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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 equipment

top A 101 M 101 1 Kb 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 1 db K 101 Titelseite K 101 Gigue PGW_Page_2 K 101 Titelseite 1/2 Paul-Gerhard Wiebecke: "Gigue for Double Bass Solo" Oriented to the old style; a good bow, finger, and double stop exercise for the advanced student. But it is also excellent as an etude for the jazz bass player's pizzing right hand. Tonal range: G-g' as printed sheet music (+ shipping) Order no. K101: €8 as pdf via download / mail Order no. K 101pdf: 4 € SHOP K 102 Fantasie über bass_Page_1 K 102 Fantasie über bass_Page_3 K 102 Fantasie über bass_Page_1 1/2 Andreas Wiebecke-Gottstein: "Fantasy over bass" Virtuoso solo piece on the bass tone sequence in major-minor tonal style. Short and difficult. Tonal range: G - g´´´ as printed sheet music (+ shipping) Order no. K102: €8 as pdf via download / mail Order no. K 102pdf: 4 € SHOP K 103 Four Klezmer Songs_Page_1 K 103 Four Klezmer Songs_Page_2 K 103 Four Klezmer Songs_Page_6 K 103 Four Klezmer Songs_Page_1 1/5 Mike Curtis: "Four Klezmer Songs" for double bass solo 4 pieces "Alcazaba", "Boruch Ato Bo'ir", " Rebn's dance " and "Yoshke, Yoshke" in a version for double bass solo (see also Mike Curtis: " Klezmer duets " under "cello and double bass"). The pieces live on the vitality of klezmer music and a huge number of different play technologies like col'legno battuta, sul ponticello, pitch bend etc., and, besides, remain well playable always on the double bass. A real enrichment for the solo literature of the advanced and ready qualified double bass player. SHOP K 104 Six Vignettes_Page_1 K 104 Six Vignettes_Page_2 K 104 Six Vignettes_Page_8 K 104 Six Vignettes_Page_1 1/7 Alexander Verster: Six vignettes for unaccompanied double bass 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. one can hear it on YouTube play by the composer: https://youtu.be/q_tGHTkKhRM SHOP K 105 Capriccio für Kontrabass-001 K 105 Capriccio für Kontrabass-002 K 105 Capriccio für Kontrabass-001 1/2 Andreas Pflüger: "Capriccio" for double bass The work was commissioned by the Geneva International Music Competition. "Capriccio" because it is of a free, playful and jocular character, exploiting the many interesting timbres and technical possibilities of the double bass through very different playing styles. A work of sound poetry, surprising turns and effective contrasts. SHOP 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. SHOP A 101 A 101 Movendus Seite 1 A 101 Movendus Seite 2 A 101 Movendus Schluß Seite 4 A 101 Movendus Seite 1 1/4 Andreas Bennetzen: “Movendus” "I play a lot of solo concerts, but it is almost only my electronic music under the alias Andy Benz. It makes it hard to judge how well I can play my instrument when I play live-looping with effects and backtracks. So I needed a flashy encore kind of piece to show that I can actually play the double bass quite well, especially when playing for other bass players. So I wrote this piece as an encore piece to show off, but I did not make it crazy difficult. I don´t want to hurt myself :-) " Difficulty: Medium hard SHOP A 102 il Fantasma Seite 1 A 102 il Fantasma Seite 2 A 102 il Fantasma Schluß Seite 4 A 102 il Fantasma Seite 1 1/4 Andreas Bennetzen: “il Fantasma” This is what the composer says to this music: "I was listening a lot to the music of Giacinto Scelsi at the time when I wrote this piece. I remember sitting an evening listening to some trombone pieces. I felt deeply that I wanted to write something similar, but didn´t feel comfortable copying his ideas. I went to bed and woke up in the middle of the night certain that Scelsis ghost was standing at the foot of my bed telling me that it was ok to write a similar piece. The next morning I got out of bed and wrote this piece in 2 hours." Difficulty: Medium SHOP A 103 North Seite 1 A 103 North Seite 2 A 103 North Schluß Seite 4 A 103 North Seite 1 1/4 Andreas Bennetzen: “North” This piece is written for the 10th anniversary of Mittenwald International Masterclasses in 2015. The composer notes: We had a big group of double bass students from Beijing visiting us for an extra week in MIttenwald, and they thought it would be cool to have a small competition. No competition is complete without a new compulsory piece for all participants. So I wrote "North" a short contemporary piece with a nordic folk vibe." difficulty: medium hard SHOP A 104 Work it!_Page_1 A 104 Work it!_Page_3 A 104 Work it!_Page_7 A 104 Work it!_Page_1 1/5 Andreas Bennetzen: “Work it!” "This piece is a show-off piece. It has a lot of references to the technical exercise routines of Gary Karr and Jeff Bradetich starting with the shifting drills! It is a humoruos piece that also contains a lot of very expressive parts. There is a live-recording on YouTube by Mattias Hanskov" Difficulty: Hard SHOP A 105 8 Short Pieces_Page_1 A 105 8 Short Pieces_Page_2 A 105 8 Short Pieces_Page_12 A 105 8 Short Pieces_Page_1 1/9 Andreas Bennetzen: “8 Short Pieces” "This collection was mainly composed during a short stay in Bogotá, Columbia in 2010. I had written the music for a dance piece that was staged at Teatro Nacional in La Candelaria and I was there to perform the piece. The rest of the group were staying far away, so I could not go out alone in the evening due to security reasons. This meant a lot a free time with my bass in the hotel. La Candelaria is the old city of Bogotá with a cool Bohemian vibe. The place inspired me greatly and I still think of it from time to time." SHOP A 106 Concert Study for Dragonetti Concerto_Page_1 A 106 Concert Study for Dragonetti Concerto_Page_2 A 106 Concert Study for Dragonetti Concerto_Page_3 A 106 Concert Study for Dragonetti Concerto_Page_1 1/3 Andreas Bennetzen: “Concert Study for Dragonetti Concerto” "This is written for a student many years ago. His name is also Andreas. It is a study of some of the challenges in the Dragonetti Concerto. Like shifting from short notes to legato and string crossing. It became a little piece of nice music that can be played by itself." SHOP 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. M 101 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

Seitenanfang C 105 C 110 C 115 C 120 C 125 C 130 C135 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 cello + db Unless otherwise stated, the bass part is always notated in orchestral tuning. C 101 Marcello G-Moll Titel C 101 Marcello Vcl 1ter Satz C 101 Marcello Kb 4ter Satz C 101 Marcello G-Moll Titel 1/9 Benedetto Marcello: „Sonate G-Moll“ A widely known baroque sonata. Principal part in the cello, the continuo has been arranged for the double bass to form an independent counterpart. - recorded on the cd "cantus iunctus ad tumultum" SHOP C 102 Kummer Kb_Seite_01 C 102 Kummer Vcl_Page_2 C 102 Kummer Kb_Page_8 C 102 Kummer Kb_Seite_01 1/7 Friedrich August Kummer: "Duett Nr. 2 Op. 22" Originally a duo for two celli, whose first part has been slightly altered for the interplay with double bass, while the second part is tailor-made for the double bass. The two parts alternate with the themes. These are written in a diatonic nature so that they can be easily played by the double-bass in its original tuning. Special attention should be paid to the second movement: in the middle section the double bass may show its virtuosity in a major Cantilena. This Cantilena has so much romantic and emotional passion that it seems to have been composed especially for the double bass. - recorded on the cd "cantus iunctus ad tumultum" SHOP C 103 Barrière Kb_Seite_1 C 103 Barrière Vcl_Seite_2 C 103 Barrière Kb_Seite_6 C 103 Barrière Kb_Seite_1 1/7 Jean Barrière: "Sonate G-Dur" The well-known cello duo, whose second part, arranged for the double bass, clearly keeps to the original. - recorded on the CD "cantus lunctus ad tumultum" SHOP Gounod Kb_Seite_1 Gounod Vcl_Seite_2 Gounod Kb_Seite_2 Gounod Kb_Seite_1 1/3 Charles Gounod: "Petit Scherzo" The original double bass duo, arranged for cello and double bass with the two instruments constantly exchanging melody and accompaniment. - recorded on the CD "cantus lunctus ad tumultum" SHOP Entertainer Kb_Seite_1 Entertainer Vcl_Seite_2 Entertainer Kb_Seite_2 Entertainer Kb_Seite_1 1/3 Scott Joplin: "The Entertainer" (c+db) The famous ragtime in an arrangement for cello and double bass. This piece is easily accessible for both instruments, yet quite challenging. - recorded on the CD "moderne / klezmer / jazz" C 105 SHOP C 106 Czibulka Kb_Seite_1 C 106 Czibulka Vcl_Seite_2 C 106 Czibulka Kb_Seite_2 C 106 Czibulka Kb_Seite_1 1/3 Alphons Czibulka: "Liebestraum nach dem Balle" (c+db) A real Viennese waltz. Cello and contrabass alternate constantly in melody function and accompanying function. Also here it was paid attention to the fact that the voices do not become too demanding for both instruments. SHOP Blue Flame Kb_Seite_1 Blue Flame Vcl_Seite_4 Blue Flame Kb_Seite_4 Blue Flame Kb_Seite_1 1/3 Edie W. Cane: "My Blue Flame" (vcl+db) A jazz piece for "swinging". It contains written-out parts with the cello and double bass alternating in function between melody and accompaniment, written-out improvisations along with accompaniment for both instruments, as well as a section with chord-symbols for pure improvisations. This last section may be skipped in case the performers do not think themselves capable of improvising. - recorded on ther CD "moderne / klezmer / jazz" SHOP C 108 Dance Kb_Seite_1 C 108 Dance Vcl_Seite_2 C 108 Dance Kb_Seite_2 C 108 Dance Kb_Seite_1 1/3 Andreas Wiebecke-Gottstein: "Dance Sacrale" (vcl+db) A virtually canonical work inspired by middle-age folk music and bagpipes sounds. This piece is also available for violin and double bass and for 5 basses. - recorded on the CD "moderne /klezmer / jazz" SHOP C 109 Trauermarsch Kb_Seite_1 C 109 Trauermarsch Vcl_Seite_2 C 109 Trauermarsch Kb_Seite_2 C 109 Trauermarsch Kb_Seite_1 1/3 Frederic Chopin: "Trauermarsch" (c+db) The well-known "Marche funèbre". Because of the chordal texture of the piano original this piece is difficult to arrange for two melodic instruments. This is why the individual parts are full of double-stops, which are, on the one hand difficult to play, on the other, however, give the piece its rich and warm character. With the middle-age Cantilena both instruments have the possibility of showing their virtuosity in the higher positions. recorded on the CD "himmelhoch jauchzend - zu tode betruebt" SHOP C 110 Kinderheft_Seite_01 C 110 Kinderheft_Seite_02 C 110 Kinderheft_Seite_12 C 110 Kinderheft_Seite_01 1/7 Dimitri Schostakowitsch: "Kinderheft" Arrangement of the simple but nevertheless very attractive piano work for cello and double bass. The result is a mixture of challenging sections and easily playable tunes. However, the piece is not meant to be played by beginners as is the case with the original. recorded on the CD "himmelhoch jauchzend - zu tode betruebt" C 110 SHOP C 111 Miserlou Vcl+Kb C 111 Miserlou Vcl_Seite_2 C 111 Miserlou Kb_Seite_2 C 111 Miserlou Vcl+Kb 1/3 Mike Curtis: "Miserlou" Klezmer music of the finest. Initiated by beating on body and fingerboard of both instruments, there sounds a known Klezmer melody. -recorded on the CD "moderne / klezmer / jazz" SHOP C 112 Romanian Hora Chusidl + Bulgar_Seite_1 C 112 Romanian Hora Chusidl + Bulgar_Seite_2 C 112 Romanian Hora Chusidl + Bulgar_Seite_6 C 112 Romanian Hora Chusidl + Bulgar_Seite_1 1/4 Mike Curtis: "Rumanian Hora, Chusidl & Bulgar" 3 Klezmer dances. Both instruments alternate in soloing and accompanying. - recorded on the CD "modern / klezmer / jazz" SHOP Alcazaba Titelseite C 113 Alcazaba Vcl_Seite_2 C 113 Alcazaba Kb_Seite_2 Alcazaba Titelseite 1/3 Mike Curtis: "Alcazaba" A quite special Klezmer song. Free improvising seeming parts changes with affecting melodies. Both instruments are active soloing as well as accompanying. - recorded on the CD "moderne / klezmer / jazz SHOP C 114 Rebn´s Tanz_Seite_1 C 114 Rebn´s Tanz_Seite_2 C 114 Rebn´s Tanz_Seite_1 1/2 Mike Curtis: "Rebn's Tanz" A small fine Klezmer song in which both instruments may tell equally her melodies. - recorded on the CD "modern / klezmer / jazz" SHOP C 115 Yoske Yoshke_Seite_1 C 115 Yoske Yoshke_Seite_2 C 115 Yoske Yoshke_Seite_1 1/2 Mike Curtis: "Yoshke, Yoshke" Lively Klezmer melodies which throw both instruments to themselves mutually. The players slide on the fingerboard and beat with the bow wood. - recorded on the CD "himmelhoch jauchzend - zu tode betruebt" C 115 SHOP C 117 Devienne Kb_Seite_1 C 117 Devienne Vcl_Seite_2 C 117 Devienne Kb_Seite_4 C 117 Devienne Kb_Seite_1 1/5 Francois Deviènne: "Duo Concertant G-Dur" Typically classic enthusiasm honors this two-part duet. Originally written for two bassoons the work gets more transparency in the voices, which are almost independently held without exception, by the occupation with cello and double-bass. And it offers the typical difficulties of classical music to the players. - recorded on the CD "cello + bass duette" SHOP C 118 Antoniotti_Seite_1 C 118 Antoniotti_Seite_3 C 118 Antoniotti_Seite_7 C 118 Antoniotti_Seite_1 1/5 Giorgio Antoniotti: "Sonata Nr. 9 c-Moll op. 1" A 4-part baroque piece in which in the slow mouvements the typical general bass accompany befits the double-bass while he may "talk" with the cello in the fast mouvements as an equal partner. - recorded on the CD "cello + bass duette" SHOP C 119 Hey Judah Kb_Seite_1 C 119 Hey Judah Vcl_Seite_2 C 119 Hey Judah Kb_Seite_2 C 119 Hey Judah Kb_Seite_1 1/3 Mike Curtis: „Hey Judah“ A Klezmer song of the rather tragic kind. Also in this piece cello and double bass are equal partners and alternate in accompanying and melody plays. - recorded on the CD "himmelhoch jauchzend - zu tode betruebt" SHOP C 120 Boruch Ato Boir_Seite_1 C 120 Boruch Ato Boir_Seite_2 C 120 Boruch Ato Boir_Seite_1 1/2 Mike Curtis: „Boruch Ato Bo´ir“ A rather cheerful Klezmer dance with two equal voices and several different play technics like arco, pizzicato and col legno. - recorded on the CD "himmelhoch jauchzend - zu tode betruebt" C 120 SHOP C 121 Piazzolla 5 Tangos_Page_1 C 121 Piazzolla 5 Tangos_Page_2 C 121 Piazzolla 5 Tangos_Page_10 C 121 Piazzolla 5 Tangos_Page_1 1/6 Astor Piazzolla: „Fünf Tangos“ (vcl+db) "Tango Nuevo" of the well-known tango master Piazzolla in an arrangement for cello and double bass! The cello voice is mostly kept in quite high position Because of the extended harmonic of the tango music one will find very often double stops in both voices. The increase of difficulty is rewarded by the quite own romantic charm of this tango music, however. - recorded on the CD "himmelhoch jauchzend - zu tode betruebt" SHOP C 122 Schweizer Käs Rock_Seite_1 C 122 Schweizer Käs Rock_Seite_2 C 122 Schweizer Käs Rock_Seite_1 1/2 Edie W. Cane: „Schweizer-Käs´- Rock“ Thought as an encore and joke than an independent work: this piece is a kind of riddle where the audience shall recognize what this "rock", which is based on a simple blues cheme, has common with Swiss cheese. SHOP C 123 Kegelduette_Seite_01 C 123 Kegelduette_Seite_02 C 123 Kegelduette_Seite_18 C 123 Kegelduette_Seite_01 1/13 Wolfgang Amadeus Mozart: „Kegelduette“ 12 small pieces (in the original for two Bassetthorns) of cheerful contemplative character, which are surely an enrichment for the cello-bass literature For the better execution on the double-bass the pieces have been transposed from F Major to G major. Because the double-bass sounds an octave deeper than notated the original ratio of the two voices to each other was kept by putting up the double bass voice one octave. Often the double-bass has to be played in thumb position but the voice isn't extremely serious at this anyway and completes himself wonderfully with the cello voice. notated range: d - d" - recorded on the CD "cello + bass duette" SHOP C 124 Bréval Kb_Seite_1 C 124 Bréval Vcl_Seite_2 C 124 Bréval Kb_Seite_6 C 124 Bréval Kb_Seite_1 1/7 Jean Baptiste Bréval: „Sonate Nr. 5 G-Dur“ Every cellist will know it: The "difficult" sonata for Cello and Basso continuo, here though in an arrangement for Cello and double-bass. The continuo voice, which is to be played of the double-bass, was revised so that it not only became a accompanying voice but an equal counter voice. In the Rondo it even partly takes the cello voice and changes the cello to accompanying so that great demands are also put to the double bass player. A duet for being brilliant! - recorded on the CD "cello + bass duette" SHOP C 125 Offenbach_Seite_1 C 125 Offenbach_Seite_2 C 125 Offenbach_Seite_6 C 125 Offenbach_Seite_1 1/4 Jacques Offenbach: „Duo Nr. 1 G-Dur Opus 50“ This duet sounds with cello and double-bass much more transparent than the original with two cellos, because the different tone colors of cello and double-bass help to distinguish the individual voices. The double-bass plays the second voice mostly in real sound, so that his voice is mostly noted an octave higher than the original and therefore is more demandingly, since he plays in thumb position without exception, too. - recorded on the CD "cello + bass duette" C 125 SHOP C 126 Vivaldi_Seite_01 C 126 Vivaldi_Seite_02 C 126 Vivaldi_Seite_08 C 126 Vivaldi_Seite_01 1/5 Antonio Vivaldi: „Sonate e-Moll“ The continuo voice of this 4-part sonata has been arranged as an independent counter voice, in which the double-bass has to play much in higher positions. Only in the second part in which the cello voice is also quite deeply the double-bass voice gets by without exception in the bass key . Through this the part gets the humorous character of a gnomes dance. - recorded on the CD "cello + bass duette" SHOP C 127 Marcello A-Moll_Seite_01 C 127 Marcello A-Moll_Seite_02 C 127 Marcello A-Moll_Seite_08 C 127 Marcello A-Moll_Seite_01 1/5 Benedetto Marcello: „Sonate a-Moll“ Also in this sonata the continuo voice of the double-bass has been altered to an independent counter voice, so that it becomes more interestingly and more demanding for the bass player, however, and the whole sonata gets the character of a duet. - recoorded on the CD "cello + bass duette" SHOP C 128 Andalucian Lily_Seite_1 C 128 Andalucian Lily_Seite_2 C 128 Andalucian Lily_Seite_1 1/2 Mike Curtis: „Andalucian Lily“ Imaginative Klezmer piece in the 3/4 metrum. Cello and double bass have to play relatively equivalent parts. - recorded in the cd „mike curtis cello bass duos“ SHOP C 129 Street Song_Seite_1 C 129 Street Song_Seite_2 C 129 Street Song_Seite_1 1/2 Mike Curtis: „Street Song“ Virtuoso and at the same time melancholy Klezmer piece in 3/4 metrum. - recorded on the CD „mike curtis cello bass duos“ SHOP C 130 Khyberian Catfit Kb_Seite_1 C 130 Khyberian Catfit Vcl_Seite_2 C 130 Khyberian Catfit Kb_Seite_2 C 130 Khyberian Catfit Kb_Seite_1 1/3 Mike Curtis: „Khyberian Catfit“ Quick, like a virtuoso, klezmer. With a lot of odd tacts and tact changes. Both instruments are equal partners. - recorded on the CD „mike curtis cello bass duos“ C 130 SHOP C 131 Mexican Themes_Seite_01 C 131 Mexican Themes_Seite_02 C 131 Mexican Themes_Seite_14 C 131 Mexican Themes_Seite_01 1/8 Mike Curtis: "Duo Suite on Mexican Themes" (Vcl+Kb) Six mood pieces and dances in Mexican style. Virtuoso but anyway not excessive difficult. - recorded on the CD „cello bass duos - music by mike curtis“ SHOP C 132 Sketches of China_Seite_01 C 132 Sketches of China_Seite_03 C 132 Sketches of China_Seite_08 C 132 Sketches of China_Seite_01 1/5 Mike Curtis: „Sketches of China“ (vc+db) After Mike Curtis has shown his folkloric qualities with his klezmer music (see there) and his Mexican Suite (see there), he shows with these 4 mood pieces that he can musically make himself understandably also in areas which are geographically much further away. - recorded on the cd "cello bass duos - music by mike curtis" SHOP C 133 Seven Duos Vcl+Kb_Seite_01 C 133 Seven Duos Vcl+Kb_Seite_02 C 133 Seven Duos Vcl+Kb_Seite_14 C 133 Seven Duos Vcl+Kb_Seite_01 1/8 Mike Curtis: „Seven Jazz and Ethnik Duos“ (vc+db) Seven pieces of different character - from blues about quick syncopic 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. - recorded on the cd „cello bass duos - music by mike curtis“ SHOP C 134 8 Jazz Duos Vcl+Kb_Seite_01 C 134 8 Jazz Duos Vcl+Kb_Seite_04 C 134 8 Jazz Duos Vcl+Kb_Seite_22 C 134 8 Jazz Duos Vcl+Kb_Seite_01 1/9 Mike Curtis: „8 Jazz Duos“ (vc+db) Swing, Latin and blues - with these concepts one can circumscribe the 8 pieces of this duet issue. - So entertaining this music may seem to the listener also - this music is rather demanding, nevertheless, in every respect, musical-spiritually as well as musical-technically. - recorded on the CD „cello bass duos - music by mike curtis“ The video shows the piece "Salamander Strut" from the "8 Jazz Duos". SHOP C 135 beatmusic Partitur_Seite_01 C 135 beatmusic Partitur_Seite_03 C 135 beatmusic bass_Seite_14 C 135 beatmusic Partitur_Seite_01 1/19 Paul-Gerhard Wiebecke: „beatmusic“ Six pieces, each of which is complete in itself. They offer musical themes that are inspired from the beat, rock, funk and soul music of the 60s, 70s and 80s. In addition to these topics, they offer the performers per piece one or two solos. These solos are been advertised, but can be custom designed or improvised entirely from the players, depending on your mood, .The common musical themes are partially in four parts, frequently in three parts, which could make the games for both instrumentalists to the test. But here may be modified and simplified! Otherwise, the inclined instrumentalist etc. can also take notes in pitch, rhythm and dynamics as they are set in black and white. Both on the cello as well as the bass is here every note hard-won, tested and feasible on the respective instrument. - recorded on the cd “paul-gerhard wiebecke- beatmusik” C135 SHOP C 136 Duetto Titel C 136 Duetto Partitur 1 C 136 Duetto Kontrabass 3 C 136 Duetto Titel 1/10 Gioacchino Rossini: "Duetto" One of the most original works for cello and double bass. And in typical rossini style: Musically lightfooted, catchy lively and innocent. Both voices are equally demanding. This edition includes a reading score and for each instrument separate parts. The bass part is in the orchestra tuning. SHOP C 137 12 Duos Vcl + Kb Titel C 137 12 Duos Vcl + Kb Spottlied C 137 12 Duos Vcl + Kb Heu-Erntelied C 137 12 Duos Vcl + Kb Titel 1/12 Béla Bartók: "12 Duos" (vc+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 cello 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 violin and bass. 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. - recorded on the CD "moderne / klezmer / jazz" SHOP 0001 0002 0004 0001 1/4 Andreas Wiebecke-Gottstein (Arr.): Tarantella from Naples A jaunty Italian folk song. The cello part is written so that it can also be played by a viola. If you have a guitarist or harpsichordist (or another player of a chordal instrument) with you, you can expand (and enrich) the piece to a trio. For this purpose, the chord symbols are written down in the score and in the cello part. You can hear and see an example of this in this video: SHOP

impressum PRObass Musikverlag Andreas Wiebecke-Gottstein Dorfstrasse 42 17039 Wulkenzin OT Neuendorf Germany probass@probass.de www.probass.de VAT ID no.: DE190418396

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 note cheets for orchestra O 102 Ave Maria_Seite_01 O 102 Ave Maria_Seite_03 O 102 Ave Maria_Seite_01 1/2 Bach / Gounod: „Ave Maria“ (Orch) A detailed orchestra treatment of the known song of Gounod which he wrote to the first Präludium by Bach. The smallest possible occupation is here 2 violins, cello, contrabass and piano or harp. Then it can be increased with an additional viola, woods, horns, kettledrum and percussion. The following voices are delivered: 1 x flute, 1 x oboe, 1 x clarinet in B, 1 x bassoon, 2 x horn 1 + 2 in fa, 1 x kettledrums, 1 x percussion, 8 x 1st violin, 6 x 2nd violin, 4 x viola, 2 x cello, 1 x double bass and 1 x piano or harp. Besides, the Präludium by Bach sounds completely from piano (or harp), the original melody of Gounod lies completely in the 1st violin. New written voices play violin 2, violoncello and double bass, all other one are doublings. SHOP O 104 Largo Partitur_Seite_01 O 104 Largo Partitur_Seite_02 O 104 Largo Partitur_Seite_15 O 104 Largo Partitur_Seite_01 1/4 G. F. Händel: „Largo“ (Orch) This is the aria "Ombra may fù" from the opera "Xerxes" (Serse) by Handel, a love song of the king of Persia, Xerxes, to a tree. It is one of Handel's most famous melodies and often simply called as "Handel's Largo". This is an orchestral version in the instrumentation of August Reinhard (1831-1912, German composer and author of a harmonium-school). The material exists of two flutes, two oboes, two clarinets, two bassoons, two horns, three trombones, a harp, violins 1 and 2, viola, cello and double bass. 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 harp + db Unless otherwise stated, the bass part is always noteated in orchestral tuning. H 101 Libertango Harfe_Seite_01 H 101 Libertango Kb_Seite_2 H 101 Libertango Harfe_Seite_03 H 101 Libertango Harfe_Seite_01 1/3 Astor Piazzolla: „Libertango“ (hrp+db) This is surely one of the most well-known tangos of Piazzolla, here in an arrangement for double bass and guitar of the Argentine bassist Andrés Martin, who worked on this piece also for double bass and harp as well as for double bass and piano. One can admire this version with guitar in an impressive video on YouTube in the Internet, in which Andrés Martin himself plays the double bass. The note sheets of the other two versions are likewise available here in the PRObass Music publishing house. SHOP

top 5 Kb+ 1 5 Kb+ 2 5 Kb+ 3 5 Kb+ 4 5 Kb+ 5 5 Kb+ 6 5 Kb+ 7 5 Kb+ 8 5 Kb+ 9 5 Kb+ 10 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 5 db Dowland 5 Kb Partitur_Seite_01 Dowland 5 Kb Partitur_Seite_04 Dowland 5 Kb Partitur_Seite_28 Dowland 5 Kb Partitur_Seite_01 1/10 John Dowland: "9 Sätze aus Lachrimae" Old music from the 16th century for five double-basses. The piece would be an excellent complement to any concert by double bass music classes, as well as to chamber music recitals by the double bass section of a symphonic orchestra.While the first two parts have to be played nearly exclusively in thumb position, the demand on the 3rd and 4th parts focusses on precise rhythmic patterns. The 5th part based on the traditional bass function can, for the most part, be mastered by a beginner. A very simple but appealing piece, which gains additional charm by its unusual orchestratio SHOP Die Elefanten Partitur_Seite_1 Die Elefanten Partitur_Seite_2 Die Elefanten Partitur_Seite_1 1/2 Andreas Wiebecke-Gottstein: "The Elefants" Free arrangement based on the renowned "Elephant" out of "The Carnival of Animals" by Camille Saint-Saens, scored for five double basses. Yet the piece hides some more surprises: a theme from a Beethoven symphony, a famous waltz by Strauss, as well as a widely known theme by Schubert. All parts have been carefully arranged so that even beginners can play them well; melody and accompaniment have been evenly distributed among the various players. SHOP K 503 Trauermarsch Partitur_Seite_1 K 503 Trauermarsch Partitur_Seite_2 K 503 Trauermarsch Partitur_Seite_1 1/2 Frederic Chopin: "Trauermarsch" (march funébre) The famous "Marche funèbre" by Chopin. This powerful and dramatic work gains additional force through the unique ensemble sound of the five double basses. The first double bass takes advantage of the Cantilena of the middle section to indulge in the higher reaches of the pitch-range. The Cantilena is elevated to even higher spheres in the harmonics played by the other basses. SHOP Dance Sacrale Kb 1 Stimme_Seite_1 Dance Sacrale Kb 1 Stimme_Seite_2 Dance Sacrale Kb 1 Stimme_Seite_1 1/2 Andreas Wiebecke-Gottstein: "Dance sacrale kanonique" A virtually canonical work inspired by middle-age folk music and bagpipes sounds. This piece is also available for violin and double bass and cello and double bass. SHOP K 505 Entertainer Partitur_Seite_1 K 505 Entertainer Partitur_Seite_2 K 505 Entertainer Partitur_Seite_1 1/2 Scott Joplin: "The Entertainer" (5db) Swinging entertainment with high demand, what at least concerns the first three basses. The greatest requests are made to the first player, lasting with the second and get to the followings lower continuously. Developed for ensembles whos players are differently far but it is also a musical fun for perfect professionals. SHOP A Klezmer Wedding Partitur_Seite_01 A Klezmer Wedding Partitur_Seite_02 A Klezmer Wedding Partitur_Seite_09 A Klezmer Wedding Partitur_Seite_01 1/6 Mike Curtis: „A Klezmer Wedding“ Klezmer-music for five double-basses! The 4-part piece starts with a notated improvisation ("Doina") of the first bass over accord-changes of the other basses. The 2nd part ("Hora") builds up polyphonic voices. A traditional dance ("Chusidl") follows. Finally with "Freylach" there´s played a fast dance which describes the wedding celebration after some time of joy. Duration: approx. 8 -9 minutes. SHOP K 507 Partitur_Seite_1 K 507 Partitur_Seite_2 K 507 Partitur_Seite_1 1/2 A. Wiebecke-Gottstein: "Geburtstags-Ständchen" (5 db) This piece was written for the 50´anniversary of Prof. Günter Klaus.The song "Happy Birthday to you" is introduced by a quotation from the double-bass concert of Dittersdorf. Then it sounds walz-like and in major and minor key and is interrupted by the song "Hoch soll er leben" untill it ends in a festive chant character. The piece lasts only three minutes and can be played by professional double bass players without greater preparation. So it is the opportunity to present to a colleague a musical bouquet of flowers once a year. It is also available in arrangements for 2, 4, 6 and 8 double-basses. 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 K 601 Partitur_Seite_1 K 601 Partitur_Seite_3 K 601 Partitur_Seite_1 1/2 A. Wiebecke-Gottstein: „Geburtstags-Ständchen“ (6 db) This piece was written for the 50´s anniversary of Prof. Günter Klaus. The song "Happy Birthday to you" is introduced by a quotation from the double-bass concert of Dittersdorf. Then it sounds walz-like and in major and minor key and is interrupted by the song \"Hoch soll er leben\" untill it ends in a festive chant character. The piece lasts only three minutes and can be played by professional double bass players without greater preparation. So it is the opportunity to present to a colleague a musical bouquet of flowers once a year. It is also available in arrangements for 2, 4, 5 and 8 double-basses. SHOP K 801 Partitur_Seite_1 K 801 Partitur_Seite_2 K 801 Partitur_Seite_1 1/2 A. Wiebecke-Gottstein: „Geburtstags-Ständchen“ (8 db) This piece was written for the 50´s anniversary of Prof. Günter Klaus. The song "Happy Birthday to you" is introduced by a quotation from the double-bass concert of Dittersdorf. Then it sounds walz-like and in major and minor key and is interrupted by the song \"Hoch soll er leben\" untill it ends in a festive chant character. The piece lasts only three minutes and can be played by professional double bass players without greater preparation. So it is the opportunity to present to a colleague a musical bouquet of flowers once a year. It is also available in arrangements for 2, 4, 5 and 6 double-basses. 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 2 db K 201 Czibulka_Seite_1 K 201 Czibulka_Page_2 K 201 Czibulka_Seite_1 1/2 Alphons Czibulka: "Liebestraum nach dem Balle" (Vers. 1) Viennese Waltz. In this version the 2nd double bass plays the typical waltz accompaniment featuring double-stops, while the 1st bass indulges melodiously in the higher positions. (Compare order nr. 202) SHOP K 202 Czibulka Kb 1_Seite_1 K 202 Czibulka Kb 1_Page_2 K 202 Czibulka Kb 2_Page_2 K 202 Czibulka Kb 1_Seite_1 1/3 Alphons Czibulka: "Liebestraum nach dem Balle" (Vers. 2) Viennese waltz. In this version, however, both instruments alternate in function between melody and accompaniment. (compare order nr. K 201) SHOP K 203 Geb-Ständchen 2Kb_Seite_1 K 203 Geburtstagsständchen - Partitur_Page_2 K 203 Geb-Ständchen 2Kb_Seite_1 1/2 A. Wiebecke-Gottstein: „Geburtstags-Ständchen“ for 2 basses 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 also available in arrangements for 4, 5, 6 and 8 double basses. SHOP K 204 D-Roth Duo Kb 1_Seite_1 K 204 Roth Duo - Kb 1_Page_2 K 204 Roth Duo - Kb 2_Page_6 K 204 D-Roth Duo Kb 1_Seite_1 1/7 Dennis Roth: „Duo für 2 Kontrabässe“ An interesting duet by the composer born in 1982 for advanced interpreters. The 3 mouvement are based to a great extent on the traditional tonale major/minor-key harmony. A tricky rhythmical structure of the counterpoint makes every voice an independent melody and both voices are still complementary in spite of all rhythmical contrasts. SHOP Duo for 2 Double Basses_Page_1 Duo for 2 Double Basses_Page_2 Duo for 2 Double Basses_Page_7 Duo for 2 Double Basses_Page_1 1/4 Andreas Bennetzen: “Duo for 2 Double Basses” "This duo is in 3 movements. The first is a tribute to funk, especially the great James Brown. Second movement is a ballad for Bob Marley, one of the greatest songwriters of the 20th century. The third movement is happy and joyful music with laughing basses." (A. Bennetzen) The note sheets contain a score and a separte part for each bass. 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 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.