Transcription Series Book 6 brings together five beautiful and colourful pieces by composers from five countries, transcribed for the intermediate bassist by David Heyes. Ideal… as both study and recital repertoire, each piece offers a range of musical and technical challenges throughout the orchestral and solo register, emphasising the virtuosic, lyrical and cantabile potential of the double bass. The edition includes piano accompaniments for both solo and orchestral tunings. Maurice Ravel (1875-1937) – Berceuse de le nom de Gabriel Fauré Berceuse was composed in 1922 as a tribute to Ravel’s teacher, Gabriel Fauré, and is based on the letter’s from Fauré’s name (GABDBEE FAGDE). Alongside six other students, the work was composed as a musical homage and is originally for violin and piano. The music is gently graceful, with a strongly independent accompaniment which beautifully partners the simplicity and innocence of the solo melody. Florence Price (1887-1953) – Adoration Adoration is originally for organ and was first published in 1951. It has subsequently been arranged for many instruments and is a beautiful and evocative miniature which transcribes well for the double bass. The solo line is slow and mellifluous, against a simple and chordal accompaniment, and the music of Florence Price, overlooked for many years, is finally taking its rightful price in the standard solo and orchestral repertoire across the world. Alexander Glazunov (1865-19360 – Chant du Ménestrel (Song of the Minstrel) Composed in 1900 and published the following year, Chant du Ménestrel (Song of the Minstrel) is a lyrical and tender characteristic piece in a simple A-B-A form. It was originally composed for cello and orchestra and the middle section provides a contrasting change of mood to the songlike opening melody. Chant du Ménestrel is typical of much salon music from the start of the 20th-century and its lyricism, soulful and dramatic character transcribes well for the double bass. Zdeněk Fibich (1850-1910) – Poème Poème for double bass and piano is based on a transcription for violin by the great Czech violinist, Jan Kubelík (1880-1940), arranged in 1893. It is one of Fibich’s most popular works and has been arranged for many solo instruments and chamber ensembles. Originally for piano, it lends itself to transcription and its lyrical and passionate melody, supported by a beautiful and colourful accompaniment, creates a transcription to test the musical and technical prowess of the soloist. Granville Bantock (1868-1946) – Hamabdil (Hebrew Melody) Originally for cello and orchestra, also with harp or piano accompaniment, Hamabdil was published in 1919 and was originally composed as an entr’acte to the play Judith by Arnold Bennett. It is based on a Hebrew melody, which is both lyrical and evocative, contrasting an inventive and supportive accompaniment. Hamabdil transcribes beautifully for the double bass, exploring much of the solo range of the instrument, enabling the soloist to display the sonorous and cantabile qualities of the instrument.