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top V 105 V 110 Vle + Kb 1 Vle + Kb 2 Vle + Kb 3 Vle + Kb 4 Vle + Kb 5 Vle + Kb 6 Vle + Kb 7 Vle + Kb 8 Vle + Kb 9 Vle + Kb 10 Vle + Kb 11 Vle + Kb 12 start for the lesson sheet music for db sheet music with db jazz db concertos orchestra Rental equipment for the lesson tac data protection impressum impressum Suchergebnisse More sheet music for violin + db Unless otherwise stated, the bass part is always notated in orchestral tuning. V 101 Schweizer Käs Rock_Seite_1 V 101 Schweizer Käs Rock_Seite_2 V 101 Schweizer Käs Rock_Seite_1 1/2 Edie W. Cane: „Schweizer-Käs´- Rock“ (vle+db) Thought more as encore and joke than independent musical work, this piece is a guessing game with which the audience should recognise what this "rock", based on the easy bluescheme, has commonly with Swiss cheese. SHOP V 102 Dance Sacrale Kb_Seite_1 V 102 Dance Sacrale Vle_Seite_2 V 102 Dance Sacrale Kb_Seite_2 V 102 Dance Sacrale Kb_Seite_1 1/3 Andreas Wiebecke-Gottstein: „Dance Sacrale“ (vle+db) A virtually canonically piece which was inspired by medieval folk music and bagpipe sounds. Also available for cello and double bass and 5 basses. In the version for cello and bass you can hear it on the cd "moderne/klezmer/jazz" SHOP Mozart Sonate 1 V 103_Seite_01 Mozart Sonate 1 V 103_Seite_03 Mozart Sonate 1 V 103_Seite_08 Mozart Sonate 1 V 103_Seite_01 1/5 W. A. Mozart: Sonate Nr. 1 A sonata for violin and double bass by Mozart? So it is! This sonata is build by the mouvements No 1, 3, 2 and 4 out of the 12 "Kegelduette" for two bassetthorns. This is quite good for the concert practise because 4 mouvements of Mozart as a sonata in a concert are better than to confrontate the audience with all 12 pieces what can be quite rather long-winded, although it is all together a rather pleasant music, just Mozart. But in a well measured serving of 4 mouvements it is a real enrichment of the double bass literature which is not undemanding for the bassist also at all, because many parts of the bass stay in the violin system, while for the violinist it is more like a pleasant practise. The "Kegelduette" are also available in a complete arrangement for cello und bass and can be heard on the CD "cello bass duette". SHOP Mozart Sonate 2 V 104_Seite_1 Mozart Sonate 2 V 104_Seite_2 Mozart Sonate 2 V 104_Seite_6 Mozart Sonate 2 V 104_Seite_1 1/5 W. A. Mozart: Sonate Nr. 2 A sonata for violin and double bass by Mozart? So it is! This sonata is build by the mouvements No 6, 7, 9 and 12 out of the 12 "Kegelduette" for two bassetthorns. This is quite good for the concert practise because 4 mouvements of Mozart as a sonata in a concert are better than to confrontate the audience with all 12 pieces what can be quite rather long-winded, although it is all together a rather pleasant music, just Mozart. But in a well measured serving of 4 mouvements it is a real enrichment of the double bass literature which is not undemanding for the bassist also at all, because many parts of the bass stay in the violin system, while for the violinist it is more like a pleasant practise. The "Kegelduette" are also available in a complete arrangement for cello und bass and can be heard on the CD "cello bass duette". SHOP Mozart Sonate 3 V105_Seite_1 Mozart Sonate 3 V105_Seite_2 Mozart Sonate 3 V105_Seite_6 Mozart Sonate 3 V105_Seite_1 1/5 W. A. Mozart: Sonate Nr. 3 A sonata for violin and double bass by Mozart? So it is! This sonata is build by the mouvements No 10, 5, 11 and 8 out of the 12 "Kegelduette" for two bassetthorns. This is quite good for the concert practise because 4 mouvements of Mozart as a sonata in a concert are better than to confrontate the audience with all 12 pieces what can be quite rather long-winded, although it is all together a rather pleasant music, just Mozart. But in a well measured serving of 4 mouvements it is a real enrichment of the double bass literature which is not undemanding for the bassist also at all, because many parts of the bass stay in the violin system, while for the violinist it is more like a pleasant practise. The "Kegelduette" are also available in a complete arrangement for cello und bass and can be heard on the CD "cello bass duette". V 105 SHOP V 106 Bach Inventionen Vle+Kb_Seite_01 V 106 Bach Inventionen Vle+Kb_Seite_02 V 106 Bach Inventionen Vle+Kb_Seite_10 V 106 Bach Inventionen Vle+Kb_Seite_01 1/6 Johann Sebastian Bach: “5 zweistimmige Inventionen” The Inventions No. 1, 6, 9, 10 and 11. The violin voice playes the upper voice of the original, the second voice is transposed here and there an octave upwards by which the distance to the violin reduces a bit and the voice does not become thus deep sounding. Besides, one comes only seldom into thumb position, so that the pieces are to be mastered also by not yet so far advanced bassists. Nevertheless, besides, the music itself remains rather demanding. SHOP V 107 Piazzolla 5 Tangos_Page_1 V 107 Piazzolla 5 Tangos_Page_2 V 107 Piazzolla 5 Tangos_Page_10 V 107 Piazzolla 5 Tangos_Page_1 1/6 Astor Piazzolla: „Fünf Tangos“ (vle+db) This "Tango Nuevo pieces of the known tango master Piazzolla are based on the arrangement for cello and bass (see there). Because of the enlarged harmony of the tango music it was very often necessary to use double stops in both voices. Nevertheless, the more in difficulty is recompensed by the quite own romantic charm of this tango music. The arrangement for cello and bass is recorded on the cd "himmelhoch jauchzend - zu tode betruebt" Perfect recordings of the tangos can be admired on YouTube by the solo bassist of the Vienna Philharmonic Ödön Racz and the concertmaster of the Berlin Philharmonic Noah Bendix-Balgley: SHOP V 108 Seven Duos_Seite_01 V 108 Seven Duos_Seite_02 V 108 Seven Duos_Seite_14 V 108 Seven Duos_Seite_01 1/8 Mike Curtis: „Seven Jazz and Ethnik Duos“ (vle+db) Seven pieces of different character - from blues about quick synkopique Latin-American rhythms up to Klezmer and in Chinese seeming music. Although, nevertheless, from the area of the light music taken, they are intellectual as well as technically from high claim. The pieces have been also arranged for cello and bass und have been rcorded on the cd „cello bass duos - music by mike curtis“. SHOP V 109 Mexican Suite Vle+Kb_Seite_01 V 109 Mexican Suite Vle+Kb_Seite_02 V 109 Mexican Suite Vle+Kb_Seite_12 V 109 Mexican Suite Vle+Kb_Seite_01 1/7 Mike Curtis: „Duo Suite on Mexican Themes“ (vle+db) Six character plays and dances in the Mexican style. Virtuoso but, however, not excessively diffiocult. There is also a version for cello and bass, whitch is recorded on the cd "mike curtis - cello bass duos" Romantische Suite Kontrabass_Seite_01 Romantische Suite Violine_Seite_02 Romantische Suite Kontrabass_Seite_10 Romantische Suite Kontrabass_Seite_01 1/9 Th. A. Findeisen: „Romantische Suite“ op. 10 The „romantic suite“ for violin and bass of the well known bass pedagogue und virtuosi exists of 4 mouvements to which Findeisen has given in each case own romantic titles: 1. „In the birch wood“, 2. „Night march of the gnomes“, 3. „Under the hazel bush“ and 4. "Erlauscht" (in the sense of "heard". In combination with the tempo entries one can fancy quite well which traits to the mouvements belong. The voices are rather demanding for both instruments. The bass voice is written down one tone deeper for the bass in solo pitch. V 110 SHOP SHOP V 111 Bartok 12 Duos Vle + Kb Titel V 111 Bartok 12 Duos Vle+Kb Ruthenisches Lied V 111 Bartok 12 Duos Vle+Kb Märchen V 111 Bartok 12 Duos Vle + Kb Titel 1/13 Béla Bartók: “12 Duos für Violine und Kontrabass” (vle+db) The 12 pieces "Slovak Song", "Teasing Song", "Dance", "Cushion Dance", "Menuetto", "Ruthenian Song", "New Year´s Greeting", "Fairy Tale", "Rumanian song", "Hay-Harvest Song" "Wedding Song" and "Ruthenian Kolomejka" out of the "44 Duos for 2 Violins" in an arrangement for violin and double bass. The pieces are not arranged in a fixed order, but in a kind of "loose-leaf order", so that the sequence of the movements can be determined individually. Also the difficulty of the music pieces serves the entire width from easy to very hard. These arrangements are not identical to those for cello and bass, which have been recorded on the cd “moderne/klezmer/jazz”. Unfortunately, the licence agreement existing until 2021 for the countries France (until 25.05.24), Spain and Colombia (until 31.12.2025), USA (until 31.12.2028) and Mexico (until 31.12.2045) could not be continued. Therefore, performances of these adaptations are not permitted in the named states until the mentioned dates. SHOP V 112 Stille score_Page_1 V 112 Stille score_Page_3 V 112 Stille Double bass_Page_3 V 112 Stille score_Page_1 1/8 Andreas Bennetzen: “Stille” (quiet) "A short duet for violin and bass with acting. Here I tried to make a piece that in music, and a few sounds, tells the story about two musicians making a new piece together. They are trying to find the right track and they argue over in which direction to go with the music. I think the ending is good." Difficulty: medium SHOP

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top P 105 P 110 P 115 Kb + Pno 1 Kb + Pno 2 Kb + Pno 3 Kb + Pno 4 Kb + Pno 5 Kb + Pno 6 Kb + Pno 7 Kb + Pno 8 Kb + Pno 9 Kb + Pno 10 Kb + Pno 11 Kb + Pno 12 Kb + Pno 13 Kb + Pno 14 Kb + Pno 15 Kb + Pno 16 Kb + Pno 17 Kb + Pno 18 Kb + Pno 19 Kb + Pno 19 Kb + Pno 19 Kb + Pno 19 start for the lesson sheet music for db sheet music with db jazz db concertos orchestra Rental equipment for the lesson tac data protection impressum impressum Suchergebnisse More sheet music for db + piano Each piece of this series contains a bass voice, together with a piano accompaniment in duplicate. This means that the piano part is notated even in the same key as the bass voice (then the bass must be played in the orchestra tuning) and also in a version that is transposed a whole tone up for the double bass in solo tuning. P 101 KONZ ETU Kb Solo_Seite_1 P 101 KONZ ETU Pno Solostimmung_Seite_02 P 101 KONZ ETU Kb Solo_Seite_2 P 101 KONZ ETU Kb Solo_Seite_1 1/3 Franz Simandl: "Konzert-Etüde Nr. 2" From the Double Bass Method No. 9. The accompaniment has been written completely new, including a prelude and a few intermezzos without solo bass. Consequently, the whole piece gains more ”concert" character. SHOP P 102 Lied Kb_Seite_1 P 102 Lied Piano H-Dur_Seite_2 P 102 Lied Kb_Seite_2 P 102 Lied Kb_Seite_1 1/3 A. Wiebecke-Gottstein: "Lied (Etüde)" Beginning with arpeggios on the A string the main difficulty of this simple romantic melody lies in mastering the registers where the thumb position begins. Furthermore, the player can also practice forming melody and tone. SHOP P 103 Vivaldi Kb_Seite_1 P 103 Vivaldi Piano C-Dur_Seite_02 P 103 Vivaldi Kb_Seite_7 P 103 Vivaldi Kb_Seite_1 1/9 Antonio Vivaldi: "Sonata No. 4 B flat major" Transcription of a four-movement sonata of this baroque composer for the double bass. The piece demands concentration on technical skills and tone development. Range: F - a´ SHOP Vanhal Kb-Konzert - Kontrabass in Solostimmung-01 Vanhal Kb-Konzert - Kontrabass in Solostimmung-02 Vanhal Kb-Konzert - Klavierauszug in C-Dur-24 Vanhal Kb-Konzert - Kontrabass in Solostimmung-01 1/10 J. B. Vanhal: "Concerto for double bass und orchestra D-Major" One of the standard works of the double bass literature. The double bass voice is of course in C major key, the piano score is very simply held and exist both in D major key and C major key for solo or orchestral tuning. SHOP P 105 Piano_Seite_1 P 105 Kb C-Dur_Seite_1 P 105 Piano_Seite_2 P 105 Piano_Seite_1 1/4 Bach / Gounod: „Ave Maria“ "1st Präludium" out of the "well tempered piano" by J. S. Bach enlarged by a tact in the piano, complements with a romantic air of Charles Gounod. Not to play simply on the double bass because of the simplicity of it, but a good teaching piece for the double-bass player. This issue contains the Präludium in C major key because every pianist knows and can play it (the tact inserted by Gounod one does not need to practice specially, one should point out the pianist, however, to it). Therefor the double bass voice is in B major key (for solo mood) and in C major key (for orchestra mood). range solo tunimg: B - d" range orchestral tuning : C - e" P 105 SHOP Blue Flame Kb_Seite_1 Blue Flame Kb_Seite_4 Blue Flame Pno_Seite_04 Blue Flame Kb_Seite_1 1/3 Edie W. Cane: „My Blue Flame“ A jazz piece to "swing". The double bass introduces the theme, then follows fully notated parts in which double bass and piano alternate in melody and accompanying function, and a part with chord symbols for pure improvisations which can be also jumped over, if the soloists are not familiar with improvising. Before it flows into a slow end, the double bass takes over the theme again. This piece is based on the title with the same name for cello and bass (see there) and can be played of course also by the cello. It is made only for the double bass in orchestra tuning, so that there is no transposed piano voice. The version for cello and bass is recorded on the cd "moderne/klezmer/jazz". range: F - d " SHOP P 107 Zwei Tänze Kb_Seite_1 P 107 Zwei Tänze Kb_Seite_2 P 107 Zwei Tänze Piano in A_Seite_4+5 P 107 Zwei Tänze Kb_Seite_1 1/5 Dennis Roth: „Two Dances“ Two short dances of happy character in the 3/8 metrum, first a little more quietly, the second one more vividly. Very well as studies for students in the first semestres suitable. While the piano part is relatively demanding in both dances, the first dance is easy for the bass player, the second then a little bit more difficultly. Really like a virtuoso, but also well sounding, the pieces become when one plays them in real pitch (an octave higher). range: dance 1: E - g´; dance 2: G - h´ SHOP Abel Titel_Page P 108 Abel Kb_1ter Satz P 108 Abel Pno_Seite_6 Abel Titel_Page 1/7 Karl-Friedrich Abel: „Sonata a-minor“ for double bass und basso continuo A transcription of the sonata e minor for viola da Gamba and Basso continuo, the third one of the "six easy sonatas for viola da Gamba ". The 3 mouvements assume the control of the thumb position, however, but they have no other special play-technical requirements. Ornaments have been added by the editor to the original text as a suggestion. The arrangement is made for the double bass in solo tune, nevertheless, a transposed piano voice is enclosed. Should the sonata be played with harpsichord, the occupation of a Continuo bass is recommended for which an own continuo-voice is enclosed. SHOP P 109 Piano a-moll_Seite_01 P 109 Solo Kb_Seite_3 P 109 Piano a-moll_Seite_12 P 109 Piano a-moll_Seite_01 1/9 G. Ph. Telemann: „Sonata a-minor“ for double bass und basso continuo This sonata is a transcription of the sonata a minor for viola da Gamba and Basso continuo. Four mouvements offer opportunity to the interpreter to chanty as well as playful-virtuoso play. The original text is evident beside the ornaments. Security in the higher positions is necessary. The use of a Continuo-bass instrument is recommended with this sonata very much, when the solo bass is accompanied with harpsichord. An own continuo voice is enclosed. Also this arrangement is arranged for the double bass in solo tune, nevertheless, a transposed piano voice is enclosed. SHOP P 110 Piano e-moll_Seite_01 P110 Kb-Solo_Seite_3 P 110 Piano e-moll_Seite_12 P 110 Piano e-moll_Seite_01 1/9 G. Ph. Telemann: „Sonata e-minor“ for double bass und basso continuo This sonata is a transcription of the sonata a minor for viola da Gamba and Basso continuo. Four mouvements offer opportunity to the interpreter to chanty as well as playful-virtuoso play. The original text is evident beside the ornamentations. Security in the higher position is necessary. If the accompagnement is made with a harpsichord a continuo-bass instrument is recommended with this sonata very much, for which an own continuo voice is enclosed. This arrangement is made for the double bass in solo tune, nevertheless, a transposed piano voice is enclosed. P 110 SHOP P 111 Mendelssohn Lieder Kb_Seite_1 P 111 Mendelssohn Lieder Kb_Seite_2 P 111 Mendelssohn Lieder Pno_Seite_16 P 111 Mendelssohn Lieder Kb_Seite_1 1/9 Felix Mendelssohn-Bartholdy: „Lieder ohne Worte Op. 19, 1 + 2 u. Op. 30, 1 + 4“ 4 songs without words Op. 19 1 and 2 and Op. 30 1 and 4 in a version for double bass and piano by Karl-Hans Bonzelett. He was a student of Prof. Rolf Heister who writes about the pieces: "I have studied the Mendelssohn's arrangements (songs without words) with joy. The works "lie" to the instrument well and contribute certainly to the musical development of the players. One can bring the pieces well to the blade because the play positions are normal. Thousand thanks for the splendid work!" SHOP Titelseite Dittersdorf E-Dur Kb+Pno - Solo-Kontrabass-004 Dittersdorf E-Dur Kb+Pno Orchesterstimmung - Klavier-024 Titelseite 1/10 K. D. von Dittersdorf: Concerto E Major for Contra Bass The standard test play concert of the double-bass players (no beginning pro goes past at this!) in unabridged version and under retention of the established key in sounding E major. Attached piano accompaniments in E major and in D major key. The orchestra part is available on loan (see under double bass concerts). SHOP Titelseite Dittersdorf A-Dur Kb+Pno - Solo Kontrabass-004 Dittersdorf A-Dur Kb+Pno Orchesterstimmung - Piano-022 Titelseite 1/10 K. D. von Dittersdorf: Concerto A-Major for Double Bass A further concerto by the composer of the standard concerto for double bass. This one can make in this slightly shortened version absolutely the rank disputable to him, because it lies simply better and puts outside more the chanty qualities of the double bass by use of the higher positions. Of course there are also for this concerto two piano voices for the different double bass tunes. SHOP P 114 Piano_Seite_01 P 114 Solo-Kb_Seite_04 P 114 Piano_Seite_41 P 114 Piano_Seite_01 1/7 Th. A. Findeisen: Concerto for Double Bass and Orchestra No 1 Op. 15 Long time any more available and wrongfully nearly forgotten, now this concert is there again to manage to grab his lawful place beside the concerts of Bottesini and Koussewitzky. It is a late-romantic music with relatively big orchestra occupation what mostly brings problems with deep solo instruments. Here, nevertheless, the instrumentation is handled very sensitively. And although the first mouvement is in minor key, the concert has all together a positive, happy mood. In particular the third mouvement headlined with the unusual tempo name "lustig" (= "jocularly") is full of irony and will surely bring a good mood to the listeners. SHOP P 115 Largo von Händel A-Dur_Seite_1 P 115 Largo von Händel Kb_Seite_2 P 115 Largo von Händel A-Dur_Seite_3 P 115 Largo von Händel A-Dur_Seite_1 1/3 G. F. Händel: Largo This is the air „Ombra May fù“ from the opera „Xerxes“ (Serse) by Handel, a love song of the king of Persia, Xerxes, to a tree. It ranks among Handels most well-known melodies and often simply is called as „Handels Largo“. To this version for double bass and piano (or harp) two piano voices are attached: One in A major for the accompaniment of the double bass in solo tune and one in G major for the accompaniment of the double bass in orchestra tune. P 115 SHOP Carnevalsscenen Piano_Seite_01 Carnevalsscenen Solo-Kb_Seite_04 Carnevalsscenen Piano_Seite_07 Carnevalsscenen Piano_Seite_01 1/7 Th. A. Findeisen: „Carnevalsscenen“ op. 12 for Double Bass and Orchestra The period of creation of the "Carnevalsscenen" Op. 12 is given at the end of the original handwritten score with " 3rd - 7th August ". This concert piece for doublebass and orchestra which takes about 10-minutes (with cadenza) is subtitled with " meeting, greeting and train of the masks " and Findeisen headlines in the score only the Allegro con brio part as " train of the masks ". The piece begins with a slow introduction what corresponds probably to the "meeting". Unfortunately, no cadenza of Findeisen is enclosed to the score, so that the editor has made an own one from the material of the solo voice and he allows to communicate the greeting (soloists) with the gathering (orchestra) at the end of the cadenza a little bit, before it comes then cheerfully buoyantly to the move. SHOP P 117 Libertango Kb_Seite_1 P 117 Libertango Kb_Seite_2 P 117 Libertango Pno_Seite_03 P 117 Libertango Kb_Seite_1 1/3 Astor Piazzolla: „Libertango“ (db+pno) This is surely one of the most well-known tangos of Piazzolla, here in a arrangement for double bass and piano of the Mexican bassists Andrés Martin, who worked on this piece also for double bass and harp as well as for double bass and guitar. One can admire latter version in a video on YouTube in the Internet. The notes of all versions are available here in the PRObass music publishing house. SHOP Findeisen Konzert 2 Titel Findeisen-Konzert 2 Kb Findeisen-Konzert 2 Piano Findeisen Konzert 2 Titel 1/3 Theodor Albin Findeisen: „Concerto No. 2 for Double bass and Orchestra“ Op. 25 About the second concerto for double bass and orchestra by Th. A. Findeisen is even less known than about the first. It exists also only the piano version witch is published by the PRObass publishing house. It is dedicated to Kurt Barth, who was musical director in Zwickau, Germany. The piano part is marked by the words "in one mouvement". However it can also be regarded as several movements, where the different parts are put together without break. It begins with a majestic Allegro with the remark "fresh and rhapsodic," which opens in an andante molto where the solo bass can prove his singing skills. Then follows an Allegro leggiero witch comes back to the majestic opening theme. It comes to an end with a virtuosic Molto Allegro quasi presto, that functions as a final stretta movement witch leads again to the exploding majestic opening theme of the beginning. The piano reduction has been re-orchestrated for a small orchestra by Daniel Chiva Sanz. The orchestral material is available on loan (see Double Bass Concertos). SHOP P 119 Elegie Kb_Page_1 P 119 Elegie Kb_Page_2 P 119 Elegie Piano transp_Page_2 P 119 Elegie Kb_Page_1 1/4 Theodor Albin Findeisen: „Elegie“ Op. 19 "At the grave of his friend," this piece is subtitled, thus referring clearly, what it is in the single-movement piece of music. In addition, the further dedication of the composition shows more about the motives : "His friend Robert Schäfer in Chemnitz dedicated". It is a dirge on the bass, demanding both for the soloist as well as for the accompanying pianist. SHOP P 119 Elegie Kb_Page_1 P 119 Elegie Kb_Page_2 P 119 Elegie Piano transp_Page_2 P 119 Elegie Kb_Page_1 1/4 Theodor Albin Findeisen: „Elegie“ Op. 19 "At the grave of his friend," this piece is subtitled, thus referring clearly, what it is in the single-movement piece of music. In addition, the further dedication of the composition shows more about the motives : "His friend Robert Schäfer in Chemnitz dedicated". It is a dirge on the bass, demanding both for the soloist as well as for the accompanying pianist. SHOP P 119 Elegie Kb_Page_1 P 119 Elegie Kb_Page_2 P 119 Elegie Piano transp_Page_2 P 119 Elegie Kb_Page_1 1/4 Theodor Albin Findeisen: „Elegie“ Op. 19 "At the grave of his friend," this piece is subtitled, thus referring clearly, what it is in the single-movement piece of music. In addition, the further dedication of the composition shows more about the motives : "His friend Robert Schäfer in Chemnitz dedicated". It is a dirge on the bass, demanding both for the soloist as well as for the accompanying pianist. SHOP Theodor Albin Findeisen: „Elegie“ Op. 19 The "Fantasia" for double bass and string orchestra is a work of spontaneous musical ideas that utilises almost all possible playing styles and diverse sound possibilities of the double bass. This unbound form emphasises the emotional and expressive expression of spontaneous musical ideas. It is actually a kind of written and therefore repeatable improvisation, a journey through landscapes of sound and melody that gives the soloist a wide range of possibilities for his own interpretation. SHOP Fantasia - Klavierauszug klingend - Partitur-01 Fantasia - Kontrabass solo - Kontrabass solo-02 Fantasia - Klavierauszug klingend - Partitur-14 Fantasia - Klavierauszug klingend - Partitur-01 1/4

PRObass Music Music for double bass. PRObass Musikverlag only offers literature for double bass. Double bass players will find a range of solo literature, pure double bass ensembles and orchestras here. The publisher strives to constantly expand its range. All sheet music will be sent in printed form by post. However, most sheet music can also be sent by e-mail as a pdf file at half price. Search the publisher's offer via the menu above or go here to the shop . If this homepage does not work well, you can also switch to a traditional online shop system using the following link. However, this is still under construction and does not yet contain the entire range of the publisher. But it is updated daily: https://probass-musikverlag.gambiocloud.com

start for the lesson sheet music for db sheet music with db jazz db concertos orchestra Rental equipment for the lesson tac data protection impressum impressum Suchergebnisse More sheet music for 3 db Titel K 301 Hoffmeister K 301 Hoffmeister Terzett D-Dur - Partitur_Page_2 K 301 Hoffmeister Terzett D-Dur - Kontrabass 3_Page_5 Titel K 301 Hoffmeister 1/13 Franz Anton Hoffmeister: Terzett D-Dur „Hen, the cuckoo, and the donkey“ Even if the original was written for three flutes: Margaret Hafner has made this funny music playable for 3 double basses. And even if the original instruments might be able to play the music smoother - three double basses have at least optically the fun factor on their side! SHOP

memories Noten-Memoris etudes concertos für den Unterricht start for the lesson sheet music for db sheet music with db jazz db concertos orchestra Rental equipment for the lesson tac data protection impressum impressum Suchergebnisse More sheet music for the lesson Memory3 4tel C 1 halbe Pause Memory3 1/4 Joachim Goldmann: „The Bass-Notes-Memory“ Playful learning of the bass clef notes. 44 maps of the notes of the bass key system in the values of quarter and half notes. To every note the suitable octave must be found under the rules of the Memory play. In addition, there are still identical maps of half and whole breaks. For the smallest pupils is still an additional "Du darftst nochmal"- ("you may again") bonus map. The inventor of these maps, Joachim Goldmann, has tested the play with his own pupils. On this occasion it turned out that for the young beginner the pure musical notation still affects as very play-restraining, so that the note names are assigned to the maps below on the left as letters. Please order the memories diect at PRObass Musikverlag via the contact form. Noten-Memoris KONTAKT Bass-Memo2 4tel A2 4tel A1 Bass-Memo2 1/3 Joachim Goldmann: „The Violin-Notes-Memory“ Playful learning of the violin clef notes. 44 maps of the notes of the violin key system in the values of quarter and half notes. To every note the suitable octave must be found under the rules of the Memory play. In addition, there are still identical maps of half and whole breaks. For the smallest pupils is still an additional "Du darftst nochmal"- ("you may again") bonus map. The inventor of these maps, Joachim Goldmann, has tested the play with his own pupils. On this occasion it turned out that for the young beginner the pure musical notation still affects as very play-restraining, so that the note names are assigned to the maps below on the left as letters. Please order the memories diect at PRObass Musikverlag via the contact form. KONTAKT Bass-Memo2 4tel C 1 4tel A1 Bass-Memo2 1/6 Joachim Goldmann: „The Violin+Bass-Notes-Memory“ Playful learning of the violin and bass clef notes. In each case 44 maps of the notes of both key systems in the values of quarter and half notes. To every note the suitable octave must be found under the rules of the Memory play. In addition, there are still identical maps of half and whole breaks. For the smallest pupils is still an additional "Du darftst nochmal"- ("you may again") bonus map. The inventor of these maps, Joachim Goldmann, has tested the play with his own pupils. On this occasion it turned out that for the young beginner the pure musical notation still affects as very play-restraining, so that the note names are assigned to the maps below on the left as letters. Please order the memories diect at PRObass Musikverlag via the contact form. KONTAKT U101Simandl30Etuden U 101 Simandl 30 Etuden-2_Seite_4 U 101 Simandl 30 Etuden_Seite_5 U101Simandl30Etuden 1/3 Franz Simandl: „30 Etudes" These 30 Etuden of Simandl belong certainly to the obligation literature of each student. In addition, for the finished trained bassists this Etudes offer again and again the raw material for the practice of his existence as musician: They illustrate musically and rhythmically exactly the material, which one meets again and again as practising bassist. This revised expenditure was supplemented by the publisher with different preparings to each individual Etude, in which the rhythmic-thematic material of the Etudes can be trained in particular mostly on basis of scales. etudes SHOP P 101 KONZ ETU Kb Solo_Seite_1 P 101 KONZ ETU Pno Solostimmung_Seite_02 P 101 KONZ ETU Kb Solo_Seite_2 P 101 KONZ ETU Kb Solo_Seite_1 1/3 Franz Simandl: "Konzert-Etüde Nr. 2" From the Double Bass Method No. 9. The accompaniment has been written completely new, including a prelude and a few intermezzos without solo bass. Consequently, the whole piece gains more ”concert" character. SHOP P 102 Lied Kb_Seite_1 P 102 Lied Piano H-Dur_Seite_2 P 102 Lied Kb_Seite_2 P 102 Lied Kb_Seite_1 1/3 A. Wiebecke-Gottstein: "Lied (Etüde)" Beginning with arpeggios on the A string the main difficulty of this simple romantic melody lies in mastering the registers where the thumb position begins. Furthermore, the player can also practice forming melody and tone. concertos SHOP S 104 1tes Dittersdorf Konzert Original_Seite_01 S 104 1tes Dittersdorf Konzert Original_Seite_28 S 104 1tes Dittersdorf Konzert Original_Seite_42 S 104 1tes Dittersdorf Konzert Original_Seite_01 1/3 K. D. von Dittersdorf: “Concerto in Es” (score) This is an arrangement in score form of the original voices of the standard concerto which is mostly confessed as concerto in E major and published in this publishing company as concerto No. 1. The voices are taken over with all evident mistakes 1 to 1 from the original and allow so many conclusions for own interpretation regardless of the publishing after which one plays. Evident mistakes or contradictions which strike mostly only in the confrontation of the single voices are specially emphasised. SHOP Vanhal Kb-Konzert - Kontrabass in Solostimmung-01 Vanhal Kb-Konzert - Kontrabass in Solostimmung-02 Vanhal Kb-Konzert - Klavierauszug in C-Dur-24 Vanhal Kb-Konzert - Kontrabass in Solostimmung-01 1/10 J. B. Vanhal: "Concerto for double bass und orchestra D-Major" One of the standard works of the double bass literature. The double bass voice is of course in C major key, the piano score is very simply held and exist both in D major key and C major key for solo or orchestral tuning. SHOP Titelseite Dittersdorf E-Dur Kb+Pno - Solo-Kontrabass-004 Dittersdorf E-Dur Kb+Pno Orchesterstimmung - Klavier-024 Titelseite 1/10 K. D. von Dittersdorf: Concerto E Major for Contra Bass The standard test play concert of the double-bass players (no beginning pro goes past at this!) in unabridged version and under retention of the established key in sounding E major. Attached piano accompaniments in E major and in D major key. The orchestra part is available on loan (see under double bass concerts). SHOP Titelseite Dittersdorf A-Dur Kb+Pno - Solo Kontrabass-004 Dittersdorf A-Dur Kb+Pno Orchesterstimmung - Piano-022 Titelseite 1/10 K. D. von Dittersdorf: Concerto A-Major for Double Bass A further concerto by the composer of the standard concerto for double bass. This one can make in this slightly shortened version absolutely the rank disputable to him, because it lies simply better and puts outside more the chanty qualities of the double bass by use of the higher positions. Of course there are also for this concerto two piano voices for the different double bass tunes. SHOP P 114 Piano_Seite_01 P 114 Solo-Kb_Seite_04 P 114 Piano_Seite_41 P 114 Piano_Seite_01 1/7 Th. A. Findeisen: Concerto for Double Bass and Orchestra No 1 Op. 15 Long time any more available and wrongfully nearly forgotten, now this concert is there again to manage to grab his lawful place beside the concerts of Bottesini and Koussewitzky. It is a late-romantic music with relatively big orchestra occupation what mostly brings problems with deep solo instruments. Here, nevertheless, the instrumentation is handled very sensitively. And although the first mouvement is in minor key, the concert has all together a positive, happy mood. In particular the third mouvement headlined with the unusual tempo name "lustig" (= "jocularly") is full of irony and will surely bring a good mood to the listeners. SHOP Carnevalsscenen Piano_Seite_01 Carnevalsscenen Solo-Kb_Seite_04 Carnevalsscenen Piano_Seite_07 Carnevalsscenen Piano_Seite_01 1/7 Th. A. Findeisen: „Carnevalsscenen“ op. 12 for Double Bass and Orchestra The period of creation of the "Carnevalsscenen" Op. 12 is given at the end of the original handwritten score with " 3rd - 7th August ". This concert piece for doublebass and orchestra which takes about 10-minutes (with cadenza) is subtitled with " meeting, greeting and train of the masks " and Findeisen headlines in the score only the Allegro con brio part as " train of the masks ". The piece begins with a slow introduction what corresponds probably to the "meeting". Unfortunately, no cadenza of Findeisen is enclosed to the score, so that the editor has made an own one from the material of the solo voice and he allows to communicate the greeting (soloists) with the gathering (orchestra) at the end of the cadenza a little bit, before it comes then cheerfully buoyantly to the move. SHOP Findeisen Konzert 2 Titel Findeisen-Konzert 2 Kb Findeisen-Konzert 2 Piano Findeisen Konzert 2 Titel 1/3 Theodor Albin Findeisen: „Concerto No. 2 for Double bass and Orchestra“ Op. 25 About the second concerto for double bass and orchestra by Th. A. Findeisen is even less known than about the first. It exists also only the piano version witch is published by the PRObass publishing house. It is dedicated to Kurt Barth, who was musical director in Zwickau, Germany. The piano part is marked by the words "in one mouvement". However it can also be regarded as several movements, where the different parts are put together without break. It begins with a majestic Allegro with the remark "fresh and rhapsodic," which opens in an andante molto where the solo bass can prove his singing skills. Then follows an Allegro leggiero witch comes back to the majestic opening theme. It comes to an end with a virtuosic Molto Allegro quasi presto, that functions as a final stretta movement witch leads again to the exploding majestic opening theme of the beginning. The piano reduction has been re-orchestrated for a small orchestra by Daniel Chiva Sanz. The orchestral material is available on loan (see Double Bass Concertos). SHOP

A. Wiebecke-Gottstein: "Flea Market of Dreams" Please inquire about the rental conditions per E-mail a or the contact form ! Trödelmarkt der Träume_Titel J 104 Ouvertüre Piano-Score_Seite_02 klein J 104 Finale Piano-Score_Seite_02 klein Trödelmarkt der Träume_Titel 1/15 Order number J 104 - only on loan - please contact the publisher This music based on texts from the book of the same name "Trödelmarkt der Träume - Midnight Songs and Quiet Ballads" by Michael Ende was originally created for a puppet theater. It can be performed with one or more singers and with different instruments. With one exception, the main instrument is the piano. In addition, there is usually a double bass and a melody instrument for which parts in C, Bb and Eb are available. Some songs are also accompanied by sheet music for guitar; additional drums would be desirable. Most of the songs are thoroughly composed, in some places swinging improvisation is expected from the instrumentalists, which is indicated by the chord notation common in jazz. Some songs are sung throughout, some even just spoken, some have both sung and spoken parts. The songs can be performed in concert. But it becomes more attractive when the content of the songs is played by people and / or puppets. For this purpose, a framework should be invented, e.g. B. a large suitcase from which props can be taken that lead to the next song, or a stage on which a flea market or the lumber room of an antique shop can be seen. There should be no limits to your imagination. The order of the individual songs is also not fixed. Only the framework of an overture and a finale is given. Both are based on the text “Der Taschenspieler” and they therefore use the same musical material. They frame the following 12 songs: "The paper tragedy", "The ballad of the tightrope walker Felix Fly Ax", "The helmet", "The ballad of the wondrous cook", "An immoral morality", "The eternal hero song", "The invisible one "," The Lady with the Puppet "," Little Spook "," The Dream of Flying "," The Ballad of the Blind Guiding the Blind "and" The Ugly Girl ". All in all, the “flea market of dreams” contains around 60 minutes of pure music, and if staged accordingly, a full-length performance can be put on from it.

start for the lesson sheet music for db sheet music with db jazz db concertos orchestra Rental equipment for the lesson tac data protection impressum impressum Suchergebnisse More db-concertos The pieces with piano accompaniment are always included with a version in the sounding key for the double bass in orchestral tuning and a transposed version to accompany the double bass in solo tuning. You can rent the orchestral material for the offered concertos here . S 104 1tes Dittersdorf Konzert Original_Seite_01 S 104 1tes Dittersdorf Konzert Original_Seite_28 S 104 1tes Dittersdorf Konzert Original_Seite_42 S 104 1tes Dittersdorf Konzert Original_Seite_01 1/3 K. D. von Dittersdorf: “Concerto in Es” (score) This is an arrangement in score form of the original voices of the standard concerto which is mostly confessed as concerto in E major and published in this publishing company as concerto No. 1. The voices are taken over with all evident mistakes 1 to 1 from the original and allow so many conclusions for own interpretation regardless of the publishing after which one plays. Evident mistakes or contradictions which strike mostly only in the confrontation of the single voices are specially emphasised. SHOP Vanhal Kb-Konzert - Kontrabass in Solostimmung-01 Vanhal Kb-Konzert - Kontrabass in Solostimmung-02 Vanhal Kb-Konzert - Klavierauszug in C-Dur-24 Vanhal Kb-Konzert - Kontrabass in Solostimmung-01 1/10 J. B. Vanhal: "Concerto for double bass und orchestra D-Major" One of the standard works of the double bass literature. The double bass voice is of course in C major key, the piano score is very simply held and exist both in D major key and C major key for solo or orchestral tuning. SHOP Titelseite Dittersdorf E-Dur Kb+Pno - Solo-Kontrabass-004 Dittersdorf E-Dur Kb+Pno Orchesterstimmung - Klavier-024 Titelseite 1/10 K. D. von Dittersdorf: Concerto E Major for Contra Bass The standard test play concert of the double-bass players (no beginning pro goes past at this!) in unabridged version and under retention of the established key in sounding E major. Attached piano accompaniments in E major and in D major key. The orchestra part is available on loan (see under double bass concerts). SHOP Titelseite Dittersdorf A-Dur Kb+Pno - Solo Kontrabass-004 Dittersdorf A-Dur Kb+Pno Orchesterstimmung - Piano-022 Titelseite 1/10 K. D. von Dittersdorf: Concerto A-Major for Double Bass A further concerto by the composer of the standard concerto for double bass. This one can make in this slightly shortened version absolutely the rank disputable to him, because it lies simply better and puts outside more the chanty qualities of the double bass by use of the higher positions. Of course there are also for this concerto two piano voices for the different double bass tunes. SHOP P 114 Piano_Seite_01 P 114 Solo-Kb_Seite_04 P 114 Piano_Seite_41 P 114 Piano_Seite_01 1/7 Th. A. Findeisen: Concerto for Double Bass and Orchestra No 1 Op. 15 Long time any more available and wrongfully nearly forgotten, now this concert is there again to manage to grab his lawful place beside the concerts of Bottesini and Koussewitzky. It is a late-romantic music with relatively big orchestra occupation what mostly brings problems with deep solo instruments. Here, nevertheless, the instrumentation is handled very sensitively. And although the first mouvement is in minor key, the concert has all together a positive, happy mood. In particular the third mouvement headlined with the unusual tempo name "lustig" (= "jocularly") is full of irony and will surely bring a good mood to the listeners. SHOP Carnevalsscenen Piano_Seite_01 Carnevalsscenen Solo-Kb_Seite_04 Carnevalsscenen Piano_Seite_07 Carnevalsscenen Piano_Seite_01 1/7 Th. A. Findeisen: „Carnevalsscenen“ op. 12 for Double Bass and Orchestra The period of creation of the "Carnevalsscenen" Op. 12 is given at the end of the original handwritten score with " 3rd - 7th August ". This concert piece for doublebass and orchestra which takes about 10-minutes (with cadenza) is subtitled with " meeting, greeting and train of the masks " and Findeisen headlines in the score only the Allegro con brio part as " train of the masks ". The piece begins with a slow introduction what corresponds probably to the "meeting". Unfortunately, no cadenza of Findeisen is enclosed to the score, so that the editor has made an own one from the material of the solo voice and he allows to communicate the greeting (soloists) with the gathering (orchestra) at the end of the cadenza a little bit, before it comes then cheerfully buoyantly to the move. SHOP Findeisen Konzert 2 Titel Findeisen-Konzert 2 Kb Findeisen-Konzert 2 Piano Findeisen Konzert 2 Titel 1/3 Theodor Albin Findeisen: „Concerto No. 2 for Double bass and Orchestra“ Op. 25 About the second concerto for double bass and orchestra by Th. A. Findeisen is even less known than about the first. It exists also only the piano version witch is published by the PRObass publishing house. It is dedicated to Kurt Barth, who was musical director in Zwickau, Germany. The piano part is marked by the words "in one mouvement". However it can also be regarded as several movements, where the different parts are put together without break. It begins with a majestic Allegro with the remark "fresh and rhapsodic," which opens in an andante molto where the solo bass can prove his singing skills. Then follows an Allegro leggiero witch comes back to the majestic opening theme. It comes to an end with a virtuosic Molto Allegro quasi presto, that functions as a final stretta movement witch leads again to the exploding majestic opening theme of the beginning. The piano reduction has been re-orchestrated for a small orchestra by Daniel Chiva Sanz. The orchestral material is available on loan (see Double Bass Concertos). SHOP

top 4 Kb 1 4 Kb 2 4 Kb 3 4 Kb 4 4 Kb 5 4 Kb 6 4 Kb 7 4 Kb 8 4 Kb 9 4 Kb 10 4 Kb 11 4 Kb 12 start for the lesson sheet music for db sheet music with db jazz db concertos orchestra Rental equipment for the lesson tac data protection impressum impressum Suchergebnisse More sheet music for 4 db K 401 Basspourri Partitur_Seite_01 K 401 Basspourri - Partitur_Page_2 K 401 Basspourri - Kontrabass 4_Page_2 K 401 Basspourri Partitur_Seite_01 1/6 Andreas Wiebecke-Gottstein: "Basspourri" A potpourri of different melodies of the composer, which are rather jazzy. The first voice is sometimes very high and fast, the other three voices can be played by any advanced bassist. SHOP K 402 Hessenberg Partitur_Seite_01 K 402 Hessenberg - Partitur_Page_2 K 402 Hessenberg - Partitur_Page_4 K 402 Hessenberg Partitur_Seite_01 1/3 Kurt Hessenberg: „Introduktion und Rondo“ op. 120 This about 7 minutes durable double bass quartet is the only work of the Frankfurt composer which devotes itself to the solo double bass. Composed in 1983, it became performed for the first time in 1984 by students of the college for music in Frankfurt a. M. (Germany). Sure it is one of the most difficult pieces of the double bass literature generally. It demands of all 4 musicians the biggest virtuosity. The music itself sticks to a freely treated tonality. The composer even in addition: " „ Of course I try to compose an autonomously music, however, I write the word with small letters". (In: Kurt Hessenberg - contributions to life and work) Who dares? SHOP K 403 Entertainer Partitur_Seite_1 K 403 Entertainer Partitur_Seite_2 K 403 Entertainer Partitur_Seite_1 1/2 Scott Joplin: "The Entertainer" The famous ragtime in a version for 4 double basses. The first and second double-bass almost always play in the treble clef, during double-bass 3 and 4 give the necessary ground. SHOP K 404 5 Tangos Partitur_Seite_01 K 404 5 Tangos Partitur_Seite_02 K 404 5 Tangos Partitur_Seite_10 K 404 5 Tangos Partitur_Seite_01 1/6 Astor Piazzolla: „Tango Basso“ Heartbreakingly beautiful songs. In these songs there aren´t asked great virtuosi with fast fingers but the more expressive singers on their instruments. Most of the 5 pieces aren't very demandingly in technical sence but even more in musical sence. SHOP K 405 Partitur_Seite_1 K 405 Partitur_Seite_3 K 405 Partitur_Seite_1 1/2 Andreas Wiebecke-Gottstein: "Geburtstags-Ständchen" This piece was written for the 50´s anniversary of Prof. Günter Klaus. The song "Happy Birthday to you" is initiated by a citation from the double bass concerto of Dittersdorf, before it sounds walzlike and in major and minor key. Then it is interrupted by "Hoch soll er leben" ("high he should live") and ends with festive Choral character. The whole lasts just three minutes and is held so that it can be played by the professional double bass player without bigger preparation. This little song is the opportunity to hand a musical bouquet to a colleague once a year. It is available in arrangements for 2, 4, 5, 6 and 8 double basses. SHOP K 406 Kleine Bassmusik Partitur_Seite_1 K 406 Kleine Bassmusik Partitur_Seite_2 K 406 Kleine Bassmusik Partitur_Seite_1 1/2 Andreas Wiebecke-Gottstein: „A Little Bassmusic“ A not quite seriously meant collage of two famous melodies of W. A. Mozart and Joseph Haydn. The first double bass player has technically the most difficult part. But he has also an easy job in accompanying the others, too So everybody may play the leading role for some time without getting technically too difficult for the basses 3 and 4. Duration: approx. 6 minutes. SHOP Quartettsuite K 407 1ter Satz K 407 4ter Satz Quartettsuite 1/5 Th. A. Findeisen: „Quartettsuite für 4 Celli od. 4 Kontrabässe“ This, finally, again available(obtainable) work is a highlight in musicallity, but also in virtuosity. Findeisen is here unusual kontrapunktal polyphonic without denying his romantic roots. The first mouvement (Adagio) is a serious, almost quite baroque seeming meditation. The following menuet is cheerful and is followed by an again serious and strictly polyphonic held mouvement (andante moderato) in which the first bass must master extremely high positions. The last mouvement (humoreske) however is witty and elegant again. SHOP Libertango 4 Kb Titelseite K 408 Libertango Partitur_Seite_03 K 408 Libertango Bass 4_Seite_2 Libertango 4 Kb Titelseite 1/6 Astor Piazzolla: „Libertango“ This is certainly one of the most famous tangos by Piazzolla, here in an arrangement for 4 double basses of the Argentinean bassist Andrés Martin, who edited this piece as a duo for double bass and piano, bass and harp and double bass and guitar. The latter version can be admired in an impressive video on YouTube on the Internet. The note sheets of these versions are all available here at the PRObass music publisher. SHOP K 409 Titel K 409 La Cumparsita Partitur Bsp1 K 409 La Cumparsita Kb 4 K 409 Titel 1/7 G. H. Matos Rodriguez: „La Cumparsita“ for 4 db This tango, which is considered one of the original tangos - the tango of all tangos ("el tango de los tangos"), was composed in 1917 by the Uruguayan youth Rodriguez as a march (la cumparsita, Spanish = "small street parade"), but was reworked into a tango in the same year by the Argentine tango musician Roberto Firpo. The present arrangement for 4 double basses is designed in such a way that the first double bass plays in the high register throughout and the voice becomes lower and lower as the bass numbers descend. The fourth double bass is then notated in bass clef throughout. SHOP A 402 On One for All_Page_1 A 402 On One for All_Page_2 A 402 On One for All_Page_16 A 402 On One for All_Page_1 1/5 Andreas Bennetzen: “On One for All” Originally written as a double bass orchestra piece On One for All was premiered in Odense, for Bassissimo 2005. "I was pretty new at composing back then", the danish composer says, "but it came out ok after all." It has an improvisation part and some simple bass percussion. SHOP A 401 Cumbassia Score Seite 1 A 401 Cumbassia Score_Page_2 A 401 Cumbassia Double Bass 4_Page_3 A 401 Cumbassia Score Seite 1 1/12 Andreas Bennetzen: “Cumbassia” "This is the first time I have tried to make rewrite one of my Andy Benz pieces for double bass quartet. The music I make under the alias Andy Benz originates from live-looping. That is the layering of musical loops live. Sort of like a one-man bass band. The music is inspired by traditional Cumbia from Colombia and its electronic brother digital cumbia. Difficulty: Medium easy SHOP K 508 Tango Partitur_Seite_1 K 508 Tango Partitur_Seite_2 K 508 Tango Kb 5_Seite_2 K 508 Tango Partitur_Seite_1 1/7 Mike Curtis: „Tango La Invitatión“ The original from Mike Curtis is written for 4 wood players plus two percussion players. The editor reworked the voices of the woods for 4 double basses and wrote an own voice for a fifth double bass, in which the double bass is used purely percussiv. By omitting the fifth double bass, one can play the piece also still as quartett. After a short introduction the first tango theme is presented. An interlude leads up to a second theme in the 6/4-measure, which is then repeated with bluesy company, so that 4/4 and 6/4-measure overlay. A cadence-like section follows which leads up to the final tango part. SHOP

start for the lesson sheet music for db sheet music with db jazz db concertos orchestra Rental equipment for the lesson tac data protection impressum impressum Suchergebnisse More sheet music for string quintett (2 vle, vla, vcl + db) Unless otherwise stated, the bass part is always noteated in orchestral tuning. G 101 Dowland 9 Sätze aus Lachrimae Partitur_Seite_01 G 101 Dowland 9 Sätze aus Lachrimae Partitur_Seite_02 G 101 Dowland 9 Sätze aus Lachrimae Partitur_Seite_41 G 101 Dowland 9 Sätze aus Lachrimae Partitur_Seite_01 1/10 John Dowland: "9 mouvements out of " Old music for string player's ensemble (Vle 1, Vle 2, Vla, Vcl and DB). An enrichment for every string chamber music concert. The bass is notated one octave higher, so that it sounds in the original tune and is partly rather demanding for the bassist. SHOP G 102 Drei Ständchen Partitur_Seite_01 G 102 Drei Ständchen Partitur_Seite_02 G 102 Drei Ständchen Partitur_Seite_08 G 102 Drei Ständchen Partitur_Seite_01 1/4 Andreas Wiebecke-Gottstein: "Drei kleine Ständchen" Three short character plays. Although row technology and "newer" musical speech this music orientates itself in romantic tradition, plays quite consciously with catchy rhythmics and traditional melody guidance and discloses to the listener, hence, relatively easily. SHOP