10 Pieces- Recital Music publish music for every level of double bassist and in the past few years have concentrated on music for the younger player. This new and exciting series includes works with simple accessible technical and musical challenges for beginners and progressing bassists. Piano accompaniments are supportive and written with the bass teacher in mind creating a new repertoire which is ideal for concert and educational use.

American composer-bassist Armand Russell has created a wealth of music for double bass over the past fifty years and more recently has arranged a tasteful number of works for the instrument. This four movement sonata (Adagio Allegro Largo Presto) by Johann Joachim Quantz (1697-1773) offers a new and accessible transcription for the good intermediate bassist who is confident in low thumb position. Only available in orchestral tuning there are musical and technical challenges in equal measure and much to enjoy for performers and audiences alike. Sonata in G major is also available in two editions for double bass (or cello) trio andstring orchestra. The accompaniment is playable by piano or harpsichord and the limited range of dynamics allows each performer freedom to create their own unique performance and interpretation.

Although known primarily for his choral music Humphrey Clucas has written a number of successful works for double bass and his lively and easy going compositional style has been popular with players and teachers alike. Aimed at the good intermediate bassist (Grade 6/7) this suite is similar to the Bach Cello Suite format and consists of a Prelude followed by a set of dance-movements. Written in a lively and approachable style there are effective musical and technical challenges within the orchestral register and these would be ideal as both study and concert music. Baroque Suite was premiered by Eloise Riddell during Bass-Fest (2009) at Wells Cathedral School

12 Pieces For Beginner Double Bass- Feathered Friends is a set of 12 short enjoyable characterful and lively pieces for the beginner bassist and was composed in 2009 for Recital Music's BassLine project. Each piece can be played in 1st position although half position can be produced in several and they employ a limited number of notes keys note values and rhythms. Teachers should feel confident to teach the pieces in the order best suited to each student. The accompaniments are simple and supportive aimed at the bass teacher with some pianistic skills and Katrina Gordon has a successful and proven record when writing lively enjoyable fun and accessible music foryounger players. Each piece includes an evocative written description to inspire the young bassists to create a mini tone-poem in a short space of time. This is music written to be enjoyed by players teachers and audiences alike.

A Tear- A beautiful and poignant lament which is ideally suited to the double bass. Originally for cello this new edition returns to the cello version [Theme & Variations] adding an extended (but optional) piano introduction and demonstrates the dark and soulful colours of the solo double bass. Long flowing phrases allow the intermediate bassist to demonstrate both musical and technical accomplishment in an accessible range of the instrument. The soulful and wistful melody transcribes beautifully for double bass allowing the instrument to display its bel canto and lyrical capabilities. A three bar section towards the end of the piece is playable as written or anocatve higher giving bassists the opportunity to play high harmonics within a beautiful and evocative melody. This is an ideal study or recital work with its supportive and pulsing accompaniment and has been one of Recital Music's bestsellers since it was published. Une Larme is also available for solo double bass and string orchestra accompaniment - please contact the publishers for further details. Grade 7 - Trinity-Guildhall / ABRSM / LCM / MTB Exams (www.mtbexams.com)

Miniature was composed in 1985 and is a rhapsodic work of great character and ingenuity. A supportive and effective piano accompaniment contrasts a lyrical and cantabile solo double bass albeit in a mildly modern idiom and there are opportunities to demonstrate both musical and technical skills within a short timespan. This should appeal to anyone who enjoys the music of Teppo Hauta-aho and his personal soundworld and effective techniques. It utilses a wide range of the double bass offering a range of musical and technical challenges for the adventurous and enquiring bassist. The edition includes piano accompaniments for both solo and orchestraltunings.

Sadie Harrison was born in Adelaide Australia moving to England in 1970 where she undertook composition studies with Nicola Lefanu gaining her Phd at Kings College London. Sadie's music has been played internationally in venues such as the Sydney Opera House Carnegie Hall Royal Festival hall Barbican and Lithuanian National Philharmonic by some of the world's leading performers. Her music has been released to critical acclaim on Sargasso BML Metier NMC and Clarinet Classics and has been broadcast on BBC Radio 3 and in Eastern Europe Canada Japan Australia America Lithuania the Netherlands and elsewehere.

Three characterful lyrical and enjoyable solos written in the salon style of the late 19th-century and allowing the solo double bass to sing throughout the range of the instrument. Tulacek studied composition with Dvorak and his music echoes the Czech nationalist style always melodic tuneful and graceful. Newly typeset in 2009 this edition also includes piano accompaniments for both solo and orchestral tunings. 'This music displays the old-fashioned sentimental romanticism typical of the salon music of the early 20th-century. All three deliciously lyrical pieces are in simple ABA song form.' (ISB) Grade 8 - Trinity-Guildhall /ABRSM Rudolf Tulacek was one of the leading Czech double bassists of his generation and was a respected and influential teacher at the Janacek Academy of Music in Brno. He was born in Jicin Bohemia on 25 August 1885 and began to study the double bass at the age of eleven having already studied flute and violin. So rapid was his progress that he soon became a member of the Jicin Municipal Orchestra and in 1901 entered the Prague Academy of Music to study with Frantisek Cerny one of the Czech capital's leading bassists and teachers. Tulacek graduated in 1907 with the highest commendations from his professors performing the Geissel Concerto at his public graduation concert and in 1909 was offered the post of Solo Bassist in the Zagreb Opera Orchestra. From 1920 he was also a Professor at the Zagreb State Academy of Music and subsequently became Concert-Master of the Zagreb Philharmonic. His many recitals attest to his perfect technique supreme musicality and complete command of the instrument and concerts included music by Cerny Dvorak Geissel Kukla Laska Misek Simandl Stein and Tenaglia alongside his own compositions. In 1937 Tulacek became Professor of Double Bass at the Brno Academy of Music and in 1948 became the first Double Bass Professor at the newly founded

Atmospheric and musically rewarding Aeolian Air would be ideal for the intermediate bassist who is just venturing into low thumb position. Suitable for legato and cantabile playing with a few technical challenges thrown in for good measure this offers much to the intermediate bassist. Written in the Aeolian mode - the white keys on the piano - this is a quality work from one of the leading composers writing for the double bass today. Tony Osborne has the rare ability to write interesting effective and idiomatic music for any level of bassist and this is successful as both a teaching piece and in recital.

Book 1 of Recital Music's ongoing Heritage Series featuring long-forgotten music primarily by bassist-composers of the late 19th and early 20th-century. Lyrical and accessible music mainly in the orchestral register providing useful and interesting recital repertoire in the salon style. Ideal as early recital repertoire. Evocative music with effective musical and technical challenges for the intermediate bassist. Contents include Laska - A la Hongroise / Noskowski - Elegy-Polonaise / Manoly - Albumblatt / Madenski - Marzenie/Souvenir / Simandl - Etude / Laska - Arietta. [Laska - A la Hongroise - Grade 6 Trinity-Guildhall 2010 onwards/ Noskowski - Elegy-Polonaise Grade 7 Trinity-Guildhall 2010 onwards] . 'This is a collection of five short pieces for recital programmes drawing on the repertoire of central European bassist-composers mainly at the turn of the 20th-century. So we have Gustav Laska's Arietta and A La Hongroise Ludwig Manoly's Albumblatt Eduard Madenski's Marzenie and Simandl's Etude as well as Zygmunt Noskowski's Elegy-Poloniase. The Simandl work which though brief deserves a better title appeared in that pedagogue's Method volume 2 but will hopefully reach a wider audience in this edition. It's a pleasure to see a proliferation of this kind of chamber recital repertoire for the bass; we can't have too much of it.' (ESTA - News & Views)

Double Trouble was composed in 2006 as part of Recital Music's One Minute Wonders project - for pieces lasting exactly one minute. It was premiered by Sophie Heyes (double bass) accompanied by the composer on 18 October of that year. Double Trouble is adapted from a song from the musical of Terry Pratchett's Wyrd Sisters and the rhythm of the famous verse 'Hubble Bubble Toil and Trouble' can clearly be heard. Aimed at the intermediate bassist this is lively and rhythmic music which is successful in performance.

The composer writes: 'Imagine a mighty chieftain approaching a camp - he is strong proud and rules over many people. Try and portray this feeling in your playing!' The Mighty Chieftain Comes is aimed at the beginner bassist and remains in 1st position throughout employing both arco and pizzicato. Crotchets (quarter-notes) and minims (half-notes) are used with short rests for the young player and a lively and exciting piano accompaniment should appeal to students and teachers alike. The Mighty Chieftain Comes was premiered on 22 December 2011 by 6-year old bassist Maximilian Haas and pianist Oxam Berchein at the Bosendorfer Saal in Eggenfelden Germany.

Angelus ad Virginem describes the Annunciation the biblical event in which the Angel Gabriel communicated with Mary about the forthcoming birth of Jesus. The tranquil music is intended to depict the angelic voice of Gabriel and the voice of Mary through its chant-like nature and exotic shifting harmonies. Douglas Mason began his musical training as a chorister in Gloucester Cathedral Choir under John Sanders. He subsequently read music at Durham University and went on to train as a music teacher at Leeds University also singing professionally as a lay clerk in the Choir of Leeds Parish Church at this time. As a composer Douglas focuses on choral works in particular and he has also written and arranged music for schools. As a performer Douglas has sung on numerous television and radio broadcasts and appeared on recordings for several labels including Abbey Priory and ASC records. For several years he was also a member of the William Byrd Singers directed by Stephen Wilkinson.

Composed in France over a century ago these three short pieces are ideal for the intermediate bassist. The style is lyrical tonal and approachable offering interesting study or concert repertoire with lively supportive and effective accompaniments. Parade is lively and rhythmic remaining in bass clef throughout; Cantabile is melodic and dramatic offering cantabile and musical challenges in equal measure and Menuet Varie has lyrical and rhythmic contrasts and is the most challenging of the three. Ratez was a fairly prolific composer and these pieces were dedicated to M. Charpentier Professor of Double Bass at the Paris Conservatoire. These piecesare popular with students and teachers alike.

Anna R. Matthews writes: 'Frederick Niven's poem tells the story of Christmas in 1914. On Christmas Day a truce was spontaneously enacted by the two sides fighting in Flanders in World War One. This was five months into the war which until this point many in Britain had confidently believed would be over by that time. When the two sides lay down their weapons in the name of humanity and met in the middle of no-man's-land they would not have realised the bloodshed that was to come as the war dragged on for a further four years - a conflict so atrocious that it came to be known as 'the war to end all wars'. This carol conveys the unknowing innocence of thosemen and the joy of Christmas yet explores the sinister context in which they met and the future which was to come. Ultimately the events of the 1914 Christmas truce came to symbolise the universality of hope and peace at Christmas. This carol brings this message into the twenty-first century.' Anna R. Matthews is a composer living in Exeter England. Born in Devon Anna studied music at Durham University where she was awarded the Rosalind Dickinson Prize. She enjoys working with some of today's most talented and creative ensembles: from Psappha to EXAUDI and from cathedral choirs to youth ensembles. Her music has been broadcast on BBC Radio 3 and she has been a featured new music composer in Choir & Organ magazine. Anna was a finalist in the 2011 King James Bible Composition Awards and is a 2013/24 Arts Council England fellow on the Clore Leadership Programme. She is also a fellow of the Royal Society of Arts.

Recital Music has developed a large exciting and eclectic catalogue of Christmas music for choirs in recent years. Some works are published for the first time others are in new editions and we aim to provide accessible and enjoyable choral music for choirs of all ages and abilities. Enjoy! Shout for the King! is a joyous and vibrant carol for junior choir and piano. It's Latin-American influence has proved popular with choirs and audiences alike and a double bass and percussion can easily be added for extra energy and atmosphere. Chord symbols are included for optional double bass or guitar accompaniment. The composer writes: 'Shout forthe King! was composed one evening in December 2004. At the time I was training as a Primary School teaching assistant and involved in playing the piano for the school's various Christmas musical events and concerts. It was the first time I had written both lyrics and music which both came to me at the same time. I subsequently taught the song to the children in the days which followed which they loved and it was the first time a 'real' composer had written anything for them. A week later it was premiered at the school carol concert with me playing the piano. I have always wanted to write a new and catchy Christmas carol drawing influences from all the familiar ones we know and love every Christmas. I also wanted the melody of the verses and chorus to be catchy and repetitive and would be easy and enjoyable for junior choirs to learn. I have always had a fondness for Latin-American rhythms hence the happy groove which I think add to the appeal!' Born in Cardiff in 1975 and trained in piano and flute at school Jay Mackie studied composition as an undergraduate at Royal Welsh College of Music and Drama from 1997-2000 and completed an MMus gaining a distinction in Composition in 2004. At college Jayson received three scholarship prizes for composing where his Wind Quintet was a featured work at the ISCM's World Music Days