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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

Rental material from Works for Orchestra Please inquire about the rental conditions per E-mail or the contact form ! John Dowland: "9 sentences from " Order no. O 101 A. Wiebecke-Gottstein: "-LUDIA" Order no. O 103 A. Wiebecke-Gottstein: “Abeca” for orchestra Order no. O 105

top B 105 Klar + Kb 1 Klar + Kb 2 Klar + Kb 3 Klar + Kb 4 Klar + Kb 5 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 clarinet + db Unless otherwise stated, the bass part is always noteated in orchestral tuning. B 101 Mexican Duo Suite_Seite_01 B 101 Mexican Duo Suite_Seite_02 B 101 Mexican Duo Suite_Seite_14 B 101 Mexican Duo Suite_Seite_01 1/8 Mike Curtis: „Duo Suite on Mexican Themes“ (clar+db) Six character plays and dances in the Mexican style. Virtuoso but, however, not excessively difficult. SHOP B 102 Sketches of China_Seite_01 B 102 Sketches of China_Seite_03 B 102 Sketches of China_Seite_08 B 102 Sketches of China_Seite_01 1/5 Mike Curtis: „Sketches of China“ (clar+db) After Mike Curtis has proved his folkloric qualities with his Klezmer music (see under violoncello and double bass) and his Mexican suite (see there), he shows with these 4 character plays that he can also make himself musically understood in areas which are geographically much further away. SHOP B 103 Haydn Spass Kb_Seite_1 B 103 Haydn Spass Kb_Seite_2 B 103 Haydn Spass Klar_Seite_2 B 103 Haydn Spass Kb_Seite_1 1/3 A. Wiebecke-Gottstein: „A Little Haydn-Fun“ In his Koconcerts the composer always announces the "symphony with the drum beat" by Haydn for clarinet and double bass without drum. This confuses his colleague because he has the opinion, now the "Little Night Music" by Mozart is played. Then after some verbal arguments they play this piece: The one plays Mozart, the other Haydn. SHOP B 104 7 Duos_Seite_01 B 104 7 Duos_Seite_02 B 104 7 Duos_Seite_14 B 104 7 Duos_Seite_01 1/8 Mike Curtis: „Seven Jazz and Ethnik Duos“ (clar+db) Seven pieces of different character - from blues over quick syncopisc Latin-American rhythms up to Klezmer and Chinese seeming music. Although, nevertheless, from the area of the light music taken, they are intellectual as well as technically from high claim. SHOP B 105 B 105 8 Jazz Duos Heft_Seite_01 B 105 8 Jazz Duos Heft_Seite_04 B 105 8 Jazz Duos Heft_Seite_22 B 105 8 Jazz Duos Heft_Seite_01 1/9 Mike Curtis: „8 Jazz Duos“ (clar+db) Swing, Latin and blues - with these words one can circumscribe these 8 pieces. So entertaining this music may seem to the listener - this music is rather demanding, nevertheless, in every aspect, musical-spiritually as well as musical-technically. "Salamander Strut" is a piece from this collection, which is also available for 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 guitar + db Unless otherwise stated, the bass part is always noteated in orchestral tuning. Gi 101 Libertango Guit_Seite_1 Gi 101 Libertango Kb_Seite_2 Gi 101 Libertango Score_Seite_2 Gi 101 Libertango Guit_Seite_1 1/4 Astor Piazzolla: „Libertango“ (guit+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 J 105 Jazz 1 Jazz 2 Jazz 3 Jazz 4 Jazz 5 Jazz 6 Jazz 7 Jazz 8 Jazz 9 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 jazz Unless otherwise stated, the bass part is always notated in orchestral tuning. J 101 Ballade bass_Seite_1 J 101 Ballade Piano Score_Seite_3 J 101 Ballade bass_Seite_2 J 101 Ballade bass_Seite_1 1/4 Edie W. Cane: „Ballade for old masters sake“ This piece originated in a time when the composer had the impression, that at the moment the giants of jazz die off from the world. It keeps to the traditional A-B-A form of the jazz, however, the A and B parts are built up complex: After a 2-bar introduction a bluesy theme follows in C major key, then a short, fully notated bridge to a B minor part. After both parts are repeated there is a short improvisation segment about the C major key part, followed by that (this time differently notated) bridge which leads up into the main improsisation part (B part) which can be freely formed. Then the A part (bluesy C major part - bridge - B minor part) comes again and leads to a final Coda. SHOP J 102 Man On The Street Lead in C_Seite_1 J 102 Man On The Street Piano Score_Seite_3 J 102 Man On The Street Bass_Seite_1 J 102 Man On The Street Lead in C_Seite_1 1/4 Edie W. Cane: „Man on the Street“ In this a little bit experimental piece the composer has tried to describe the heights and depths of the unemployed person's existence musically. Completely notated parts and voices face to those with complete improvisations. At the end it is improvised even quite freely. The piece requires a thought-out teamwork within a combo. SHOP J 103 My Blue Flame Lead in C_Seite_1 J 103 My Blue Flame Bass_Seite_3 J 103 My Blue Flame Lead in C_Seite_1 1/2 Edie W. Cane: „My Blue Flame“ (j) A mainstream piece with a melody which does not want to get out of the head any more. It is, so to speak, the original of the versions of the same name for cello and double bass and double bass and piano. SHOP Trödelmarkt der Träume_Titel J 104 Traum Piano_Seite_2 klein J 104 Seiltänzer Piano-Score_Seite_2 klein Trödelmarkt der Träume_Titel 1/15 A. Wiebecke-Gottstein: „The Flea Market Of Dreams“ This music after texts from the book of the same name „flea market of the dreams - night airs and quiet ballads “of Michael Ende was originally developed for a puppet theater. It can be realized with one or more singers and with different instruments. Main instrument is with one exception the piano. In addition usually a double bass and a melody instrument are added, for which lead sheets in C, Bb and Eb are present. In some songs also note sheets for guitar are attached, supplementing drums would be desirable. Most songs are through-composed, in some places swinging improvisation are expected from the instrumentalists. This is indecated by chord notations usual used in the jazz. Some songs are sung throughout, others are even only spoken, some have both sung and spoken parts. The songs can be performed concertant of course. It becomes more delightful however, if the content of the songs is played by humans and/or dolls. But a framework plot should be invented, for example a big travelling case, from where some requisites are taken which lead up to the next song, or a stage, on which a flea market or an antique shop is to be seen. No limits should be set to the fantasy here. Also the sequence of the individual songs is not fixed. Given is simply the framework from an overture and a final. Both is the basis the text „the prestidigitator “and avails themselves from there also of the same musical material. They frame the following 12 songs: „The paper tragedy “, „the ballad of the rope dancer Felix Fliegenbeil “, „the helmet “, „the ballad of the wondrous cook “, „an immoral Moritat “, „the eternal hero song “, „the invisible one “, „the lady with the puppet “, „small spook “, „the dream of flying “, „the ballad of the blind ones, who blind ones lead “and „the ugly girl “. All in all contain „the flea market of the dreams “about 60 minutes pure music. The lyrics are in German language. Order no. J 104: only available on loan J 105 Titel J 105 Bass J 105 Titel 1/2 Edie W. Cane: „Oliog“ This cheerful piece is rather unconventional in its form: There is a 5 bars long theme and a 10 bars long part whose chords are based on the main notes of the theme. The edition contain a voice in C, in Bb, in Eb and one in the bass clef. J 105 SHOP Titel Sunday Lead in C va basso 2nd voice in C Titel Sunday 1/5 Edie W. Cane: „Sunday“ The note sheets of this musical sunday exist of a main voice, "Lead" (in separate notations for C-, Bb-and Eb instruments), and a "Second Voice" (also in separate notations for C-, Bb-and Eb instruments), and a bass. Besides, the main voice is given again as own voice especially for the arco played solo contrabass. The piano is furnished as Piano-Direction with both voices (main voice in own, reduced system, second voice in the upper piano system). SHOP J 107 Kleznacht Partitur_Page_1 J 107 Kleznacht Partitur_Page_3 J 107 Kleznacht Partitur_Page_54 J 107 Kleznacht Partitur_Page_1 1/11 A. Wiebecke-Gottstein: “Kleznacht” for 2 Instr., Guit. and Perc. ad. lib. (parts + score) "Kleznacht" uses melodies from German Christmas carols, but changes them through new rhythmizations and meters and by using scales of "Klezmer" music instead of the original major or minor scales. The music was originally arranged and recorded for nyckelharpa, double bass and guitar, some pieces were accompanied by various percussion instruments. For the present edition of music, an attempt was made to generalize the parts, so that they could also be played on other instruments. The first part is intended for a higher instrument and the second part for a lower instrument. If the range of the instruments used deviates from the notation, the performers themselves must consider sensible transpositions. For the various transposing instruments, both melody parts are available in C, Bb and Eb transpositions. Some pieces have double stops. For monophonic instruments it is recommended to play the lower notes as short suggestions to the upper notes. The percussion voices are only suggestions. They can be played, changed or added as desired. Using the chord sequences notated in the guitar part, further instruments can be added or the guitar can be replaced by another chord instrument. The sheet music is either fully available with all transposed parts and scores, or each individual part is available separately. The score is not for sale separately. SHOP J 108 play bartók - Partitur-01 J 108 play bartók - Partitur-04 J 108 play bartók - Partitur-20 J 108 play bartók - Partitur-01 1/13 Béla Bartók / Andreas Wiebecke-Gottstein: „play bartók“ The present pieces are arrangements of titles from the 44 Duos for 2 Violins composed by Béla Bartók in 1931 as practice pieces, but which have since become established in the concert repertoire. Bartók uses songs and dances from Eastern European countries in them. In 2016 Andreas Wiebecke-Gottstein arranged 12 of the duos for violin and double bass and for violoncello and double bass. Based on the arrangement for violin and double bass is this extended arrangement for nyckelharpa, double bass and guitar, which of course can also be played with other instrument combinations. In these arrangements all pieces are underlaid with chords. This creates an extended harmony in many pieces, especially those in which Bartók uses two keys at the same time, that is strongly reminiscent of jazz harmony. In some cases sections are repeated, sometimes with an exchange of voices. Always, however, an improvisational section is incorporated, based on the underlying chord progressions of the piece in question. SHOP

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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