The origin of Six Vignettes is somewhat unusual: about half of  the melodic ideas came from a series of recorded voice messages. These  were very loosely transcribed and molded into tonal melodies and  coherent rhythms, which provided a variety of distinct characters that  the composer came to think of as a set of 'vignettes'.
1. Prelude
The prelude introduces most of the thematic material  used throughout the whole suite as well as a stylistic indication of  what to expect from the work.
2. Reverie
A short, dreamlike piece that also serves as a seamless  introduction to the Dirge. These two movements can be used in isolation  to serve as pair of contrasting pieces encompassing most of the  instrument's range.
3. Dirge
A dark and heavy piece of music fully exploiting the  particular character and sonority of the double bass. Performance  solutions can be devised by players without gated C extensions, although  this will necessitate even more shifting and compromise the open string  resonance.
4. Berceuse
A jazz lullaby performed entirely pizzicato. Somewhat  naive in its harmonic simplicity but provides light relief after the  Dirge, as well as stylistic variation within the suite as a whole. This  movement was originally an improvisation based around the main pattern;  ad lib is therefore encouraged!
5. Lament
A return to the style and (melo)drama of earlier  movements. This temporarily sombre mood is relieved and resolved by the  more uplifting following movement, performed attacca.
6. Denouement
Although there is no deliberate narrative thread linking the Six Vignettes,  a sense of storytelling is inevitable in any work consisting of  multiple contrasting movements. The denouement brings the suite to its  resolution, and the 'plot' to its conclusion...
The piece is written for 4-string double bass with C-Extension.
https://youtu.be/q_tGHTkKhRM