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1
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/.
Texte intégralRésumé :
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.
2
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.
Texte intégralRésumé :
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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.
3
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.
Texte intégralRésumé :
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.
Texte intégralRésumé :
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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.
Texte intégral
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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.
Texte intégralRésumé :
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.
7
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/.
Texte intégralRésumé :
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.
Texte intégralRésumé :
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.
9
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.
Texte intégralRésumé :
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
10
Meyer, Mariechen. « Contemporary Double Bass Techniques : An Advanced Technical Approach ». Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157540/.
Texte intégralRésumé :
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.
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Siemers, Brian J. « THE HISTORY AND DEVELOPMENT OF THE DOUBLE BASS ». University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin985797261.
Texte intégral
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Gassler, Christopher J. « The Contributions of Thomas G. Everett to Bass Trombone Repertoire, Literature, and Research ». Thesis, view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/gassler%5Fchristopher%5Fj/index.htm.
Texte intégralRésumé :
Thesis (D.M.A.)--University of North Texas, 2002.Accompanied by 4 recitals, recorded Apr. 8, 1996, Jan. 27, 1997, Nov. 30, 1998, and June 24, 2002. Includes bibliography of trombone music (p. 44-53); other bibliographical references (p. 54-67).
13
Dessanay, Sebastiano. « The cry of the double bass : a chamber opera ». Thesis, Birmingham City University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.639730.
Texte intégralRésumé :
The aim of my research is to reflect on the complex relationship between double bass performers and their instrument, and to exploit in my creative process several musical and extra-‐musical issues. The outcome of this research is the composition of a chamber opera, The Cry of the Double Bass, featuring as main protagonists the double bass and its performer, and exploring through text and musical elements some aspects of my personal experience as both a double bassist and composer.
14
Roederer, Jason Kyle. « A Performer's Guide To Frantisek Hertl's Concerto for Double Bass ». Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194487.
Texte intégralRésumé :
This document investigates the stylistic elements and alternative performance approaches to Frantisek Hertl's Concerto for Double Bass (1957). Traditional methods of double bass technique are compared with more contemporary methods. A historical investigation identifies and clarifies traditional fingering and positioning approaches. Special attention is given to those systems that utilize the double bass' harmonic nodes as general reference points. Revealing how the application of these systems affects the phrasing and lyricism of Hertl's Concerto for Double Bass gives insight into approaches that serve more for stylistic expression than for ease of playing. Furthermore, it will be shown how the application of alternative fingering and positioning will affect bow usage. The application of bowings that are alternatives to those that appear in the published edition are also discussed. These alternative bowings are meant to compliment the romantically flavored phrase structure. Included in the Appendix is an edited version of the concerto that incorporates the philosophies discussed.
15
Sabin, Robert W. « Gary Peacock| Analysis of progressive double bass improvisation 1963-1965 ». Thesis, New York University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3682319.
Texte intégralRésumé :
Analysts and historians have documented the techniques associated with the avant-garde jazz styles of the 1960s while omitting a serious analysis of a central collaborator from this period--bassist Gary Peacock. This work documents the techniques and contexts surrounding of Peacock's revolutionary and virtuosic performance practices while establishing him as a principal innovator of the era.
This investigation examines Peacock's singular idiom through a mixed-methods investigation into a three-year period (1963-1965). The examination uncovers the bassist's unorthodox career, discography, and style during his emergent years in the New York City avant-garde. New methods of notation and analysis uncover Peacock's innovative improvisational style via transcription of five complete performances. These tracks epitomize Peacock's singular use of rhythm, harmony, motive, and independence while documenting the exceptional interactive and virtuosic nature of his idiom. The conclusions of this analysis are the subject of lengthy interviews with Peacock himself, placing these findings in the appropriate personal and historical context. This inquiry lays the groundwork for a better understanding of Peacock's creative output, the era, double bass performance practice, the interactive nature of jazz improvisation, and the creative process of one of the bass' most enigmatic virtuosos.
16
Sanguineti, Alessandro. « The bass violin in Northern Italian repertoire in the second half of the seventeenth century ». Thesis, Royal College of Music, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606722.
Texte intégral
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Chang, Chul Woong. « A Guide to Suitable Bass Solo Vocal Repertoire by J. S. Bach for Collegiate Baritone ». Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011800/.
Texte intégralRésumé :
In the Baroque period, the baritone voice was not yet well-defined, but many composers wrote vocal pieces with a range appropriate for the modern baritone voice. Composers used the general categories of soprano, alto, tenor, and bass for solo voice in their compositions. Johann Sebastian Bach (1685-1750) was no different from other Baroque composers in writing solo works to be performed by one of the four main voice types. The various ranges and tessituras of J. S. Bach's vocal works for bass solo voice are not limited to being sung by low basses, but may also be sung by more medium ranged baritones. The purpose of this research is to guide collegiate voice teachers and their baritone students in selecting appropriate repertoire from the works of Bach on the basis of each students' level of development and to categorize four groups of bass solos by Bach for collegiate baritone students: beginning level for freshmen, intermediate level for sophomores, advanced level for juniors and seniors, and pre-professional level for seniors and graduate students. This research was prepared in conjunction with a DMA lecture-recital of eight bass solos for collegiate baritone voice, selected from the study; two vocal works for each proficiency level.
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Snyder, Mark. « Iron John for Solo Bass & ; Orchestra ». Ohio : Ohio University, 2003. http://www.ohiolink.edu/etd/view.cgi?ohiou1070999451.
Texte intégral
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Sharpe, Chris M. « A Modern Pedagogical Method for Developing Valve Technique on Independent Double Valve Bass Trombone ». Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609158/.
Texte intégralRésumé :
The modern bass trombone has undergone many changes in design since the 1960s and a student beginning on or switching to bass trombone today needs pedagogical material that methodically addresses the many valve combinations available on an independent double valve bass trombone. The existing books for bass trombone contain useful exercises, but none of the currently available books address all the valve combinations and patterns that are helpful for developing proficient valve technique on bass trombone. Therefore, I created a new bass trombone double valve technique method book that includes a thorough exploration of the bass trombone's two valves within the context of scales, scale exercises, and original material specifically designed to be applicable to common literature for the bass trombone.
20
Horvath, Kathleen A. « Revised double bass pedagogy for a heterogeneous string class method book ». The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1341509955.
Texte intégral
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Shih, Wen-Ling. « Simplification and Octavation in Double Bass Performance : An Overview of Historical and Contemporary Practices ». Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984192/.
Texte intégralRésumé :
Two important performance practices in the modern orchestral performance are discussed in this document: simplification and octavation. Due to the differing opinions and common practices which bass players have around these two performance practices, simplification and octavation have become two of the most complex issues faced by orchestral sections. The first part of the document will provide a brief history of simplification and octavation. The second part of the document will offer recommendation for double bass orchestral practice in the 21st century and examine key works of the bass repertoire in which simplification and octavation occur. The research and practice of leading pedagogues and major orchestral players and the solutions they have developed to reduce the discrepancy inherent within section playing will be discussed. This document will propose several empirical solutions to major excerpts in the bass repertoire, demonstrating how it is to achieve the most uniformed playing, and offer applicable and suggestive guidelines for contemporary orchestral double bass performers.
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Chen, Der-Shiuan. « Interpretation and Execution of Chords on the Double Bass from Select Movements of the Bach Cello Suites ». Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248443/.
Texte intégralRésumé :
The Bach Cello Suites have become widely transcribed and studied on the double bass. They have also become essential teaching material as most US orchestra auditions demand solo Bach for bass auditions. Transcribing the chords in Bach Cello Suites presents many difficulties on the bass because of the different tuning of our instrument (cello in 5ths; double bass in 4ths). There is no unified solution to all the problems presented in chord playing at this time. The purpose of this project, therefore is to give bass players solutions to the problems by looking at historical interpretation of chords, technical execution of the chords on cello and bass, tonal and resonance considerations and fingering solutions. The chords chosen represent the most common and most difficult to transcribe to the double bass from the Cello Suites.
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Abbas, Esmat. « Klangliche Eigenschaften des Kontrabasses spektralanalytische und historische Untersuchungen zum Bau und zum Klang / ». Regensburg : G. Bosse, 1989. http://catalog.hathitrust.org/api/volumes/oclc/21338524.html.
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Leverenz, William C. « The Viennese Violone : The Development, Blossoming, and Decline of a Musical Instrument in 18th Century Vienna ». University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1523636570147918.
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Amort, Joseph Scott. « Sans fin sans (endlessness) : for guitar, seven wind instruments and double bass ». Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/12470.
Texte intégralRésumé :
sans fin sans (endlessness) is a fifteen-minute musical composition scored for solo guitar, seven wind instruments (flute, oboe, clarinet, bassoon, trumpet, horn, trombone) and double bass. Although the work is in one continuous movement, it consists of seven distinct sections, each constructed from fragmented pieces of a precomposed originating structure. Influenced by the prose of Samuel Beckett, sans fin sans is an exploration of non-linear time and the Deleuzian notion of art as abstract machine.
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Raschen, Gudrun. « Chamber Music with Double Bass : A New Approach to Function and Pedagogy ». Thesis, connect to online resource. Access restricted to the University of North Texas campus, until Jan. 1, 2015, 2009. http://digital.library.unt.edu/ark:/67531/metadc12189.
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Tavares, Furtado Rebeca. « An annotated catalog of works by women composers for the double bass ». Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6867.
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Rees, Carla. « Collaboration in practice : developing a repertoire of extended techniques for the Kingma System alto and bass flute ». Thesis, Royal College of Music, 2014. http://researchonline.rcm.ac.uk/385/.
Texte intégralRésumé :
This doctoral research explores the benefits of the Kingma System as applied to the alto and bass flute. It demonstrates each instrument's potential for the use of extended techniques and the way in which these techniques are applied to the repertoire. The research takes places within the context of my own personal practice as a recitalist and chamber musician, and is represented through recordings of a selection of the repertoire and a website for each instrument, as well as a written commentary. The discussion of repertoire focuses on case studies selected from over 75 works composed for me using these Kingma System instruments. These case studies are presented through recordings, as well as in a detailed discussion of the use of specific aspects of the instruments' capabilities, including multiphonics, microtonality, alternate fingerings, tone colour, articulation and other extended techniques. The approaches of different composers regarding the notation of these techniques within the repertoire are also explored, and the practical information arising from these case studies is presented as a reference guide for composers and performers in website form. These websites can be found at www.altoflute.co.uk and www.bassflute.co.uk, and include multimedia demonstrations, fingering charts and notational examples. Much of this information is being made available for the first time, and includes the most extensive published selection of multiphonics and trill fingerings for the alto and bass flute. This is also the first survey of extended techniques that is specifically dedicated to instruments enabled by the Kingma System.
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Palmer, F. M. « Domenico Dragonetti in England (1794-1846) : The career of a double bass virtuoso ». Thesis, University of Birmingham, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509692.
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Johansen, Benjamin David. « Relent : a Composition for Alto Saxophone, Double Bass, Two Percussion, and Interactive Electronics ». Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115100/.
Texte intégralRésumé :
relent is a sacred work within the genre of interactive electronic music. the 20-minute composition is a multi-movement piece for four instrumentalists (saxophone, double bass, and two percussion) and computer that is inspired by the gospel message. relent is specifically about the gospel message that Christ died for man’s sins, rose from the dead, and through faith in him man can be reconciled to God. This project was an experiment in creating a work with a programmatic extramusical structure. in preparation for writing a piece based on Christian programmatic content, this paper presents an overview of research conducted on the intersection between art and Christianity referencing authors such as Harold Best, Nikolai Berdyaev, Hans Rookmaaker, Calvin Seerveld, Daniel Seidell, A. W. Tozer, Steve Turner, and Cornelius Van Til. This work was an experiment in trying to make very direct and specific musical ties to the narrative of the Gospel. Another highly experimental aspect of relent was in the way interactive electronics were used. Each acoustic instrument in the work has its own input and module within the Max patch, extending each acoustic instrument rather than adding an electronic accompaniment component. Additionally, non-traditional notation, both codified and real-time computer generated, improvisation, theatrical instructions, and a completely computer generated movement makes relent a piece that challenges and pushes the boundaries of current interactive electronic music.
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Bolte, Jason L. « Forgotten dreams : an electro-acoustic composition for double bass, eight-channel digital audio, and interactive electronics ». Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1265460.
Texte intégralRésumé :
This creative project explores the technical and musical possibilities associated with the composition of an electro-acoustic work, scored for double bass, eight-channel digital audio, and interactive electronics, that integrates the uniqueness and spontaneity of live performance with the textural, timbral, and spatial complexity that can be achieved through the use of prerecorded digital audio. The most significant compositional idea that is explored in this work is the interactions between the double bass, digital audio, and interactive electronics. These three components interact with one another on several levels. This is not limited to harmonic, melodic, or rhythmic components, but also includes such attributes as timbre, texture, dynamics, timing, improvisation, and sound projection. To create this interaction, several computer applications are used for the realization of the digital audio and score notation, and in live performance.School of Music
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Sanchez, Kai. « The Double Bass as a Supportive and Melodic Instrument in a Jazz Piano Trio : Extended Program Notes for Thesis Recital ». FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/587.
Texte intégralRésumé :
This thesis presents a recording of seven jazz compositions as performed in the author’s Master’s Recital on March 24, 2012. One of the compositions is my own, and four others are my own arrangements. The present paper includes scores of the original compositions and arrangements as well as program notes that offer historical background, summaries of the form, and observations on performance practice for each selection. I have sought to explore systematically explore the multiple roles of the double bass as a functional, supportive, and melodic instrument in a jazz piano trio. The seven compositions present the full range of challenges the double bassist must face in a small group setting. I explore different approaches and musical concepts that enable a high level of improvised music performance, without disregarding its ties to tradition.
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Davis, Joshua. « X Y Z : chamber music composition for violin, violoncello, double bass, marimba, and percussion ». College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/7032.
Texte intégralRésumé :
Thesis (D.M.A.) -- University of Maryland, College Park, 2007.Thesis research directed by: Music. Title from t.p. of PDF. Also available in paper. Published by UMI Dissertation Services, Ann Arbor, Mich.
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Grissino-Mayer, Henri D., Georgina G. DeWeese et Dustin A. Williams. « Tree-Ring Dating of the Karr-Koussevitzky Double Bass : A Case Study in Dendromusicology ». Tree-Ring Society, 2005. http://hdl.handle.net/10150/262640.
Texte intégralRésumé :
Sergei Koussevitzky was one of the world’s premier conductors and virtuoso bass players whose favorite instrument was an unusually-shaped bass reportedly made in 1611 by the Amati brothers, Antonio and Girolamo. In 1962, 11 years after Koussevitzky’s death, his widow gave the bass to Gary Karr, currently considered to be the world’s premier double bassist. In 2004, Karr donated the bass to the International Society of Bassists. Close inspection by a team of experts in 2004, however, revealed stylistic inconsistencies that suggested a later construction date. We used four reference tree-ring chronologies developed from treeline species in the European Alpine region to anchor the dates for the tree rings from the double bass absolutely in time. The bass yielded a 317-year long sequence, the longest sequence yet developed from a single musical instrument. Statistical and graphical comparisons revealed that the bass has tree rings that date from 1445 to 1761. Based on the strength of these correlations, the spruce tree harvested to eventually construct the double bass likely came from the treeline Alpine area of western Austria, not too far from Obergurgl at the Italian border. Our results demonstrate that the double bass was not made by the Amati Brothers, but likely by French luthiers in the late 18th Century.
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Thomas, Casey Winn. « Valve technique for the independent double-valve bass trombone : a pedagogical review and method ». Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5863.
Texte intégralRésumé :
Among the instruments of the Western orchestra, the bass trombone has experienced the most transformation. Such evolution has included an expansion of the bore and bell diameter, inclusion of initially one and now two valves, and experimentation with variable-bore hand and tuning slides. Consequently, composers of orchestral music and solo bass trombone literature have expanded the demands placed upon the bass trombonist. Various methodologies have been developed to address the ever-expanding musical expectations of the bass trombonist, with some pedagogical aspects having been addressed more than others. One particular pedagogical subject that bears more investigation is the proper usage of valves, and that is the subject area that the following document examines and seeks to address. The author will provide the bass trombonist and his or her teachers with a basic understanding of the history of the bass trombone, including a short discussion about the limitations of the technical capabilities of the valve-less and single-valve bass trombone. The realized method will provide the bass trombonist with the tools to make intelligent decisions about which valve and slide combinations to use and why, to the point that the informed bass trombonist will become the master of the instrument.
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Lee, Hyung-Tag. « A Stylistic Comparison into The Carmen Fantasy for Double Bass : Proto, Sankey, and DaXun ». University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1468512050.
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Jones, Kathryn E. « Prokofiev Beckons the Double Bass Into the Modern Age : a Pedagogical Study of the Op 39 Quintet ». Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699907/.
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Until Serge Prokofiev’s 1924 ballet score Trapèze, the double bass occupied a background or at best a doubling role in almost all composers’ use of the instrument. Technical challenge was limited in these pieces, because composers did not see the instrument’s potential in a chamber music environment. As luthiers developed the instrument, the technical ability of players grew, and composers began writing more challenging music for the instrument. As one of the first major composers to see the double bass in a new light, Prokofiev wrote challenging music for the instrument. This paper illuminates the alluring pedagogical aspects of Prokofiev's Quintet in G Minor, Op. 39 and provides recommendations for accomplishing some difficult passages with ease.
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Karnebäck, Josef. « Momentum : att utmana basens roll i en ensemble ». Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1848.
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Fokus på basens roll i musik. Hur används instrumentet i ensemblen? Vad händer om basens roll utvecklas och hittar nya ytor i gruppen? Ett arbete om skapa musik med influenser från jazz och fusion som sätter basen i nytt ljus.Focusing on the role of the bass in music. How is the instrument used in an ensemble? What happens if it develops and finds new spaces in the group? A work about creating music with influences from jazz and fusion that puts the bass in a new light.
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Matheson, Robert Newell. « New Performance Editions of Three Works for Double Bass by Theodor Albin Findeisen (1881-1936) ». Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/242435.
Texte intégralRésumé :
The purpose of this project is to bring to light three concert works by Theodor Albin Findeisen (1881-1936), namely Nixenreigen, Elegie, and Romantische Suite, and prepare them for use by modern double bassists. Save for Findeisen's compositions, which are largely out of print and unknown, the Late Romantic Austro-German school of composition is not represented in the double bass concert repertory. To establish the historical significance of Findeisen's concert works for double bass, this document includes background information on the composer and his work. This research culminates in the creation of newly arranged, transposed, transcribed, and edited performance editions that are informed by Findeisen's methodology and by modern performance techniques. This document addresses editorial decisions in creating these new editions.
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Rosa, Alexandre Silva 1963. « O contrabaixo orquestral de Villa-Lobos : contextualização, idiomatismo e seleção de excertos / ». São Paulo, 2017. http://hdl.handle.net/11449/150758.
Texte intégralRésumé :
Orientador: Sonia RayBanca: Valerie Albright
Banca: Fausto Borém
Banca: Lutero Rodrigues
Banca: Emerson de Biaggi
Resumo: O contexto e as especificidades do tratamento do contrabaixo nas obras orquestrais de Heitor Villa-Lobos são o objeto principal da investigação aqui apresentada. O estudo tem por objetivo geral discutir a abordagem idiomática empregada pelo compositor na escrita das partituras do contrabaixo na grade orquestral, para, a partir daí, propor a tese de que tais excertos possam ter relevância considerável para o estudo técnico-musical do instrumentista, no que se defende a pertinência de sua adoção por intérpretes, professores e estudantes de contrabaixo. A metodologia de pesquisa inclui extensa revisão de literatura, com visita a autores do século 18 aos dias atuais, seguida de identificação de equivalências idiomáticas no repertório orquestral tradicional, contextualização das influências na escrita para o contrabaixo de Villa-Lobos e concluindo, por fim, com a proposição de uma seleção de excertos para a prática pedagógica. A tese é desenvolvida em três capítulos centrais. O primeiro trata da revisão de literatura sobre estudos de excertos orquestrais para contrabaixo e traça um panorama atual de sua aplicação em instituições locais, pondo em discussão, particularmente, a escassez desses materiais no âmbito da produção orquestral brasileira. O segundo capítulo aborda as influências na escritura das linhas de contrabaixo de Villa-Lobos, com descrição de aspectos idiomáticos na escrita do compositor para o contrabaixo em obras orquestrais, ilustrados com exemplos musicais de sua ... (Resumo completo, clicar acesso eletrônico abaixo)
The context and the specificities of the Villa-Lobos' treatment to the double bass in his orchestral works are the main object of the investigation hereby presented. The main goal is to discuss the idiomatic approach to the double bass on Villa-Lobos' orchestral works as a way to present the thesis that the excerpts of such orchestral works are relevant to the technique musical study of the performer, as well as localizing and indicating its pertinence to double bass performers, professors and students. The methodology chosen was the review of the literature followed by an identification of idiomatic equivalences from the traditional orchestral repertoire, the contextualization of Villa-Lobos' influences on its double bass writing and the selection of excerpts. The thesis is organized in three chapters, besides the introduction, conclusion and appendixes. The first chapter presents the review of the literature on orchestral excerpts for the double bass where today state of the art in Brazilians institutions is presented. The discussion is centered in the lack of material addressed to the studies of Brasilian orchestral works. The second chapter addresses the influences Villa-Lobos received while writing his double bass parts. Here idiomatic aspects of the composers writing for the instrument are described as well as a selection of works that better illustrate such writing and his symphonies, the Choros 10 and the Bachianas 9 are emphasized. The third chapter presents a excerpts selection for the double bass extracted from the works mentioned on chapter two, with emphasis on passages relevant for the technical study of the performer organized by type of idiomatism. The criteria for the selection of excerpts are also presented. At the end of this work it is possible to state that the composer had an elaborated and idiomatic writing for the double bass treating it with respect for its low range nature, ...
Doutor
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Tang, Joyce Wai-chung. « Suite for virtual double bass : a three dimensional composition based on original digital sounds created by computer assisted transformation of original recorded sound samples ». HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/130.
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Holgate, Gary David. « A Fragmented Parallel Stream : The Bass Lines of Eddie Gomez in the Bill Evans Trio ». University of Sydney, 2009. http://hdl.handle.net/2123/5421.
Texte intégralRésumé :
Master of Music (Performance)Eddie Gomez was the bassist in the Bill Evans Trio for eleven years. His contribution to the group’s sound was considerable, but while there has been some recognition of his virtuoso solos in the trio there has been little academic interest in his bass lines. This essay examines bass lines from the album Since We Met, recorded in 1974 by Evans, Gomez and drummer Marty Morell. Analysis of the bass accompaniments to the piano solos on “Since We Met” and “Time Remembered” reveals that they form a fragmented two-feel. A traditional two-feel employs two notes to emphasise the first and third beats in bar of 4/4 time. In Gomez’s bass lines these two notes are frequently replaced with short rhythmic motifs. These motifs occur in a variety of forms and at different metric displacements that alternately propel and retard the forward motion of the music. Additionally, Gomez uses a wide range of register and varied articulations to create a richly diverse bass line. The resulting effect has often been interpreted as interactive or conversational with the soloist. However there is very little interaction between the bass line and Evans’ solo. The bass line is a parallel stream to the solo that energises and colours the music.
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Norton, Colby Jackson. « "Worlds Beyond" : A Stylistic Analysis of Collage in the Music of Daniel Schnyder as a Universal Model for the Bass Trombone Repertoire ». Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707313/.
Texte intégralRésumé :
The modern trombone player can experience a variety of styles on any given day. There is a need for the ability to switch between a plethora of styles ranging from avant-garde pieces to many forms of popular music to masterworks of the symphonic repertoire. It is the responsibility of the musician (performer or educator) to be familiar with all music due to global access via the internet. There is a responsibility to properly perform and respect music as more composers are beginning to blend different styles, genres, idioms, and cultures within the same composition. Daniel Schnyder is a prominent continuation of this style of musical collage that began with composers such as George Rochberg, Luciano Berio, Bernd Alois Zimmermann, and Charles Ives. The goal of this project is to analyze the stylistic saturation of Daniel Schnyder's Worlds Beyond Suite, focusing on performance and stylistic analysis to aid in an informed performance. This project will highlight the flexibility required by modern trombonists to perform with a deeper understanding of music in multiple styles, as the blending, juxtaposing, and superimposition of style is the universal future of music.
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Moss, Kirk D. « Favored sound production exercises of selected violin, viola, cello, and double bass pedagogues an analysis and adaptation / ». [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013485.
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Silva, Patricia Aparecida da. « Brahms' Trio in A minor, Op. 114 : a transcription and edition for double bass, clarinet, and piano ». Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5851.
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Chamber music is a major area of neglect in the study of the double bass, and the instrument has also suffered from a scarcity of chamber music literature written by major composers. As bassists focus predominantly on solo and orchestral repertoire, the purpose of this study is to enrich the double bass literature and increase awareness of chamber music as a tool for bassists to develop as artists by providing a transcription of Johannes Brahms’s Trio in A minor, Op.114 for double bass, clarinet, and piano. The transcription adds to the literature for double bass from the Romantic era, giving players the chance to work on their technical and musical skills in a chamber music setting. In addition, performance of this transcription will enhance double bassists’ understanding of the style of one of the most important nineteenth-century composers.
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RAMIREZ-CASTILLA, JAIME. « MUSICAL BORROWINGS IN THE MUSIC FOR DOUBLE BASS BY GIOVANNI BOTTESINI : A RECONSIDERATION BEYOND THE OPERATIC PARAPHRASES ». University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195971962.
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Beyer, Hannes. « Med fingrarna på kontrabasen : En kvalitativ studie av tre kontrabasisters syn på sin teknik ». Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-33099.
Texte intégralRésumé :
Studien syftar till att utifrån hermeneutiskt perspektiv, utforska hur tre kontrabasister har kommit fram till just sitt sätt att tekniskt ta sig an instrumentet samt vilken funktion dessa kontrabasister anser att deras teknik har. Studiens datamaterial består av kvalitativa samtalsintervjuer med tre professionella kontrabasister som arbetar inom ett flertal genrer. I resultatavsnittet beskrivs respektive respondents tekniska förhållningsätt till kontrabasen utifrån tre tematiska metaforer: En stabil grund, En stor verktygslåda och Ett personligt sound. Det framkommer att respondenterna i varierande grad har studerat olika kontrabaskolor och att de använder sig av skilda metoder för fingersättningar. I det avslutande diskussionskapitlet lyfts studiens resultat till diskussion i förhållande till litteratur och tidigare forskning. I metoddiskussionen tas min förförståelse upp utifrån ett hermeneutiskt perspektiv.The study aims to explore how three double bassists have reached their own ways of technical take on the instrument as well as what function these double bass players believe that their technique has. The study's theoretical premises consist of the hermeneutic interpretation. The study's data set consists of qualitative interviews with three professional double bass players with distribution across multiple genres. The results section describes each respondent's technical attitude to the double bass on three thematic metaphors. It reveals that the respondents in varying degrees have been studying various double bass methods and use different methods for fingerings. In the concluding discussion the results of the study is discussed in relation to literature and previous research. The methodological discussion is my pre-understanding from a hermeneutic perspective.
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Calado, Ricardo Bigio 1970. « A preparação da performance do contrabaixo acústico e Live Electronics / ». São Paulo, 2017. http://hdl.handle.net/11449/151590.
Texte intégralRésumé :
Orientadora: Sonia Marta Rodrigues Raymundo FassassiBanca: Luciano de Souza Zanatta
Banca: Alexandre Silva Rosa
Resumo: Este trabalho discute a preparação para a performance do contrabaixo numa relação com dispositivos computacionais de interação em tempo real, dentro de vertentes conhecidas como Live Electronics e Live Looping. Para tal discussão foi utilizado o programa Ableton Live, desenvolvido na Alemanha em 1999, que atualmente constitui ferramenta de produção musical amplamente utilizada em performances ao vivo e em estúdio. O objetivo geral deste trabalho é discutir possibilidades de utilização do programa Ableton Live como ferramenta na preparação e realização da performance ao contrabaixo bem como a interação entre o músico e o computador, de forma a propor estratégias de preparação da performance do contrabaixo com Live Electronics e Live Looping. A discussão enfatiza o papel do performer, bem como aspectos relacionados à performance musical do contrabaixo acústico neste contexto. O trabalho está organizado em 4 partes principais: 1) Revisão da Literatura sobre questões organizacionais, técnico-interpretativas; aspectos psicológicos, abordagens sobre a musicalidade e expressividade; conceitos de Hiperinstrumento, técnica estendida e a relação compositor-intérprete; 2) Apresentação dos objetos de estudo - recursos de execução do contrabaixo na contemporaneidade; breve histórico sobre Live Electronics e aspectos básicos de funcionamento do programa utilizado; 3) um relato de experiência sobre a preparação de um recital de contrabaixo e piano que utilizou o sistema computacional como ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This paper discusses the preparation for a contrabass performance related to real-time interaction computing devices, within known strands like Live Electronics and Live Looping. The software chosen to work was Ableton Live, developed in Germany in 1999, widely used for music production and live performances and in studio. The general objective of this work is to discuss possibilities of using the Ableton Live program as a tool in the preparation and performance of the double bass as well as an interaction between the musician and the computer, to propose a strategy for the preparation of double bass performance with Live Electronics and Live Looping. The discussion emphasizes the role of the performer as well as related to the musical performance of the acoustic bass in context. The work is organized in 4 main parts: 1) Literature review on normative issues, technical-interpretative, psychological questions and approaches on musicality and expressivity; on concepts of Hyper instrument, extended technique and the relation composer-interpreter; 2) Presentation of the objects of study - resources of execution of the contrabass in the contemporaneity; Brief history on live electronics and basic program operating features; 3) an experience report on the preparation of a double bass and piano recital that uses the computer system as a fundamental part of the performance preparation strategy; 4) The process of preparation for a performance, the relationship between composer and p... (Complete abstract click electronic access below)
Mestre
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Ballew, Cranford Braxton. « An annotated guide to electroacoustic solo double bass repertoire published scores to 2005 / ». 2007. http://purl.galileo.usg.edu/uga%5Fetd/ballew%5Fcranford%5Fb%5F200705%5Fdma.
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Ballam, David. « Doctoral thesis recital (double bass) ». 2010. http://hdl.handle.net/2152/11364.
Texte intégralRésumé :
Intermezzo, op.9, Nr.1 ; Tarantella, op.9, Nr.2 / Reinhold Gliere -- Violoncello Suite #1 in G major, BWV 1007 / Johann Sebastian Bach -- Double bass concerto in B-minor / Giovanni Bottesini -- Kol Nidrei / Max Bruchtext