Academic literature on the topic 'Repertoire for double bass'
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Journal articles on the topic "Repertoire for double bass"
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Ritchie, William, and Patrick Neher. "An Expanded Sampling of Double Bass Repertoire." American String Teacher 43, no. 4 (November 1993): 75–79. http://dx.doi.org/10.1177/000313139304300432.
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Kocherga, Svitlana, and Oleksandra Visych. "The antitheatrical discourse in Ukrainian metadrama in the early twentieth century." Przegląd Wschodnioeuropejski 11, no. 1 (June 30, 2020): 251–59. http://dx.doi.org/10.31648/pw.5985.
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The article analyzes methods of implementing antitheatrical discourse in Ukrainian dramaturgy. Different types of antitheatricality in literary texts are distinguished on the basis of plays by M. Starytskyi, I. Karpenko-Karyi, A. Krushelnytskyi, V. Vynnychenko, Ya. Mamontiv, V. Cherednychenko, and M. Kulish. The authors define key vectors that the antitheatrical discourse follows: criticism of theater as an institution, criticism of the drama school / method, criticism of theatricality and acting, including in offstage situations. It is arguably reasonable to examine the phenomenon of antitheatrical prejudice in the context of the theory of metadrama as one of its factors. Artistic interpretation of the theater in an ironic or farcical vein, discussions over the repertoire that is no longer relevant, the aesthetic nature of stage technique, and discredit of acting as an occupation all generally encourage dramatic conventionality to double. Most common metadramatic devices used to implement antitheatricality in Ukrainian drama are believed to include a play within a play, adaptation of spectator’s reception for stage, and intertextual references.
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Vogel, S. N., and M. Fenton. "Toll-like receptor 4 signalling: new perspectives on a complex signal-transduction problem." Biochemical Society Transactions 31, no. 3 (June 1, 2003): 664–68. http://dx.doi.org/10.1042/bst0310664.
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We previously reported that Toll-like receptor-2 (TLR2) agonists induce expression of a more limited repertoire of pro-inflammatory genes than TLR4 agonists. Murine macrophages stimulated with the TLR4 agonist, Escherichia coli lipopolysaccharide, induced signal transducer and activator of transcription 1 (‘STAT1’) tyrosine phosphorylation that was secondary to the autocrine/paracrine action of interferon (IFN)-β, an immediate early gene. In contrast, TLR2 agonists failed to activate IFN-β gene expression. TLR4-induced IFN-β mRNA was found to be MyD88- and PKR (double-stranded RNA-dependent protein kinase)-independent, but TIRAP (Toll/interleukin-1 receptor domain-containing adapter protein)/Mal (MyD88-adapter-like)-dependent. In the present paper, we outline the recent controversy over the role of TIRAP/Mal in TLR2 and TLR4 signalling in the context of the current molecular tools used for such studies. Collectively, our findings provide the first mechanistic basis for differential patterns of gene expression activated by TLR4 and TLR2 agonists.
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KUMYSHEVA, L. Ch, and Z. A. KUCHUKOVA. "WOMEN-DZHIGITS OR GENDER DIMENSION OF FAUSAT BALKAROVA’S POETRY." Kavkazologiya, no. 1 (2021): 208–27. http://dx.doi.org/10.31143/2542-212x-2021-1-208-227.
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On the basis of lyric and epic works, the authors of the article investigate the specific features of the gender picture of the world of the classic of Kabardian literature Fousat Balkarova. The structuring of the holistic material into 5 interrelated sections allows the authors to consistently, close-up consider the thematic, personal, linguistic, chronological and conflict-prone aspects of the poetess' ethnogender consciousness. The historically conditioned process of transformation of social constructs «masculine» and «feminine» of the Adyghe patriarchal society under the pressure of factors of civilization and modernization is shown. The analysis made it possible to reveal in the poetry of F. Balkarova and identify the ontological metacode «woman-dzhigit», marking the dominance of masculine traits in the image of a new, self-sufficient woman of the post-war years. The article also examines a complex of issues related to the accelerated pace of life, the «double repertoire» of women, gender asymmetry, the conflict of two generations, artistic ethnography.
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Alves, D. R., A. Gaudion, J. E. Bean, P. Perez Esteban, T. C. Arnot, D. R. Harper, W. Kot, L. H. Hansen, M. C. Enright, and A. Tobias A. Jenkins. "Combined Use of Bacteriophage K and a Novel Bacteriophage To Reduce Staphylococcus aureus Biofilm Formation." Applied and Environmental Microbiology 80, no. 21 (August 22, 2014): 6694–703. http://dx.doi.org/10.1128/aem.01789-14.
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ABSTRACTBiofilms are major causes of impairment of wound healing and patient morbidity. One of the most common and aggressive wound pathogens isStaphylococcus aureus, displaying a large repertoire of virulence factors and commonly reduced susceptibility to antibiotics, such as the spread of methicillin-resistantS. aureus(MRSA). Bacteriophages are obligate parasites of bacteria. They multiply intracellularly and lyse their bacterial host, releasing their progeny. We isolated a novel phage, DRA88, which has a broad host range amongS. aureusbacteria. Morphologically, the phage belongs to theMyoviridaefamily and comprises a large double-stranded DNA (dsDNA) genome of 141,907 bp. DRA88 was mixed with phage K to produce a high-titer mixture that showed strong lytic activity against a wide range ofS. aureusisolates, including representatives of the major international MRSA clones and coagulase-negativeStaphylococcus. Its efficacy was assessed both in planktonic cultures and when treating established biofilms produced by three different biofilm-producingS. aureusisolates. A significant reduction of biofilm biomass over 48 h of treatment was recorded in all cases. The phage mixture may form the basis of an effective treatment for infections caused byS. aureusbiofilms.
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Bray, Trevor. "Double Bass." Musical Times 126, no. 1704 (February 1985): 102. http://dx.doi.org/10.2307/963485.
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Yang, Haitang, Feng Yao, Thomas M. Marti, Ralph A. Schmid, and Ren-Wang Peng. "Beyond DNA Repair: DNA-PKcs in Tumor Metastasis, Metabolism and Immunity." Cancers 12, no. 11 (November 16, 2020): 3389. http://dx.doi.org/10.3390/cancers12113389.
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The DNA-dependent protein kinase catalytic subunit (DNA-PKcs) is a key component of the DNA-PK complex that has a well-characterized function in the non-homologous end-joining repair of DNA double-strand breaks. Since its identification, a large body of evidence has demonstrated that DNA-PKcs is frequently overexpressed in cancer, plays a critical role in tumor development and progression, and is associated with poor prognosis of cancer patients. Intriguingly, recent studies have suggested novel functions beyond the canonical role of DNA-PKcs, which has transformed the paradigm of DNA-PKcs in tumorigenesis and has reinvigorated the interest to target DNA-PKcs for cancer treatment. In this review, we update recent advances in DNA-PKcs, in particular the emerging roles in tumor metastasis, metabolic dysregulation, and immune escape. We further discuss the possible molecular basis that underpins the pleiotropism of DNA-PKcs in cancer. Finally, we outline the biomarkers that may predict the therapeutic response to DNA-PKcs inhibitor therapy. Understanding the functional repertoire of DNA-PKcs will provide mechanistic insights of DNA-PKcs in malignancy and, more importantly, may revolutionize the design and utility of DNA-PKcs-based precision cancer therapy.
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Morrison, Philip. "Double Bass Redoubled." Scientific American 278, no. 5 (May 1998): 109–11. http://dx.doi.org/10.1038/scientificamerican0598-109.
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Slatford, Rodney. "Virtuoso Double Bass." Musical Times 127, no. 1720 (August 1986): 446. http://dx.doi.org/10.2307/965171.
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Stoops, Anthony, and Charlene Dell. "Double Bassics: Teaching Double Bass for the Non-Bass Teacher." American String Teacher 61, no. 3 (August 2011): 30–34. http://dx.doi.org/10.1177/000313131106100306.
Full textDissertations / Theses on the topic "Repertoire for double bass"
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Unzicker, Jack Andrew. "Orchestral Etudes: Repertoire-Specific Exercises for Double Bass." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84292/.
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In this project, frequently required double bass orchestral audition excerpts as well as their individual technical difficulties are identified. A survey of professional double bass players and teachers currently and formerly employed by major orchestras, universities, and conservatories have participated to validate the importance of four of the most frequently required orchestral excerpts: Ludwig van Beethoven’s Symphony No. 9, Mvt. 4, and Symphony No. 5, Mvt. 3; Richard Strauss’ Ein Heldenleben; and Wolfgang Amadeus Mozart’s Symphony No. 40, Mvt. 1. The survey respondents identified the primary and secondary technical concerns of each of the four excerpts. I have created technical studies, or etudes, that specifically address these difficulties and help fill a literary gap within the existing pedagogical resources for the double bass.
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Lucena, Diuliano Vitor. "Obras para contrabaixo com gêneros da música popular brasileira: performance e aspectos pedagógicos." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7213.
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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
This paper addresses interpretative and pedagogical aspects of double bass works within Brazilian popular music genders. The major objective is to update the Brazilian Online Catalog of Erudite Work for Double Bass (RAY, 2005), and discuss interpretative and teaching aspects from the selection of work which presents characteristics of brazilian popular music genders in this collection. The methodology is qualitative and it presents, at first, a discussion of the addressed repertoire. Next, it develops a proposal for pedagogical and interpretation possibilities applicable to the bassist training. The work is organized in three parts: process of catalog update, selection of the work which was debated and discussion about the performance the performance and suggestions for studies of the workpieces. As a result, 81 new workpieces, which were accumulated from 2006 to 2016, were listed and included in the catalog that bear 136 compositions. After this update, the catalog currently bears 222 workpieces, and 81 of these workpieces hold elements of the Brazilian Popular Music Gender. It is concluded with the proposal of a possible pedagogical path in order to study and solve technical problems as articulation (bow stroke and bowing) in repertoire with choro and baião citations, in order to exemplify and suggest how to perform works with citations of MPB genders in concert music.
Este trabalho trata de aspectos pedagógicos e interpretativos em obras para contrabaixo que se enquadram em gêneros da música popular brasileira. O objetivo principal é atualizar o Catálogo Brasileiro de Obras Eruditas para Contrabaixo On-Line (RAY, 2005) e discutir aspectos pedagógicos e interpretativos, a partir da seleção de obras que apresentam características dos gêneros da música popular brasileira neste acervo. A metodologia tem caráter qualitativo e apresenta, num primeiro momento, uma análise reflexiva sobre o repertório abordado. Em seguida, desenvolve uma proposta pedagógica e de interpretação aplicável nos estudos do contrabaixista. O trabalho está organizado em três partes: processo de atualização do catálogo, seleção das obras discutidas, discussão sobre a performance e sugestões de estudo das obras. Como resultado, foram listadas e incluídas no catálogo que continha 136 composições, mais 81 novas peças que foram acumuladas de 2006 até 2016. Com essa atualização o catálogo está atualmente com 222 peças, sendo que 81 dessas contêm elementos de Gênero da Musica popular Brasileira. Conclui-se com a proposta um possível caminho pedagógico para o estudo e resoluções de problemas técnicos como a articulação (golpe de arco e arcadas) em repertório com citação de choro e baião, a título de exemplo e sugestão de como lidar com citações de gêneros da MPB na música de concerto.
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Hellsten, Eli. "Långstråkigt : En självstudie i inlärning av ny repertoar på kontrabas." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-73418.
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Den föreliggande studien är en självobservation med syfte att studera hur min inlärningsprocess tar form vid instuderingen av stycket Old French Song för solokontrabas, och studien utgår ifrån ett designteoretiskt perspektiv på lärande. Instuderingsprocessen fortgick under fem veckor hösten 2018 med sammanlagt 22 övningspass. Av dessa dokumenterades fem med hjälp av videoinspelning. I resultatet presenteras de resurser som användes vid designen av inlärningen, och på vilket sätt de användes. Resultatet visar också på vilket sätt resurser kombinerades för att göra inlärningsprocessen multimodal. I diskussionen diskuteras resultatet med utgångspunkt i tidigare forskning om instudering samt i relation till det designteoretiska perspektivet på lärande.The present study is a self-observation meant to study how my learning process takes shape during the studying of the piece Old French Song, played on the double bass. The study is based on a design theoretical perspective on learning. The learning process proceeded for five weeks during the autumn of 2018, making for a total of 22 separate practice occasions of which five was documented using video recording. The result shows the different resources used in the design of my learning process, and the different ways they were used. It also shows in what way different resources were combined to form a multimodal learning process. The last section discusses the result based on previous research on the studying of musical pieces, and in relation to a design theoretical perspective on learning.
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Ribeiro, Gadiego Cararo. "O contrabaixo acústico na música popular brasileira: utilização de arranjos como ferramenta para ampliação do repertório e material didático." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/5369.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This paper is the final product of the Master of Music course – Performance of Musical Double Bass, Graduate School of Music of the Federal University of Goiás and is divided into two parts. Part A: artistic production which includes two recitals with program related to the developed research and there are also mandatory for the conclusion of the course, and Part B: an scholar paper. The final recital has works that highlight chamber music and the Double Bass, and integrates different instrumental combinations of solo works, with emphasis on Brazilian popular music. The recital program is composed of arrangements that addresses the performance of instrument genres such as Milonga, the Chacarera and Chamamé, and other genres of Brazilian popular music like samba. The scientific article deals with the use of arrangements for chamber music with bass in popular Brazilian works. It presents alternatives for expanding the Brazilian popular chamber repertoire, through the discussion of expressive/technical resources applied to bass arrangements for various instrumental combinations. The main objective was to conduct a study on the use of arrangements for chamber groups with bass, demonstrating possibilities for increasing the repertoire and teaching materials. The methodological process was based on the literature review of the performance of the instrument in genres of popular music, particularly jazz, as well as chamber music and the main teaching methods used in the country. For that the use of technical resources from these two musical universes was discussed, applied in works of Brazilian popular music. The study sought to demonstrate that the use of arrangements of Brazilian popular music for chamber groups can serve as an alternative to expanding the repertoire and didactic material for teaching the instrument the bass.
Este trabalho é o Produto Final do curso de Mestrado em Música – Performance Musical Contrabaixo, apresentado ao Programa de Pós-Graduação em Música da Universidade Federal de Goiás e, está dividido em duas partes. Parte A: produção artística, que inclui os dois recitais relacionados à pesquisa desenvolvida e que são pré-requisitos para a conclusão do curso, e Parte B: o artigo científico. O recital de defesa conta com obras que evidenciam o caráter camerístico e solista do instrumento, e integra diferentes formações instrumentais além de obras solo, com ênfase na música popular brasileira. Os arranjos que compõem o programa de defesa abordam a atuação do instrumento em gêneros fronteiriços como a Milonga, a Chacarera e o Chamamé, além de outros gêneros mais conhecidos da música popular brasileira como o samba. O artigo trata da utilização de arranjos para grupos camerísticos com contrabaixo em obras populares brasileiras. Para isso apresenta alternativas para a ampliação do repertório popular brasileiro em câmara e do material didático, através da discussão de recursos técnico/expressivos do contrabaixo aplicados em arranjos para formações instrumentais variadas. O objetivo central foi realizar um estudo sobre a utilização de arranjos para formações camerísticas com contrabaixo, demonstrando funcionalidades pedagógicas e de possibilidades de aumento do repertório. O processo metodológico baseouse na revisão de literatura sobre a atuação do instrumento em gêneros da música popular, em especial o jazz, bem como na música de câmara e dos principais métodos de ensino utilizados no país. Para isso discutiu-se a utilização de recursos técnicos advindo desses dois universos musicais, aplicados em obras da música popular brasileira. O trabalho procurou evidenciar que a utilização de arranjos camerísticos de obras da música popular brasileira pode servir como alternativa para a ampliação do repertório para contrabaixo e material didático para o aprendizado do instrumento.
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Kaspar, Lucas J. "The Bass Trombonist's Guide to the Tuba Repertoire." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu153193743404808.
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Cavalli, Massimo. "Double bass and electric bass: the case study of John Patitucci." Doctoral thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/18726.
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The electric bass and double bass are two different instruments sharing a common
function: they link harmony with rhythm, especially when talking about jazz music. The
capacity of a bassist to fully support an ensemble is something that can be achieved
individually playing electric or double bass. However there are some bassists who, despite
of the technical differences between these two instruments, choose to play both. Some of
these performers are true masters using and switching electric and double bass according
to the different musical settings. It is possible to define similarities and differences
between the electric and double bass, but is it viable to use similar approaches too? In
order to investigate this field, I focus my research on one exemplar player who combines
all the qualities needed to both play electric than double bass: John Patitucci, an
inspiration for bassists of all generations and a musician who synthesizes all the
fundamental characteristics of an ideal bass player. This dissertation is inspired by
Patitucci’s example and by the urge to fill a gap in the specialized literature concerning
the history and application of different left and right hand techniques on the electric and
double bass. The main purpose of this study is to create the backbone of a bass program
for teaching both instruments using John Patitucci as example. His technical approach on
both instruments and his soloing vocabulary are points of departure of this dissertation. I
begin my study with the historical origins of Patitucci’s techniques ending with the
development of exercises created in order to teach his techniques and vocabulary to those
who aspire to play electric and double bass; RESUMO: Baixo elétrico e contrabaixo, dois instrumentos distintos que partilham uma
função comum: a possibilidade de produzir um conjunto de notas capazes de interligar
uma grelha harmonia a uma base rítmica, criando uma coesão estética e musical,
sobretudo na música jazz. A capacidade de um baixista de conseguir alcançar de forma
eficiente esta ligação como sólido suporte para um “ensemble” musical está na base de
uma sua eventual afirmação profissional. Há músicos que apesar das diferencias técnicas
entre estes dois instrumentos, decidiram tocar ambos; alguns deles conseguiram destacarse,
usando e trocando o baixo elétrico e o contrabaixo para servir melhor diferentes
situações musicais. O contrabaixo e baixo elétrico têm características em comum mas ao
mesmo tempo diferem por apresentar algumas diferenças técnica substanciais; será por
isso possível abordar, explorar e aprender ambos utilizando uma mesma base
metodológica? Com o intuito de explorar esta possibilidade direcionei a minha pesquisa
para o estudo de um músico que no curso da sua longa carreira consegui grande destaque
em quanto baixista elétrico e contrabaixista. John Patitucci é a síntese desta tipologia de
músico, sendo uma fonte de inspiração para baixistas de todas as gerações. Esta
dissertação é inspirada no seu exemplo e no desejo de colmatar o vazio presente na
literatura musical comum aos dois instrumentos sobre a história e aplicação das técnicas
da mão esquerda e direita. O foco principal é a criação de uma base sólida para o futuro
desenvolvimento de um programa de ensino comum para o baixo eléctrico e o
contrabaixo, utilizando o vocabulário técnico e improvisativo de Patitucci como ponto de
partida. A dissertação aborda as origens históricas das técnicas utilizadas por Patitucci desenvolvendo, numa fase sucessiva, exercícios criados com a função de ensinar as suas
técnicas aos que desejarem aprofundar a prática do baixo elétrico e do contrabaixo.
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Cameron, Erin. "The Emancipation of the Bass Clarinet: Harry Sparnaay and the Development of Solo Bass Clarinet Repertoire." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752380/.
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Harry Sparnaay was a major contributor to the development of unaccompanied works for the bass clarinet and commissioned over 100 pieces for bass clarinet alone. While Sparnaay's book, The Bass Clarinet: A Personal History, includes a list of works written for him, there is minimal information available regarding most of these pieces. This project fills the information gap for this repertoire by providing publication status/score availability, performance challenges, recording history, program notes, and composer information. Each work is classified into three categories based on its publication status and recording history, providing a framework for understanding which works have entered the standard repertoire for the instrument.
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Ousley, Larry James. "Solo Techniques for Unaccompanied Pizzicato Jazz Double Bass." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/96.
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The purpose of this study was to research and demonstrate various techniques that a double bassist may utilize when performing an unaccompanied solo in a jazz setting. This study primarily focused on pizzicato (plucked) styles and sought to maximize the polyphonic potential of the double bass, which has traditionally been considered a homophonic instrument. This study provides a written, organized approach that illustrates recorded examples and augments private instruction for the double bass. This study offers a vocabulary of techniques comprising chords and intervals that allow the double bassist to accompany oneself. It uses an intervallic approach to determining practical ways of voicing chords and accompanying melodic statements. Specific songs from the standard repertoire were chosen to demonstrate self-accompaniment techniques in the contexts of melodic and harmonic movement. Recorded examples are provided that show how specific bassists successfully used certain techniques in the context of songs. Bassists that were examined include Ray Brown, Niels-Henning Orsted Pedersen, Dave Holland, Charlie Hayden, Ron Carter, Edgar Meyer, Lynn Seaton, and David Friesen.
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Jackson, Bruce Rogers. "The g-d-G-C scordatura tuning for the double bass : a historical survey, theoretical rationale, pedagogical study, and compositional demonstration." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1041733.
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The purpose of this study is to investigate the g-d-G-C scordatura tuning for the double bass. The study will survey the historical use, develop a theoretical rational, investigate the pedagogical implications, and explore the compositional opportunities of the scordatura tuning.Though there are many unanswered questions concerning the historical use of this tuning system, it is clear that the double bass has a long history of using scordatura tunings. The sympathetic/fifths tuning (g-d-G-C) was the basis of Violoncello Suite No. 5 by J. S. Bach, and there are three known later uses of it.After a brief history of temperament, the study concludes that this particular tuning greatly improves the resonance and intonation of the double bass. The placement of the g/G strings between the d and C strings strengthens the sonic output and vibrancy of the bass because of the close relationships between the natural harmonic series of each string. The proximity of the tuning to the upper part of the circle of fifths (C/G/D) is an additional benefit.Though the scordatura tuning creates more difficult technical challenges than the all-fourths tuning, this tuning system works well in orchestral, solo and jazz performance. The scordatura tuning is easily adapted to the bass guitar and offers many new opportunities for jazz improvisation. This tuning system is not particularly effective in popular commercial music venues.Since the 1960's new pedagogical approaches to sequence of instruction, concepts of position and approaches to fingerings have emerged. This new school of bass pedagogy suggests how a method could be developed for learning the scordatura tuning.Most of the traditional orchestral, ensemble, solo and jazz literature can be adapted to the tuning. Though it may be technically possible to play a work originally written for the all-fourths tuning using sympathetic/fifths, such a transcription may not be appropriate.Finally, the study includes four original compositions with analysis and discussion that demonstrate the idiomatic possibilities of the tuning: Sonata No. 5 for Scordatura Double Bass, Quartet No. 3B for Mixed Double Basses, Overture for Jazz Combo, and Concerto No. 3 for Scordatura Double Bass.Total Words of Abstract: 347 (does not include title)School of Music
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Meyer, Mariechen. "Contemporary Double Bass Techniques: An Advanced Technical Approach." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157540/.
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Diverse practicing methods are evidence of the importance of applying creativity in our practice regimes. Regardless of a player's technique - traditional or modern - it must be regularly practiced and then applied. One of the most common ways to do that is through practicing technical exercises, which generally means the practice of scales, arpeggios and etudes. These exercises generally function as a warm-up regime for all musicians, but this regime doesn't necessarily provide enough reference for the player in the learning process of a new piece. Adapting exercises to address technical difficulties in a newly learned piece can provide the player with a wide range of practice methods to use, to be creative, to be more aware while practicing, and to build a solid technical foundation for the newly learned piece. Two well-known pedagogues who applied this approach are German bassist Ludwig Streicher and Czech violinist Otakar Ševčik. By implementing analytical studies and composing exercises based on the standard repertoire, Ševčik and Streicher became highly influential teachers in the 20th century. Their work serves as a model in achieving the purposes of this dissertation: the assessment of technical difficulties and compilation of a technique booklet based on six unaccompanied contemporary solo pieces written as required works for the solo competition of the International Society of Bassists' biennial convention since 2007.
Books on the topic "Repertoire for double bass"
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Kruisbrink, Annette. Sonatina (double bass & guitar). Saint-Romuald, QC: Productions d'Oz, 2003.
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Kruisbrink, Annette. Cirex (double bass & guitar). Saint-Romuald, QC: Productions d'Oz, 2003.
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Kruisbrink, Annette. Lamento (double bass & guitar). Saint-Romuald, QC: Productions d'Oz, 2003.
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Munster, Peter van. Repertoire catalogue: Piccolo, alto flute, bass flute. Machiavelli Roma: Riverberi Sonori, 2004.
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Elgar, Raymond. Looking at the double bass. Princeton, N.J: Stephen W. Fillo, 1986.
Find full textBook chapters on the topic "Repertoire for double bass"
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Askenfelt, Anders. "Double Bass." In The Science of String Instruments, 259–77. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-7110-4_15.
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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Double Bass." In The Teaching of Instrumental Music, 431–38. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-31.
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"The Double Bass." In The Teaching of Instrumental Music, 347–55. Routledge, 2015. http://dx.doi.org/10.4324/9781315665016-32.
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Walker, Nicholas. "Jazz Bass." In Teaching School Jazz, 209–18. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0019.
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The role of the double bass in any jazz band is fundamental to the success of the whole ensemble. The bass line carries both the rhythm and harmony from beat to beat in a way that establishes both a solid pulse and a clear formal structure that allows all of the other elements of jazz to be meaningfully felt. This chapter is designed to introduce a double bassist to jazz playing. It begins with fundamental information about instrument setup, posture, and technical approaches that allow for full expression unhindered by physical pain and injury. Next, the chapter introduces approaches to learning music and bass lines by ear and presents a progressive sequence of skills that allow a bassist to embellish simple traditional bass lines creatively and personally by understanding root movement and connecting chords with walking iconic bass lines.
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"Dark Double Bass and Purple Piano." In The Hidden Sense. The MIT Press, 2007. http://dx.doi.org/10.7551/mitpress/7492.003.0014.
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Kapusi, Kálmán. "Methodology of Teaching the Double Bass." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/14.
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This study offers assistance to those who are going to teach or already do teach how to play the double bass. It provides a summary from how to positione the instrument, through the most important musical terminology and all the technical difficulties thought to be obligatory for doublebass players. The first part of the study focuses on the main types of personalities of both teachers and sudents describing the major possibilities of harmonizing co-working and how to motivate and handle different characters. The second part describes the most frequent technical problems, for example instrument and bow positioning, practice routine and the preservation of the player’s working ability. Keywords: doublebass, methodology, pedagogy
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Rice, Albert R. "Music for the Chalumeau." In The Baroque Clarinet and Chalumeau, 43–79. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0002.
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Chapter 2 provides an overview of chalumeau music written from 1694 to 1780. Seventeen works are discussed that represent the large chalumeau repertoire: opera, oratorio, cantata, psalm, concerto, stage, chamber, and orchestral. The chalumeau was prominently used in European courts, schools, and concerts in Vienna, Hanover, Düsseldorf, Venice, Prague, Darmstadt, Hamburg, Liechtenstein, Frankfurt, London, Darmstadt, Zerbst, Eisenstadt, Dresden, and other cities, and in monasteries at Göttweig in Austria, and Osek and Lubens in Poland. Chalumeaux were made in five sizes: soprano, alto, tenor, bass, and basset bass (extended range bass). Soprano and bass chalumeaux were used in Vienna by several composers; soprano chalumeaux in Amsterdam by Dreux; alto, tenor, and bass chalumeaux by Graupner and Telemann in Darmstadt, Hamburg, and Frankfurt; and basset bass by Steffani in Düsseldorf and Pichler in Göttweig.
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Manning, Jane. "DONALD MARTINO (1931–2005)Three Songs (1955)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 193–95. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0055.
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This chapter discusses three concise, fastidious songs by Donald Martino. It explores the richness of expression contained within their modest proportions. Here, Martino demonstrates acute sensitivity to the subtleties of syllables and their vocal implications: each sound is gauged precisely within a practicable range, so that the singer can both exercise and relax their voice. The darker colours of the bass range sounds especially well against the wide-ranging, angular piano part. It is important to remember, however, that heavier voices do not always have to be ‘monumental’ and ponderous, but should be able to move around flexibly. All of these mellifluous phrases can be taken in one breath.
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Manning, Jane. "EMILY HOWARD (b. 1979)Wild Clematis in Winter (2008)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 106–7. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0034.
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This chapter focuses on Emily Howard’s Wild Clematis in Winter (2008). In this piece, perfect control and precision of intonation are required of the singer. Even from the start, the mezzo is left exposed on long-held pitches, often in the potentially vulnerable register-break area. The piano sets the atmosphere with delicate, oscillating semitones, merged by the pedal, grounded by a constantly repeating G natural in the bass. This pattern is to continue through much of the song. Meanwhile, the singer’s exquisitely poised, hypnotic lines gradually gather intensity over a wide spectrum of dynamics. Phrases become more passionate, with single repeated notes conveying a wealth of meaning in their carefully graded dynamics. Throughout, the accompaniment stays within a restricted pitch area, and there are plenty of cues to keep the singer anchored.
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Manning, Jane. "DANIEL FELSENFELD (b. 1970)Annus Mirabilis (2007)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 75–77. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0025.
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This chapter looks at American composer Daniel Felsenfeld’s Annus Mirabilis (2007). From a wide choice of Felsenfeld’s varied works, this short, witty, and oddly poignant setting of the well-known Philip Larkin poem is a real find and an especially welcome addition to the limited repertoire for bass voice. It is ideal for histrionically gifted performers wishing to enliven a recital programme of more serious fare. Felsenfeld neatly captures the painfully ironic, rueful essence of the text, and, in incongruous parody, draws on quotations from Purcell as well as two of the Beatles’ hits. Also an experienced writer, he obviously relishes supplying pithy notes for the performers, such as ‘with overdone pathos’, ‘melodramatically grand’, and ‘eerily strict’. The piano takes a major role, veering from baroque gestures and direct quotes to bravura gestures, amid constantly changing tempos and frequent rubato.
Conference papers on the topic "Repertoire for double bass"
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Pantelic, Filip, and Jurij Prezelj. "Sound generating mechanism of the double bass." In 2012 20th Telecommunications Forum Telfor (TELFOR). IEEE, 2012. http://dx.doi.org/10.1109/telfor.2012.6419448.
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Arafa, Hani A., and Mostafa Bedewy. "Manufacturability and Viability of Different C-Gear Types: A Comparative Study." In ASME 2012 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/detc2012-71030.
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The family of cylindrical parallel-axis involute gearing currently include spur, helical and double-helical gears, all having straight tooth traces in the developed pitch plane. However, gears with curved tooth traces have also been proposed. One of the obvious merits of this configuration is the insensitivity to shaft misalignment. Although this and other merits of gears with lengthwise curved teeth (C-gears) were highlighted, they have never been mass-manufactured. Many types and shapes of C-gears have been envisioned, a dozen or so, but the particular merits and demerits of each type were never put together in a comparative study aiming at stipulating which type of gear can be manufactured simplest of all or which type is most appropriate for use in specific applications. In this paper, a comprehensive comparative study is carried out for all C-gear types in the repertoire. Finally, the promising ones are singled out for detailed scrutiny; and prospective applications are pointed out for these types.
Reports on the topic "Repertoire for double bass"
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.
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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481276.
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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.