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Contents are: Twinkle, Twinkle, Little Star: Variations and Theme (Shinichi Suzuki) * Lightly Row (Folk Song) * Go Tell Aunt Rhody (Folk Song) * May Song (Folk Song) * Song of the Wind, (Folk Song) * O Come, Little Children (Folk Song) * Twinkle, Twinkle, Little Star Variations (Shinichi Suzuki) * LIghtly Row (Folk Song) * Go Tell Aunt Rhody (Folk Song) * Chatter with the Angels (Spiritual) * Song of the Wind (Folk Song) * May Song (Folk Song) * French Folk Song (Folk Song) * O Come, LIttle Children (Folk Song) * Lament (Bohemian Folk Song) * Perpetual Motion (Shinichi Suzuki) * Allegretto (Shinichi Suzuki) * Allegro (Shinichi Suzuki) * The Little Fiddle (German Folk Song).
In the nineteenth century, use of the violone, a bass instrument with many sizes and variations, was nearly eliminated from musical repertoires, and its traditional parts were parceled out to other instruments such as the violoncello. The following phases of revival of the double-bass have been hampered by a lack of physical evidence and diligent research into the historical uses of the instrument. The Baroque Double Bass Violone is a comprehensive study that examines a cross-section of standard works to enhance contemporary violone research, and provide information for musicologists, music publishers, ensemble leaders, and revivalists, all of whom have been unable to reconstruct an essential part of Baroque music. This translation finally makes the most exhaustive study of the double bass violone accessible to English-speaking musical enthusiasts. The book includes lists of terminology, the most comprehensive bibliography to date, and 48 illustrations that make this a compendium of string bass research.
A "Reading Rainbow" Feature Title Zum, zum, buzz.... zum, zum, buzz... What's that strange buzz coming from the double bass? Berlioz has no time to investigate, because he and his bear orchestra are due at the gala ball in the village square at eight. But Berlioz is so worried about his buzzing bass that he steers the mule and his bandwagon full of magicians into a hole in the road and gets stuck. Time is running out, and if a rooster, a cat, a billy goat, a plow horse, and an ox can't rescue the bandwagon, who can? As the suspense mounts, intricate borders reveal the village animals making their way to the square one by one. When the clock chimes eight, the animals, ready to dance, have filled the square-but there's no sign of Berlioz. Jan Brett's glorious illustrations invite the eye to linger over exquisite details and humorous nuances that enhance the story. This delightful cumulative tale is one that will be looked at again and again.
The achievements of Giovanni Bottesini (1821-1889) as a solo performer on the double bass tower above those of any other player before or since. In fact it's hard to think of any other field of human endeavour where one person has gone so far beyond everybody else. For nearly fifty years he astonished and delighted audiences on four continents. This new biography The Paganini of the Double Bass: Bottesini in Britain tells the complete life story of this remarkable man. He visited Britain over twenty times and performed in around 800 concerts including thirteen lengthy national tours. His many appearances in London throughout the Victorian era took place in a changing musical scene, as rival opera companies went to war, and concert promoters experimented with different ways of presenting music to the public. Bottesini, almost uniquely, was an outstanding success at the most serious philharmonic concerts and the rowdiest popular events. He was particularly associated with the Proms. He appeared over 200 times between 1851 and 1887, and even shared conducting duties with Johann Strauss II for the 1867 season, but he did not quite live long enough to see the era of Henry Wood. Although this book covers Bottesini's career in Britain in most detail, it describes his entire life: how his company in Havana raised the standards of opera in America in the late 1840s how he had major conducting positions in Mexico, Paris, Barcelona, Cairo and Buenos Aires the story behind how he came to conduct the world premiere of Aida how the operas he composed met with success but never became established in the repertoire his pioneering role in introducing purely instrumental music to Italy how his constant gambling forced him to keep going back on the road with his double bass his relationships with Verdi, Rossini and the powerful publishing house of Ricordi his two wives, hardly mentioned in any previous study The inclusion of around 20 letters to his closest friend, most of them not in any previous book about Bottesini, allows us to see the great double bass player's life from his own perspective -- his domestic quarrels, his financial pressures and his professional rivalries. 280 pages Available from Amazon Based on almost 10000 references in contemporary periodicals, mainly in the UK, but also Italy, Germany, France, USA, Cuba, Russia, Hungary Many inaccurate dates and places from previous studies have been corrected All UK appearances listed Three major interviews with Bottesini from UK newspapers Over 70 contemporary reviews 27 pictures Many adverts and documents from the era The first ever chronological listing of his music for double bass sheds light on the development of his techniques Detailed index of all people, places and works mentioned
"Includes audio CD with over 20 play along songs with a full band. Quickly & easily learn to play like the pros with this step by step method." --front cover.
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So finally here it is! A definitive handbook to ALL your questions about rare (gut/silk) three-string double basses. Where do they come from? Who made them? Who played them? How much are they worth? Should you go ahead and restore? How should you play one? What is their relevance in today's modern age?The gut three-string double bass first appeared in the late 18th century.They were distinctly different to other "bass" role instruments at their time. The size dimensions of the three-string instrument resembled what appears in the modern day full size 3⁄4 and 4/4 orchestral instruments. This book will give descriptive information about makers of the three-string double bass. It will provide an explanation regarding its pivotal role in promoting and establishing the standardized orchestral double bass and it will discuss the soloists, repertoire and composers of the instrument.The gut three-string double bass is usually considered to be a rare piece of antiquity, the original instrument that solo double bassists performed on. It is henceforth suggested that these pioneering soloists were responsible in creating the turning point for the resemblance of what we have come to see and hear in the modern double basses. Finally, this book will provide advice on treatises and methods for Baroque/Classical ensemble and string performers regarding correct period performance practice and technique. A composer's influences regarding period sonorities will be briefly mentioned.The gut three-string double bass had an extremely brief circulation in history! This book can also be seen as an introduction and an equally rare historical description of one of the "last rare relicts" of an instrument that may have otherwise "sneaked" its way past historical records completely...
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