The famous Spanish Dance from Granados' Opera Goyescas is in orchestra tuning with an extra piano part available for solo tuning.
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.