Bass or Contrabass Flute

  • Bach, JS :: Cello Suites: Volume 1
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    Bach, JS :: Cello Suites: Volume 1

    Cello Suites: Volume 1
    Bach, JS

    Carla Rees presents this arrangement of the Bach Cello Suites for solo bass flute.

    Arrangements of one kind or another have been at the heart of bass flute repertoire since Boehm's own arrangements of well-known works at the time of the instrument's development in the mid 1850s. For an instrument that lacks its own repertoire before the mid nineteenth century, adapting earlier works provides both useful practice material and a broader range of musical material.

    This adaptation of the Cello Suites, by Carla Rees, is formed from studying various printed sources, including facsimiles of the four versions of the composer s manuscript, with slight modifications made to suit a single line instrument and the idiosyncrasies of the bass flute. Articulations are based on those found in the source material, but may be altered to suit the interpretation and requirements of the individual player, as is commonly the case with performances by different cellists. Double stopping has been represented by grace notes, which may be allowed more time or omitted altogether depending on the skill and tastes of the performer. Where two notes appear simultaneously in the score, this is to indicate a possible ossia for instruments with a B footjoint, and players of the standard bass flute should always follow the upper notes.

    For advanced players.

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    • $23.36
  • Bach, JS :: Cello Suites: Volume 2
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    Bach, JS :: Cello Suites: Volume 2

    Cello Suites: Volume 2
    Bach, JS

    Carla Rees presents this arrangement of the Bach Cello Suites for solo bass flute.

    Arrangements of one kind or another have been at the heart of bass flute repertoire since Boehm's own arrangements of well-known works at the time of the instrument's development in the mid 1850s. For an instrument that lacks its own repertoire before the mid nineteenth century, adapting earlier works provides both useful practice material and a broader range of musical material.

    This adaptation of the Cello Suites, by Carla Rees, is formed from studying various printed sources, including facsimiles of the four versions of the composer s manuscript, with slight modifications made to suit a single line instrument and the idiosyncrasies of the bass flute. Articulations are based on those found in the source material, but may be altered to suit the interpretation and requirements of the individual player, as is commonly the case with performances by different cellists. Double stopping has been represented by grace notes, which may be allowed more time or omitted altogether depending on the skill and tastes of the performer. Where two notes appear simultaneously in the score, this is to indicate a possible ossia for instruments with a B footjoint, and players of the standard bass flute should always follow the upper notes.

    For advanced players.

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    • $26.06
  • Beglarian, E :: Osculati Fourniture
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    Beglarian, E :: Osculati Fourniture

    Osculati Fourniture for alto flute or bass flute and pre-recorded setars. 

    From the composer: 'The title Osculati Fourniture comes from a mysterious query in a journal entry written by my mother, Joyce Heeney Beglarian, on 22 May 1981, while en route to Florence from Pisa. I cannot know why these two words came into her mind while riding along the autostrada, or what connection the phrase might have with shutters or Lucca, but it seems likely that the whole business has some obscure significance.

    The music is a response to the gushe Zirkesh-e Salmak in the dastgah of Shur, part of the repertoire of Persian classical music. Its relation to all this is perhaps osculate in some sense.'

    This solo can be played on bass flute or alto flute, as it includes parts for both.

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    • $27.00
  • Besson, A :: Ecrits sur le Souffle
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    Besson, A :: Ecrits sur le Souffle

    Ecrits sur le Souffle
    Besson, A

    Alain Besson presents Ecrits sur le Souffle, for bass flute and narrator.

    Paul Claudel said of his Cent phrases pour eventail that they were written on the wind and that every poet dreams of holding the world in a small formula . The work of Chinese and Japanese poets suggested to him the idea of making poetic pictures, by having fun with the parts of an expressive phrase, by cutting the words: leave to each word, the space the time necessary for its full reality, to its dilation in the white space. These writings are inspired by these poems and constitute an imaginary musical extension of this idea. The bass flute has been exploited to the limits of its possibilities and registers by proposing a varied and contrasted universe. Each piece develops a microcosm, a climate of the game modes suggested by each poem.

    Duration: 12 . For the advanced player.

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    • $23.36
  • Burnette, S :: In the Shadow of the Great Sphinx
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    Burnette, S :: In the Shadow of the Great Sphinx

    'In the Shadow of the Great Sphinx' is the third movement from the 'Stone Suite,' arranged for Bass Flute and Piano. The 'Stone Suite' is a four movement work for solo flute and flute choir, commissioned by Dr. Chris Potter, in which the soloist is to perform on a different flute for each movement. This work opens with a pensive theme utilizing an Egyptian mode, which leads way to a festive dance. In the flute choir version, the mood is augmented by the use of tambourine, drum, and finger cymbals.

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    • $13.50
  • Chamberlain, BC :: Fighting the Inevitable
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    Chamberlain, BC :: Fighting the Inevitable

    Fighting the Inevitable
    Chamberlain, BC

    Brian Chamberlain's Fighting the Inevitable, for solo bass flute, pairs a straightforward wandering solo line with playful extended techniques like fluttertongue and pizzicato. For the intermediate player.

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    • $3.60
  • Chamberlain, N :: Imperial Topaz
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    Chamberlain, N :: Imperial Topaz

    Imperial Topaz for contrabass flute was commissioned by Beth Devlin for her husband, Jay Devlin. Imperial topaz is the gemstone for the 23rd anniversary which the couple celebrated in 2018, when the piece was completed.

    The color of imperial topaz has been described as the color of the sun at sunset. In the 17th century, Russian tsars claimed exclusive rights to the gemstones mined in Russia which resulted in the gem being named imperial topaz

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    • $7.20
  • Chamberlain, N :: Imperial Topaz
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    Chamberlain, N :: Imperial Topaz

    Imperial Topaz
    Chamberlain, N

    Imperial Topaz was commissioned by Beth Devlin for her husband, Jay Devlin. Imperial topaz is the gemstone for the 23rd anniversary which the couple celebrated in 2018, when the piece was completed. The color of imperial topaz has been described as the color of the sun at sunset. In the 17th century, Russian tsars claimed exclusive rights to the gemstones mined in Russia which resulted in the gem being named imperial topaz. The piece is intended to be performed on contrabass flute, but could easily be performed on any of the low flutes or even the C flute.

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    • $9.00
  • Cohen, J :: Albisiphonics
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    Cohen, J :: Albisiphonics

    Albisiphonics
    Cohen, J

    Composed in celebration of Peter Sheridan's acquisition of an historic albisiphon baritono, Jonathan Cohen created this substantial four-movement piece (a sonata in all but name) which employs all three octaves of the modern bass flute and features its many moods: the unapologetically romantic and lyrical, the brash with staccato syncopation, the contemplative, and the exuberant and euphoric.

    For advanced players.

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    • $18.00
  • Dorff, D :: Ballade
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    Dorff, D :: Ballade

    Ballade

    Dorff, D

    A change of pace for low flues, Dorff's Ballade is a 7-minute slow-fast-slow exploration. The rich beauty of alto and bass flute sonorities, particularly in their low registers, is inspired by jazz vocal stylings along with a theatrical approach to duet writing, as dialogue and counterpoint between the instruments builds to dramatic unison passages in octaves. Ballade is also available for alto  flute, flugelhorn, and piano.

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    • $15.29
  • Douglas, B :: Karuna
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    Douglas, B :: Karuna

    Karuna
    Douglas, B

    Chris Potter presents this transcription of Douglas's Karuna for bass flute and piano.

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    • $13.49
  • Elgar, E :: Romance, Op. 62
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    Elgar, E :: Romance, Op. 62

    Romance, Op. 62
    Elgar, E

    One of the lesser-known compositions of Edward Elgar is his Romance for Bassoon and Orchestra. Composed in 1910, the more oft-performed reduction for bassoon and piano is perfectly suitable for performance on the bass flute. In this work the bass flute takes full advantage of the idiomaticisms of its range - similar to the bassoon, the upper notes of the work bloom soft and delicate, with the more luxurious mid- and low-range bearing the brunt of the hugely romantic melody.

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    • $14.40
  • Ferneyhough, B :: Mnemosyne
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    Ferneyhough, B :: Mnemosyne

    Mnemosyne
    Ferneyhough, B
    Mnemosyne - tape available for rental.
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    • $56.66
  • Feshareki, S :: She Cried
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    Feshareki, S :: She Cried

    She Cried
    Feshareki, S

    Shiva Feshareki s She Cried, which was originally written for untrained female voice, is a simple, melancholic piece dealing with isolation and loneliness, in an overwhelmingly suffocated and crowded environment. The subject matter, as well as the organic construction of the piece, compliments the bass flute's almost fragile and vulnerable nature, and its uniquely raw tone.

    This version for solo bass flute was made in 2007 by the composer for Carla Rees.

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    • $13.46
  • Harizanos, N :: Modesty
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    Harizanos, N :: Modesty

    Modesty
    Harizanos, N

    Nickos Harizanos presents Modesty, for bass flute alone.

    Modesty was composed in 2008 and is dedicated to Wilfrido Terrazas, who gave the premiere the same year in Mexico. The title describes the intentions of the composer, along with the character of the work. A slow pulse, and the presence of silences, combine to become distinctive elements in the piece, leaving the listener and the performer space to breathe, and to get deeper into the phrasing and alterations in the modal-based melodic lines.

    Duration: 5 30. For the intermediate player.

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    • $14.36
  • Hoover, K :: Two for Two
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    Hoover, K :: Two for Two

    Two for Two
    Hoover, K

    Katherine Hoover presents Two for Two, with the first movement for alto flute and piano, the second for bass flute and piano.

    From the composer:

    'When Chris Potter asked me to write a piece including both alto flute and bass flute, I tried to hone in on some of the special but perhaps less commonly heard qualities of each. The alto has its lovely singing quality, but it also has the capacity to move quickly and easily, so I decided to feature that as well. The bass, I felt, could should off that wonderful husky quality in a slightly off-center tango.'

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    • $14.39
  • Hosokawa, T :: Atem-Lied [Breath-Song]
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    Hosokawa, T :: Atem-Lied [Breath-Song]

    Atem-Lied [Breath-Song]
    Hosokawa, T

    'Toshio Hosokawa, Japan s preeminent living composer, constantly explores the boundaries between cultures. His distinctive compositions examine the relationship between Western avant-garde art and traditional Japanese culture, and are influenced by the static structures of the Gagaku music of the Japanese court. Nature and its inherent transience also greatly influence his compositions. 'Transience is beautiful,' says Hosokawa, who uses the Buddhist notion of balance between life and death to describe his musical language: 'The tone comes from silence, it lives, it returns to silence.'

    - chorusamerica.org, 2014

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    • $14.36
  • Isaacson, M :: Seraglio
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    Isaacson, M :: Seraglio

    Seraglio
    Isaacson, M

    Originally commissioned for the contrabass flute, this composition works well for either alto or bass flute. The melody is a sensuous 'sheherazade'-like solo, and the optional finger cymbal accompaniment suggests the atmosphere of an odalisque.

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    • $10.80
  • Keeley, R :: Low Life I
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    Keeley, R :: Low Life I

    Low Life I
    Keeley, R

    Rob Keeley presents Low Life I, for bass or alto flute alone.

    From the composer:

    As the initial piece in a trilogy, this four-minute monody relies entirely on what I hope are good notes, balancing development of the opening chromatic figure with interruptions which nonetheless are related to that idea. Rhythmically, it s apparently quite straightforward: the 3/4 metre allowing plenty of syncopation and surprise, with precisely-measured silences articulating the dancing figures. It s what might be called fairly traditional flute writing, but luxuriating in the deeper register.

    Duration: 3 45. For the advanced player.

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    • $16.16
  • Kessner, D :: Priere et Scherzo
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    Kessner, D :: Priere et Scherzo

    Priere et Scherzo
    Kessner, D
    Priere et Scherzo for bass flute and piano
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    • $15.30
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