The striped bass.

Extracts made by Mr. Fearing from various authors.

Grosse sinfonie für 2 violinen, viola, violincell, bass, 1 flöte, 2 clarinetten, 2 fagotten, 2 hörner in Es, 2 oboen, 2 hörner in C, posaune, trompeten und pauken ... Op. 25. Ausgabe nach dem original manuscript mit vom autor hinzugegügten 2 oboen, 2 hörnern in C und posaune.

"Partitur."

Nonsense songs : (the songs that came out wrong) from Alice in Wonderland : a song-cycle for soprano, contralto, tenor and bass /

Advertisements on p. [1]-[2] at end.

Breton folk-songs : set to music (for soprano, contralto, tenor and bass) /

English words also printed as text.

Manual of harmony : being an elementary treatise of the principles of thorough bass, with an explanation of the system of notation ... /

Mode of access: Internet.

Columbus : festival cantata for soprano, alto, tenor and bass soli, chorus of men's voices and orchestra /

"Op. 3"--Caption.

Twelve sonatas for two violins : with a bass for the violoncello or harpsichord /

Mode of access: Internet.

The small-mouthed bass

Mode of access: Internet.

Songs for soprano, alto, tenor and bass: Op. 41, 48, 59, 88, 100.

Mode of access: Internet.

Dreimal sieben Gedichte aus Albert Girauds Pierrot Lunaire : op. 21 : für eine Sprechstimme, Klavier, Flöte (auch Piccolo), Klarinette (auch Bass-Klarinette), Geige (auch Bratsche), und Violoncello /

For narrator, flute (and piccolo), clarinet (and bass clarinet), violin (and viola), violoncello, and piano.

Barry Lieberman & Friends presents Ted Botsford double bass with Megan McElroy, piano Marissa Winship, viola May 22, 2016

Concert Program

The bass as a melodic voice in jazz : extended program notes for thesis recital

This thesis discusses the use of the bass as a melodic instrument in jazz. It focuses on seven compositions performed for a Master's recital on March 22, 2010. For each selection, I provide a brief biography of the composer, information about the song and insight on performance practice. I examine the advanced techniques pioneered by innovative bassists and explore ways in which they can be used to further exploit the melodic potential of the bass in a jazz context. A compact disc recording of the recital is included.

Nico Assumpção and jazz bass improvisation

The purpose of this thesis was to investigate Nico Assumpção. He has not received the interest and recognition of the American jazz audience, despite having recorded and performed with some of the greatest jazz musicians in the world. Four works were transcribed and analyzed in detail with respect to the following issues and elements: rhythmic conception, bass techniques and melodic and harmonic characteristics. Observations were made and trends examined in his music as well as his improvisational style, which illustrates his stylistic significance. Results show that Nico Assumpção is indeed representative of the Jazz Fusion and Latin Jazz styles, despite his low profile in jazz literature. This is seen in his electric bass playing through his use of Brazilian and other Latin elements in conjunction with a jazz vocabulary. This is exemplified through the transcriptions and analysis of his works.