€ foe Vioiuus Frate Raavhos reece CUNEO 32 ESERCIZI E STUDI PER CONTRABBASSO A 4 CORDE ‘ Op. 14 32 EXERCICES ET ETUDES Pour In lectore « premitte vae sur ta Contrebasse & 4 cordes 32 EXERCISES AND STUDIES For sight roading for Double Bass of 4 strings 32 UBUNGEN UND ETUDEN For das Vorblatapiclon fiir Kontrabass (4 Saiten) 32 EJERCICIOS ¥ ESTUDIOS De Ieeteca « pris vista are Contrabajo de 4 cuordas RICORDI E.R. 499INDICE 32 Esercizii © Studii Atcate € figurazioni diverse applicate ad uno Studio di Kreutzer, in 60 modi Ea aw ek ew Digitazione speciale per otéenere con quattro corde Teffetto d'un Contrabbasso 2 cinque corde Effetti armonici ¢ passi a sofo dell’ Opera «La leggenda di Sakintalas del macsteo Franco Alfano g2 Bxercives et Etudes Coups @ archet et figurations appliqués & une Elude de Krowtzer en 60 menizres différentes . Doigté special en vue d'obienir avec quatre cordes Leffel d'une Contrabasse & cing codes) Effets harmoniques et passages de solo de Topéra «La iégende de Sakuntalas de M. Franco Alfano . INDEX 32 Ejercicios y Estudios se Arcadas y figuraciones diversas, apticadas aw estudio de Kreutzer en 60 maneras diferentes, 6 0 oe ee Digitacitnes especiales para oblener con cuatro cuerdas el sfecto de un Contrabajo de cinco cuerdas oe » Efectos arménices 9 pasajes a solo de la dpera «1a Leyenda de Sakuntala» del massive France Alfano. ze 32 Exereises and Studies Bowings and figurings applied to one study of Kreutzer in 60. different WAR ee B® Special fingering to obtain with four strings the effect of a Double Bass of five strings. Harmonic effects and soloists parts of the opera «The Legend of Sakuntala> by M. Franco Alfano... 2 6 2 > ER 459 Pag. 28 58 - 69 - . Dag.Alillustre M? Franco Alfano : ANGELO FRANCESCO CUNEO - ye 32 ESERCIZI E STUDI h PER LETTURA A PRIMA VISTA op.144 © 32 EXERCICES ET ETUDES 32 EXERCISES AND STUDIES POUR LA LECTURE A PREMIERE VUE FOR SIGHT READING - 32 UBUNGEN UND ETUDEN 32 EJERCICIOS Y ESTUDIOS - FUR DAS VOMBLATTSPIELEN DE LECTURA A PRIMERA VISTA Dal N.1 al N.27: notazione dorchestra , | Desde ol N.A-hasta ot N.22:notnciin de orquesta. Du WA an N. 27: notation @orchestre, From ho 1 to no 27: orebestral notation . Moderato Aer BABA _ . 1 SS ee ee = ~ A See eS ee 3 ie £ - aod 2 2 cd oR ee EGER U2 a 15 No os _ getiaese oe Sst G RIOORDI & ©. Kattors, NIDANO, Tutsl s diritti riservati. Tous droite résurvés, AM rights reserved. + GuINTED IN ITALY) pe eR awy Adagio Bete Pest antastopee steers, Se ee aa —s aa ~~ Pel aon SUP waw Puta pe te? Rig to, 4 eUG loge T elon Oho Fra? = ee SS SSS eS AllegrettoModerato ¢ a? eR 498eR. 490 @Andantino — Allegretto zw ER, 499Moderato eR 498Moderato ~ Allegretto — Pe teggero ER. 49910 Allegro 2, FEAety Moderato 4. eR 299 «12 z alt ge Adagio * £ Leder #2 oa . fe, pte # e001 16. 2 SS oH Andante 17.4 20. Andante 5 SES as ETD EP es —~ = FS. ~ Fy rail. D.C. tutto at Fine @ —— = ER a8Adagio (in 6) 24. Adagio tin 4) os i 2 aN x ER. 499et 2 Adagio tin 8) TRY sis ttt Seer rete yer @ANN 29/93 , ” a Moderato _ Fg (ype EIB fF Adagio >48 Moderato 24. Lo stesso tempo ore # Fae es ete == Te iat! S a tempo.Meno Sfe deciso ER 499 1920 Moderato e+ +> Pt oft Sop Fs. 3S == eee fae rr cantabile —— ve~ = = =: = eee —— TEs tte BS0. L.Yariante LVariante 1s Variant IES Yariante tt Goctane Staccatissine22 Dat X28:in pt notantone's ont reall, Das of 28 on ated notactin ¢ sonidos reales. Du N,28 en avant: iotation d-sons reels. From ho 28 and onwards: notation of real sounds. Moderato 28.2 eR, 49924, STUDIO SUGLI_ARMONICT | ESTUDIO SOBRE LOS ARMONICOS ETUDE SUR LES HARMONIQUES STUDY ON THE HARMONICS Andantino Come prima Ss s Modergto _ Eis — a 34. #% : eR 408Meno mosso ae cantabile Moderato26 TEMPO DI.MINUETTO TIEMPO DE MINUE PER TRE CONTRABBASSI PARA TRES CONTRABAJOS TEMPS DE MENUET TEMPO DI MINUETTO POUR TROIS CONTREBASSES FOR THREE DOUBLE BASSES Allegretign ER. 498== D.G.dal_ al Fine senza Ritorsello, poi Trio. BiG. depuis H fusgura te Fin sane to Ritournelle, Pris te Trio. Repeat from # to Five without repetition, then TRIO DG. desde & ab Fin sin Ritornelto despuis Trio ‘Un po'menc Pao mR ase28 STUDIO DI KREUTZER ESTUDIO DE KREUTZER ETUDE DE KREUTZER STUDY OF KREUTZER 2 i seiolte ef ER. 499Sesenta modos de arcadas 9 figuraciones diversas “plicadas al estudio de Kreutzer. Bowings and figurings applied to the study of Kreutzer in sixty different ways. Sessanta modi di arcate e figurazioni diverse applicate allo studio di Kreutzer. Soixante coups @'archet et figurations va. vides appliquées & Pétude de Kreutzer. r e49930 ER 499TI. TL I. ™82 r ER. 599oA348sRagsae 1 ties jyoetse teasesterrasse R49940 SSS eS 22. nvivel no Vala 24. aresBre tts as tat ot te 44_ot ot tk PS = OE Ti CFS GS 444s ot or 1 s2t4gs 15 os 4444 44 _taciae we? 44 = State foros =a Fee eee Ee iss Sees Sree jes iseeeree or eS Ti me A” Se Eseguire questo studio anche tutto staccato a y _Hjocufar este estudio también todo «staccator meta arco. ¥@ milad de oreo. Eviouter dgelement cette étude ex staceatorde || Exeoute this study also all eataccator with Ja moitié de Varehet. middle of bow. R4994 Stas gihoe mL +4 BR.498a4st frnw 4 rave = 4 a = = SS —— BR 499 oe = a fr. = ——- = frm eS a fre Se = 33. De = z =1 frie ed 108 Pete 4 i festa ti n. TI. BR. 499a8 ] _ 4 => == - Ie +a9 EK. 49050wt | a. LILI. R49082 ER. 499Lm. stat peati tt $+ I 1. ER. 499)(Tere aerereyvert87Presento una tavola di diteggiatura, colla quale si attiene lo stesso effetto d'uno strumento a cingue corde out avendone soltanto guattre, accordandolo colle note: tonsol-re-sol invece di minla-re-sol. Cosi si evita la quinta corda (che premendo sulla avola armonica ne diminuisce la sonoriti) ¢ si ottiene von quattro ill medesimo effetto. Bea inteso che per nitenere il do (quarta corda) ed il so! (terea. cords) rueste devono essere tult”e due pitt grosse del normale ver avere in tal modo la tensione € la sonorita neces: il che non avverrebbe colle corde sollte, le quali, ver dare le note gravi volute, sarebbero troppo flosce vd allentate ¢ in conseguenza senza sonorith Jo, come primo contrabbasso al Teatro Regio, per pera € concerti, ne ho introdotto il sistema con ottimo “ultate, Seguono tutte le scale maggiori ¢ minori, Ia scala semitonata ¢ sei Studii in cui viene applicata tale innovazion Nous présentons un tableau de doigtts grace auxquels yn obtient le méme effet que par U accord d'xn instrument 4 cing condes, bien que ne disposant gue de quatce, "estedadire en U! accordant sur les notes; do-sol-ré-sol au Giew de minla-ré-sol. On arrive ainsi & se passer d'une cinguidme corde [aii en pesant sur la table d’harmenie on diminne ta sonorite) et Von obtient avec quatre le méme offet. I at clair que pour obtenir Ie do (quatritme corde) et le sol firoisitime corde) ces dernires doivent ttre plus grosses que les cordes normales si Von veut avoir la tension ef la sonorilé nécessaives, ce qui n'aurait pas ews asec es cordes ordinaives gui, pour donner les notes graves voxiuet, devraieut tive trop floches et relkchées et em constquence privtes de sonorite. En qualité de premibre Contrebasse du Théttre Reval, pour les opéras ainsi que four les concerts, nous en avons introduit U usage avec a excellents résultats Suivent toutes les gammes majeures et minenres, la ganme semitonale ef Sx Etudes oi. notre innovation a dé appliguee, Presento una tabla de digitacion por la cual se obtiene ef mismo efecto de la afinacion de un instrumento de cinco euerdas, teniendo, sin embargo, cuatco solamente, Ex decir, mediante ta afinacién: do~sol-re-sol, en ves de la carriente: wicla-re-sal. Asi se logva eviter la anadidura de una quinta cuerda gue, al pesar sobre ta tabla armdnica disminuye su sonaridad, oblenidudose con cuatro cuerdas idtntico efecto Pero entitndase bien que para oblener ei do (carta cuerda) ye 901 (lercera eucréa), ambas deben ser mis gruesas de To comin, pare poscer de tal modo la tensite J sonoridad necesarias, gue no se logrartan con las cuerdas habituales, las cuales, para dar las notas graves requeridas s¢ hallarian demasiado flgjas, y, por consi ‘ruiente, sin sonoridad. Yo, como primer contrabajo en el Teatro Regio, para spore y concieries, he intyoducido el sistema con dplime resullade, Siguen todas tas escalas mayores y menores, In escale cromdtica y seis Extudios alos que se aplica tal innovacton, I present here a table of fingering from which the same effect from the tuning of an instrument of jive strings can be obtained from only fonr, viz, tuning to the notes; C-G-D-G instead of E-A-D-G. Thus one avoids the fifth string (which weighing ‘pan the sounding board diminishes the sonority) procuring the same efact with four, It is understood that to obtain the © (fourth string) and the G (third string) these must both be more thick than usual in order to procure in this manner the necessary tension and sonority. This could not be obtained with the usual strings because to render the grave notes the strings should be relaxed and would, therefore, remain without sonority. 1, as first Doubie Bass player at Teatro Regio, for opera and concerts, have introduced this system with exceltent results Following are all the major and minor scales, semi- tonal scale and Six Studies having this innovation applied. BR. 499.Accordatatura del Contrabbasso 4 Conde colle note: DO-SOL-RE-SOL cave guinte ad wna quarta) Accord de ta Contrebasse d 4 Cordes sur tes notes: DO-SOL-RE-SOL (deux quinves et une quarte) SON Se r EONS sb. yy coups Ih CORRE. Bi BETIS abe UcGaRe $k ane & SCSI 8 Afinacién de Centrabajo de & Cusrdas conias notaes DO-SOL-RE-SOL (dos quintae y wun cuarta) ‘Tuning of the Double Bass of 4 strings with the notes: C-G-D-G (two sizeis andone sourth) 9 tag 8 igi % TAINS ob 4 a a - 1 33 Age ¢ 2 te # 2 4 a eo = = t a £ HO : to gs On a (ik p== te fo : i oe ‘ — =p : ie |p i #8 Hows |e = — eH dj 2 te 3d fe 4 SCALA SEMITONALE GAMME SEMI-TONALE ESCALA CROMATICA CHROMATIC SCALE ER. 499*SCALE MAGGIORI E. MINORI I ESCALAS MAYORES Y MENORES *AMMES MAJEURES ET MINEURES MAJOR AND MINOR SCALES sor mace. o_4 4 0 4 4.4 9 4 4 3 0 1 4 9 lou war. BSE a = —s fox Savor = = a my, wi 4 __a__4_4 » 4 4 4 9 4 gh 8 a im i— $86 & Mavon ——— = SS FRao8 “LA MAGG. gs 4 — a4 3a 4 a —s—_1 — SO xy Joab is Saige TA Maron =a Ss at mace. au May. = was. MO MAYOR bob am. se a Dot HIV. Fs xo oH, ase ae Sof ubnon a rT T SI Mage. as aaa 18 at Mad So B kad: =—s By aia¥oR, I 7 os = o =o ss = sou ¢ mam, a4 4 4. SOL | MIN. ES eb oun: 5 = — EVR = ueoz fat maga. Bat as. = uM Mion 2 ayt & BE sate — ste oe: == BE: a Nexon >= = 6 7c 7 a4 Swe § 2 5 1 2 4 io 8 a gs tt sages en 6 = 1. oo eS 2a 8 rebuacc. - 4 4 4s 4 as ip 4 2 4 gg § S$ 8 neh mas. 35 = soe mar: 2 Beh Mavon a T a 4 2 6 6 8 ts ts tt Fy ~~ iso? ER, 49963 1 8 2 4 a 2 HAGG. wzyg———t 4 04 _4_4__e_4_g_9 4 = lsh was So Ef May = jah Haron =o RB 4 2 oa Ss 4 4 oe 4 ng 2 gt te S—r — 32. ° = + o 2 sth mage. Bo 41 4 2 o 4 4 6 0 4 4 § & oy Mas + SS Bb Maa: —= sr) Mayor =. 6 s 3 ge a Pe ee ee ee ee ee 4 28, 9. = = oe. = >. = sop min, oss 9 1 5 4 0 4 4 a4 so Se kk = eae oY sin: = Sox davon 3 Ss t 1 mae. Bt, a 3 5 4 2 ek 2 a oe A eS Se ing BEE = FA MAYOR -—— se =o = ‘ aye Ag SSeS = — 5 Bek Ny ; ER. 49964 STUDI | ESTUDIOS 2 ig ETUDES STUDIES % Meet ote Modgratog LY one pg | Me a Ro Lee = fe = qi Pa ied oss ER. 400 Yee5 3 ( Ba ReRE ERE ion Allegro moderato ga esas Gens 4 o41sos01? TL 4 S445 tat “ nig ) 566 bof mn. Pot aay. co § mn. 20 § anyon 1: mics “Andante ¢ A Zz ER. 499Mace. 6x arg 13) Sadagata tat i. a3 cReREE a3 GG ER 408es Mt et at 4 20) iain da.gio 8 6. 3% ER400Passi contrabbassistici nell’opera SAKUNTALA. del M? Alfano; nuové risorse negli accordi di ar. monici a 3.04 parti ¢ nell’uso del cantino,il qua. Je anche amalgamato all’ unissono col violoncello e il clarinetto basso, come al principio dellaDanza del IT. atto, emerge ton una sonorita sorda e per. versa ed un eolore assolutamente speciale. Passages de Contrebasse tirés de Vopéra SAKUN- TALA de M2 Alfano; nouvelles ressources dans tes accords d’harmoniques & 3 ou # parties et dans U'u. sage dela chanteretle laquelle, mime fondue é Ve. nis80n avec te violoncelle et la clarinette basse, com. me au début deta Danse du J1lacte,ressort avec tne sorité source of perverse bune cuteuradeolanient Spéciate 60 Pasajes Contrabajisticos deta épera SAKUNTALA det M2 Alfano; nucvos recursos en tos acordes de arminicos a 30 4 partes y en el uso de ta prima, ta cuat aum amalgamadu al untsino con et violon- celo y et clarinete bajo,como al principio de la Dan. 4a del HI acto, emerge con sonoridad sorda y per. versa de un color absolutanente especial. Double Bass parts in the opera SAKUNTALA by M° Alfano; new resources in the chords of harmonies of 8 or 4 parts and in the use of the highest string, which also amalgamated in con. sonance with Violoncello and bass clarionet, as at the beginning of the Dance of Act [emerges ‘with a dull and perverse sonority and colouring: absolutely special. LA LEGGENDA DI SAKUNTALA ai ALFANO Dalla parte di Contrabbasso Tiré de la partie de Contrebasse ATTO I. LuEgsIO eR, | Dela parte de Coutrabajo From the Double Bass partLE GSTO [g|Assai animato . TRG g —~8-—~ 8p eres | ——S vizz, ARCO ‘isa1o ‘PP Jou aver wage faces") 14 ler ae ite as a eizz. ARCO x we p— L.Ugecro Div. 13) ft 2? 4.8040 _I.€. _ suoni reali arm. soto ILC, suoni reali arm. i. 80L0 TH.C, suoni reali arm. eR, 499Lon LLRscro ATTO I, 2 a 2 Sot a ‘Suoni reali suoni reali got BY vargo DIVISL pig ae PPP armoniel eu0ni realr ARCO hits. pp *tmonici suoni reali ER. 409‘ATTO IM. Abbastanza lento 4 se 1, LE6GIO SORDINA pF Laine, 1 B via sonpixa| ——" | cur arrar g Nil rit. @ tempo n —, a id in gee D_ [motto espressive — mp SS = YS SO! sub Pom? SUL Pon. Figs, ARCO. sit port, [rige, S3420"* PP J Lo pf animando 28 ; t ER 8 eww eM7 oo > Bes DS = > > [Bluarge ed elastice a tempo sempre in 2 : L lise. —, rit, }rere pst Molto ritmato Blom Mone ‘pesante 42 See its SOL - —* Ph BE, commie . conmnatt agitasione & ppp eapressivo ER 4097” SUL FONTICELLO 4 ee ; p= we ‘ores. SUL PONTICELLO 2? =P f Ra molto mosso rola rele pocorit. me ru, sun LApp tf t— 4 tempo, appassionato agate a tele 2 4 gai p € subitd molio orese. |W Ping. S: if SUL PONTICELLO PB. sib PONTICELLO TF P. SUL PONTICELLO {ff Poa ER 409 wee