1827) - Recitative \u0026amp; Aria from ‘Fidelio’ \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e'Fidelio' was Beethoven's only opera, first performed in Vienna in 1805, subsequently revised and newly premiered in 1814. No other work caused him so much frustration and disappointment and he found the difficulties of writing and producing an opera so disagreeable, that he never attempted to compose another. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e'Abscheulicher! wo eilst du hin?...Komm, Hoffnung, lass den letzten Stern' is a recitative and aria from Act 1 of 'Fidelio' and performed by Leonora (soprano). The aria was transcribed for double bass by František Simandl (1840-1912) and first published by C.F. Schmidt (Heilbronn, Germany) as part of his Method for the Double Bass III: Advanced Course (Volume 6). Simandl was a pioneer of his day and composed, transcribed and commissioned a wealth of music for the double bass when few others were doing so. Simandl is fairly faithful to the original aria, although he does occasionally embellish the melodic line to create added interest and variety. The aria has been described as 'one of the most emotionally gripping arias in opera literature' and the sonorous and dramatic cantabile of the solo double bass adds a new dimension to music of enormous depth and passion. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e2. Gabriel Fauré (1845-1924) - Après un Rêve \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA number of works by Gabriel Fauré have been transcribed for double bass and one of the most successful is surely the song Après un Rêve, one of the composers most sublime creations. A gently moving accompaniment and constantly changing harmonies provide a strong pulse and support above which a languid and dreamy melody gently weaves its magical spell. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAprès un Rêve is available in a number of keys and this edition, a minor third higher than many others, is in the beautifully lyrical and sonorous solo register and is ideal for the advanced bassist. The song emphasises the rich singing qualities of the double bass and the long and sinuous melodies demonstrate far more than a technical command of the instrument. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e3. Daniel Van Goens (1858-1904) - Scherzo \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA staple of the solo repertoire and popularised by Gary Karr, this cello transcription works brilliantly for the double bass demonstrating both the technical and musical possibilities of the instrument. Ideal as an encore, or the final work in a recital, Scherzo is a wonderful showpiece offering much for the performer and audience alike and aimed at the intermediate bassist. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe name of Daniel van Goens is remembered today primarily for one particular work for cello and piano which has now become standard repertoire for double bass. During his short life Daniel van Goens composed over 40 works, mainly published in Paris by J.Hamelle and, on the whole he was drawn towards composing shorter characteristic works, although many of the pieces for cello and piano also exist with orchestral accompaniment. The 'Scherzo' is the second piece of his Op.12 and dates from the early years of the 1890s was and first \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003epublished in Paris in 1895 as 'Deux Morceaux' for cello and piano, subsequently published in America in 1913 by M. Witmark \u0026amp; Sons (New York). \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e4. Jean-Paul-Égide Martini (1741-1816) - Plaisir d’Amour \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe 18th-century song \u003cem data-mce-fragment=\"1\"\u003ePlaisir d'Amour \u003c\/em\u003ewas first arranged for double bass by the French bassist Édouard Nanny (1872-1942). Composed in 1784, setting words by Jean-Pierre Claris de Florian (1755-1794), \u003cem data-mce-fragment=\"1\"\u003ePlaisir d'Amour \u003c\/em\u003ehas been popular for over 200 years and has been reinvented by each singer and for a new generation. In 1859 Hector Berlioz arranged \u003cem data-mce-fragment=\"1\"\u003ePlaisir d'Amour \u003c\/em\u003efor voice and orchestra, adding an evocative and stylish accompaniment to the most perfect of melodies, which helps to account for its longevity. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the 1920s Édouard Nanny arranged the song for double bass and piano, published in 1929 by Alphonse Leduc (Paris), although the edition attributes it to G.B. Martini, also known as Padre Martini. These Martini's certainly liked to cause confusion with so many different names. Nanny adds an unaccompanied introduction for double bass, punctuated by tonic and dominant chords, before the song itself begins. In D major, the melody is presented simply and with the addition of double stops in the second verse, contrasted by music of a more urgent nature in the tonic minor, before the theme is reprised and ends gently and successfully, an octave higher \u003cem data-mce-fragment=\"1\"\u003ead lib. \u003c\/em\u003eNanny removes the piano introduction before each verse, tightening the structure, but both versions are wonderfully effective in performance. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e5. Jules Massenet (1842-1912) - Meditation from Thaïs \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOriginally for violin, this beautifully evocative and lyrical Meditation from the opera Thaïs has quickly become 'standard' repertoire for double bass. The melodic potential is exploited to the full and emphasises the singing and dramatic possibilities of the solo bass. There are long flowing melodies throughout the range of the instrument and many opportunities to display an advanced technique and musicality. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe three-act opera Thaïs was composed in 1890, to a libretto by Louis Gallet, after Anatole France's novel, and was first produced in Paris on 16 March 1894. It is set in 4th-century Egypt and tells how the monk Athanael converts the courtesan Thaïs, who becomes a nun, but loses her soul in the process. Meditation is played between Scenes 1 and 2 of Act Two. \u003c\/p\u003e","brand":"David Heyes","offers":[{"title":"Default Title","offer_id":40710393561132,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/products\/419b4c214e443d33e06ebb18f46e9f4f15a114b00fe152f23e3547e7863944b6_1.webp?v=1664459600"},{"product_id":"32folksongs","title":"32 Folk Songs for the Young Double Bassist (arranged by Michael Montgomery)","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\"\u003eIt was my Suzuki mentor Virginia Dixon who first told me her young students could play some of their more simple tunes in the upper register of the bass, one and even two octaves above the register in which they were notated in the Suzuki Bass books. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI was quite skeptical but decided to put some of my little nine and ten-year-olds to the test.  They had begun meeting for a weekly “group” class, and I realized if they could utilize the four-and-a-half octave range of their instrument, they could play in parts, and I could have a little double bass orchestra.  To my surprise, Virginia was right – little bass students who had been playing only a year or two could indeed learn to play in thumb position and even execute the harmonics at the end of the fingerboard – my ensemble would be able to play in parts!\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBut there is not, as one might imagine, a great deal of double bass ensemble music published for novice bassists, which makes use of the entire four-and-one-half octave range of the double bass.  Plato tells us, “Necessity is the mother of invention”.  So, finding myself in desperate need of this sort of repertory, I soon composed for the group two collections of (moderately easy) bass quartets, “Giants and Gods” and “A Celtic Suite,” both now published by David Heyes (\u003ca rel=\"nofollow\" href=\"http:\/\/RecitalMusic.net\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/RecitalMusic.net\" target=\"_blank\"\u003eRecitalMusic.net\u003c\/a\u003e).  All of which brings us to the publication at hand.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt was clear to me that if young bassists were going to learn how to play in all four and a half octaves of the double bass range (and if they were going to understand how to play my quartets), there must be a resource that guides them in a non-threatening way to quickly understand and use all the registers of the instrument, preferably using short familiar melodies.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnd so in this collection, eight to sixteen measure folk songs are arranged in all the instrument’s many registers. For those students who may have had some experience, it is hoped this collection will serve as a helpful review of the lower positions of the fingerboard (nos. 1-34 follow the nomenclature set forth by Franz Simandl in his “New Method for the Double Bass” (Carl Fischer; Revised edition, June 1, 1984)). For students not yet familiar with them, perhaps this collection will serve as an introduction to the higher positions and harmonics (positions in nos. 31-47 are defined following Francois Rabbath’s “Nouvelle Technique de la Contrebasse” (Alphonse Leduc)).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePerformances\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eListen to Michael \u003ca rel=\"noopener\" href=\"https:\/\/www.youtube.com\/watch?v=RpQ1rGQ0_eI\u0026amp;list=PLL_0_ixnfdiBfgHa2VvLjaJSkQVdcf7XZ\u0026amp;pp=gAQBiAQB\" target=\"_blank\"\u003eperform the compositions\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003ePerformance Suggestions\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI would like to make some brief comments to consider as you practice. Try to keep the fingers of the left hand curved so you can play on the fingertips. Remember that the left-hand fingers must get closer together as the hand moves up the neck into higher positions; the bow must be placed closer to the bridge as the left-hand moves into these higher positions or as the dynamic is increased. Be mindful at all times of the placement of the bow (how close it is to the bridge), the speed of the bow stroke, and the amount of arm weight resting onto the bow as you play. Always listen for resonance, intonation, and a good tone. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003e This collection is intended as an \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eintroduction\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e to the various double bass registers. To continue to gain facility in the lower register, consider studying \u003c\/span\u003e\u003ca rel=\"noopener\" class=\"editor-rtfLink\" href=\"https:\/\/dbbpublications.gumroad.com\/l\/77baroque\" target=\"_blank\"\u003e\u003cspan data-preserver-spaces=\"true\"\u003e77 Baroque Basslines for Double Bass\u003c\/span\u003e\u003c\/a\u003e\u003cspan data-preserver-spaces=\"true\"\u003e or \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eContemporary Modal Solos for Double Bass and Piano\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e by Milton Weinstein (Alfred Publishing Company, January 2010), and do spend some time with Simandl’s method book.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003e-Michael Montgomery\u003c\/span\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\"\u003eDouble bassist Michael Montgomery, a student of Robert Rohe (Principal Bass,\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNew Orleans Symphony) and Lucas Drew (Principal Bass, Miami Philharmonic), earned his Doctor of Musical Arts degree in double bass performance from the University of Miami, played full-time in the bass section of the Florida Philharmonic Orchestra for two decades.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe now lives in the Ozark Mountains of Arkansas, where he teaches double bass at the University of Arkansas Fayetteville and privately in his home studio. Michael has composed numerous works for young double bassists (including over five dozen\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eshort bass quartets for young students) which are published by Recital Music and two American publishers.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHis articles about bass performance, literature, and teaching have been published in American Suzuki Journal, Bass World, and Pastoral Music.\u003c\/p\u003e","brand":"Michael Montgomery","offers":[{"title":"Default Title","offer_id":40710416138284,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/0559\/2876\/files\/32FolkSongs-01.png?v=1710904921"}],"url":"https:\/\/shop.doublebasshq.com\/collections\/instrumentation-search.oembed?page=46","provider":"Double Bass Sheet Music","version":"1.0","type":"link"}