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Enrique Grandos
Intermezzo from Goyescas
for Double Bass and Piano

Transcribed and Edited by Frank Proto

The 'Intermezzo' from Granados' Goyescas has been a ubiquitous shopiece for many instruments for many years, and it is only fitting that the double bass should lay claim to its own offering. The infections melody, starting with a flamenco gesture at the beginning and continuing for about four minutes, will leave the player and audience singing.

This is a very satisfying piece for the student and teacher to prepare together. Edited by Frank Proto, the sole editorial markings are bowings and slurs (the fingerings are left to the player and teacher).

The majestic melody is a showcase for the bassist's bow control, phrasing and tonal capacities. The left hand is not remotely virtuosic: the melody progresses up to the G two octaves above the open G string, while the final note is a harmonic D at the end of the fingerboard. There is a lot of sustaining in the upper part of the fingerboard, so the piece can and should be used to develop a wide range of vibrato in thumb position - the motion is practically slow enough for the melody to be played with one finger!

The bowing challenges are similar to those in Rachmaninoff's Vocalise: a necessary continuous tone with varying bow speeds and unequal bow divisions. There are minimal moments of silence and breath in the music, so the bassist will need to refine every bow exchange in the piece for a seamless phrasing style. Meanwhile, the Spanish flavour of the piece, combined with the bague tonal centre between D major and D minor, will allow the mature player to refine gestures of expression, sensuality and 'spice.'

This is a personality piece which can be effectively presented by any level of player, and it should be in every performer's repertoire.

Dennis Whittaker
Double Bassist


Enrique Grandos
Intermezzo from Goyescas
for Double Bass and Piano

Transcribed and Edited by Frank Proto

Enrique Granados was a Catalan composer whose music is steeped in the sound of his native land. In 1911 he wrote his most famous work, the six movement solo piano work Goyescas based on the paintings of Goya. The work was so popular that in 1916 he expanded it into an opera. This Intermezzo from Goyescas begins with a declamatory unison bass and piano introduction, which quickly melts into a lovely 3/4 melody. This delightful and accessible character piece is of moderate difficulty. Its simple expressiveness and Catalan flavor is sure to please. This edition is in orchestra tuning with a separate piano part available for Solo Tuning.

Robert Black
Bass World


Françcois Rabbath
Two Miniatures
for Double Bass and Piano

Reitba and Incantation pour Junon

These two short character pieces in orchestra tuning have all of the hallmarks of the Rabbath style. This beautiful, compelling, and evocative music has some distinct technical challenges, yet is accessible to a wide range of bass players. Incantation is comprised of a lovely expressive melody paired with a sparse chordal accompaniment. It is voiced in the middle range of the bass with a few artificial harmonics in the final measures.

Reitba is more rhythmic anc challenging. It has an insistent rhythmic motive throughout with a few scalar flourishes across all four strings. There is an optional improvised cadenza in e minor and it has a simple yet effective accompaniment. Both of these works are recorded on Red Mark CD 9203 with Mr. Rabbath playing the bass accompanied by Frank Proto on piano.

Robert Black
Bass World