Next, the bow becomes the tool for expressing what you have sung. The phrasing must never be dictated by the needs of the bow. » You will change bows most fluently in legatos, make per- ceptible halts in the bow's motion to articulate detached notes, always aiming to emulate the vocal example you have set yourself. You will use a great deal of bow at all times, even for ‘short notes, even for detached or staccato not- 5, thus avoiding a coarse or “gravelly” sound and achieving a breadth of expression. In the songs that follow there will be many with a min- imum of bowing.and phrasing indications; your acquaintance with the song will be sufficient to insure that notes within a phrase are connect- ed, that the’end of one phrase or sub-phrase and the beginning of the next are disconnected. Upand down-bows will be determined by the “length” of your bow and the intensity of your owing, but always, in the first place, by the needs of the melody. You ar to change any of the phrasing and bowing indications which appear, in order to approach as closely as pos- sible your own phrasing conceptions. A pencil and eraser are essential parts of your equip: mentuse them generously. Dynamics are a vital part of melodie playing. Here are a few rules that may be helpful gen: rally, (though, for truly artistic playing, they willsappear over-simpli louden as the pitch rises, soften as it descends; louden re- peated notes as you reach towards the climax of a phrase, soften as you leave je gently (unless an accent tal last note; use “terrace” dynamics for sequential phrases; develop a dynamic spectrum that will reach up to just short of coarseness and down to just short of inaudibility; utilize that part of the spectrum which best represents “the mood of the song: use dynamic markings profusely and unselfconsciously,. and’ igiiore the ill-conceived prejudice against “amateurish overmarking” - it is amateurish only to sound amateurish. ‘The few fingering indications are chiefly “pre- ‘yentive” in intent. ‘Their purpose is, for ex- e, to avoid the “raw” sound of an open 2 note of melodic importance, ‘to a- break in a phrase caused by a shift between notes that should be well con- nected. You are again insited to use pencil and eraser to change any of the suggested finger- ings - but always for the purpose of creating a better melodie line and never for the purpose ‘of making the fingering” exsier”. The use of “portamento” Fingerings to enrich a phrase is discussed briefly in some of the notes (see “No- hody Knows the Trouble I've Seen”). One of the most instructive of the for melodic study offered by familiar tunes is that they may be played without difficulty in transposition, using the ear constantly as guide for the eyes and fingers. The octave-higher transposition is especially valuable for the solo player, for much solo material since the time of Bottesini has been written'in “real sounds” and must needs be played tip an octave. For the orchestral player the tenor-clef has become more and more a fact of life. He may obtain flueney in reading tenor-clef by reading these songs a fifth higher (of course, changing the key-signature by adding a sharp or subtracting — a flat). Finally, the practice of reading these ‘songs in many keys other than the written one will provide excellent training for those occa sions when an accompaniment must.be transpos- ‘ed to suit the requirements of a singer. ‘The songs in this volume were chosen for their familiarity, ease of execution and e: ness. They represent only a small sampling of the wealth of melodic material available in art, folksong collections and in the orchestral bass passages of the masters. Your local library has, or can obtain, many of these collections and scores for you. Another useful source i the flood of “pop” tunes emanating from your record-playér, radio, TV-set, or local juke box: play them “by ear"; many of the songs of Gershwin, Kern, Rodgers and J friends and offer an interesting and challenge ‘This book is intended as a collection of cises in melodic playing, in proper and bowing techniques, in transposition. Its intended to provide the bassist at any level ability with tunes, the playing of which tive him pleasure and recreation. S fun!of the ening phrase igh nate D. the frst nate of Side 1 - Band 1 Se ariad upon tat point, D, will come out stord-i12 DU», Du, Liegst*Mir Im Herzen ...as rott sng 2 Be x ight 1964 Amsco Music Publishing Company All Rights Reserved3 taps (8/4 measure) precede music Side 1 - Band 2 Maestoso. a cc 4 ©Copyright 1964 Amsco Music Publishing Company All Rights Reserved1 1/2 measures) music. *-8a¢3 When The Saints Go Marching In Traditional Hymn Andante d=96 v pee oe Hight 1964 Amsco Music Publishing Company All Rights ReservedvA rail. Amsco Music Publishing Company All Rights Reserved‘4 measure) music. 1 - Band 5 Maestoso o* % : Adeste Fideles Old Latin Hymn 4 2 a 1964 Amsco Music Publishing Company All Rights Reserved (D String)If this were a cook-book the instruc: here would read “Add dynamics to taste.” Dynamics are the salt and —— The Blue Bells Of Scotland Moderato ¢=80 ©Copyright 1964 Amsco Music Publishing Company All Rights Reserved 3 taps (3/4 precede music. Side 1 - Band 6 Scotch Folk SongSide 1 - Band 6 O Little Town Of Bethlehem d- 7 ie Ba taps (1 measure) cede music. Gad iS Igitur Side 1 - Band 7 63 ae ©Copyright 1964 Amsco Music Publishing Company All Rights Reservedthe long phrase-slurs in bars 4. Mark the rest of the song Deck The Halls cal Lively #=116 yv ‘Amsco Music Publishing Company All Rights Reserved 4 taps (1 me precede musi Side 1 - Band 8 Welsh Carol= ff bocorit. a tempo dim. 5 taps (1 and 2/3 measures) precede musi Flow Gently Sweet Afton Side 1 = Band ® fully J-88 Scotch Folk Song = =f ‘Music Publishing Company All Rights Reserved[3 taps (3/4 measure) precede musi America The Beautiful ide I - Band 1 Moderato = s0 { me aa wv ©Copyright 1964 Amsco Music Publishing Company All Rights Reserved(i measure) = Oif'n Pripitchil Moderato «23 = vay y ae3 taps (8/4 measure) = The Birds Side 2 + Band 1 Catalan Folk Song Slow #63 Me ae An illustration of the use of the ‘ances, is “mellowed” b ‘on the D string, oe ee To Me Only With = Eyes am el =198 4 + 1 aa PPD stringa jeat or before: at, It is 5 taps ( 1 and 2/3 measures) ee oh See” precods imu eae melody. Side 2 = Band 2 The Last Rose Of Summer Slowly ¢-40 S sh ‘Thomas Moore —~ 4 taps (1 me! “raw” sound of the open ieee i fron precede music. Side 2 - Band 3 Nobody Knows The Trouble I’ve Seen | With, Emotion ¢ 60 ~ ee ooo Dy 2 Fine.boco rit. slower ©Copyright 1964 Amsco Music Publishing Company All Rights Reserveder (2 measures)| eelc. What Child Is This ? Side EBay Sy ZTE ae mp —¢ molto legato ae ght 1964 Amsco Music Publishing Company All Rights Reservedpoco rit. Start as loud as possible; get louder; remain lyrical. The sound must be virile and resonant. It must not be coarse or rough. 5 taps ( 1 2/3 measures) The Smith Side 2-Band5 | Vigorous * 108 J ©Copyright 1964 Amsco Musie Publishing Company All Rights Reserved “=] j— dor rit. Slowly but with movement v broader 1964 Amsco Music Publishing Company All Rights Reservednovy ony also with this bowing PPP ere | Side 2 - Band 6 cede music. Liet Mad | n Tenderly #- 48 = fabs ese ve cf taps ( 2 measures} Joseph Haydn v Veh 5 mplegatissimo oe Play also An Octave Higher taps (1 2/3 measures)] Side 2 - Band 7 scede music. oe Que Ne Suis-je La Fougere Unhurried 2766 — Giovanni Battista Prade of aa adage! mare tb gos Side 2 - Band 7 rough, and i bars each) we might a firstrate miltary marc itis not a march, It is fore, we will i aly it as tan tte Frag’ Ob Die Rose gotter eepers.¢ bars toe ere 8Fight 1964 Amsco Music Publishing Company All Rights ReservedStill Wie Die Nacht cresc. « 2 ——— a tempo ce ©Copyright 1964 Amsco Music Publishing Company All Rights Reserved SasP wwe do with Bars 14, 15, oid boring and meaning: on 2nd beat re. = Band T Andante con moto17, this_starting down. with “reverse” that both bowings have In bar 16 and 24) the ‘is simultaneously Eeithe tind up" for phrase: therefore, make 3 taps ( 1 measure] — eee? @ crescendo precede music. _go 2anta Lucia Side 8 - Band T Swaying Gently «= Reriiceg VOR re i is bowing: = Se Vuol Ballare (from “Marriage Of Figaro”) 'e 7120 Side 3 - Band 2” (1 measure) music. Vv Wolfgang Amadeus MozartAlso start downbow and reverse the Bowing, Question: which bowing is 3asthr superior in corying cut the mies ve marked? Answer: ther. fore, choose one as 2 pe your preference, if you wish, but precede Gon't ‘deny the validity of t ‘The ability to play a passage with crenestal payne ‘ier conauctys Hark! The Herald Angels Sing ee eee eee ond Symphony Toyfully o=116 v — Felix we if ©Copyright 1964 Amsco Music Publishing Company All Rights Reservedprecede musi Vergissmeinnicht Side 3 - Band 4 Molto Adagio «= 56 M oa legatissimo Dynamics: Each two-ber phrase must ig¢ above or fell below its neighbors sterrace” dynamics) nso doing we transform waat mighi, have been 8 2rber fragments into 2 B-bar phrases. Side 3 - Band 4 recs mse Er Ist Gekommen ‘Allegro agitatoe-= 72 ee A SS —=Ee aees) Kennst Du Das Land? Band 5 he enamte Moderato daseBars 13, 5: az Com vet" tS end of the Linger. Side 3 - Band 5 board (ltalan: “sul testo") achieve a hazy, dreamy ate Im Kahne Afloat os 4 un poco rit.———————— Titenuto molto 1961 Amsco Musie Publishing Company All Rights Reservedested Fi RT BEE (except he € in bar 15). ) All on the D and A strings. ssted Transpositions: ‘An Octave Higher San Mies of Ist measur Side 3 - Band 6 J =56 LarghettoAve Maria Lento 248Piano starts on upbeat. Side 3 - Band 7 Prepare Thyself, Zion (from “Christmas Oratorio”) Allegretto grazioso oeSide 4 - Band 1 Mignon’s Song Franz Schubert Andante “ o. .Were our bows two yards long wwe might then be able to. change Bowedfection ‘only at the begining Gf 2 now phrase’ while. sustaining 8 firm and resonant tone. But, alas, our bows ere less than 2 feet long. and 0 we must compromise musical geod sense with mechenicel necessity. Try: a) one bow to @ phrase ae writes conanes. Shutees Pur Dicesti sound and good phrasing ? 4 taps (2 measures)| Side 4 - Band 2 precede music. ‘Allegretto grazioso «=66SPL — Sea al Concerto 2nd Movement -Ist Theme 4 taps (1 measure) Side 4 - Band 3 All Rights Reserved © Copyright 1964 Amsco Music Publishing CompanySide 4 - Band 4 Where’er You Walk (from “Semele”) Georg Friedrich Handel Largo ( in 8) de 80Side 4 - Band 5 To The Evening Star (from “Tannhauser”) Andante Mosso dines 4 nA(2 measures) music, 4-Band6 Celeste Aida (from “ Aida”) Andantino dimsa3 taps (1 measure) precede music, <= —— Beautiful Dreamer Moderato “i 46 of a nm © Copyright 1964 Amsco Music Publishing Company All Rights Reservedx exercise in portamento and Side 4 = Band 8 play this all on the G excepting, of course, the F# and F) Tigatonst exercise in legeto string. ng ploy this on the G&D peer shifting. Beer reise? i Mappari tutt’ Amor ; ti = ”) Friedrich von Flotow enmiee cea n (legato) —sSide 4 - Band 9 ate brighter, oe We e'CS on the Una Furtiva Lagrima (from “Elisir d’ Amore”) Larghetto v2 si (on D string) 10 seconds are allowed for cadenza, after the piano release. S v A Vnvf 7 v 4 not hurried. ©Copyright 1964 Amsco Music Publishing Company All Rights Reserved‘Zobmusical observation: The elephant is a noble beast. This solo, in his honor, ‘should be played neither hippo-clumsy nor thino-vicious. It should be played with "dignity, solid rhythm and ‘and pleasant sound. Bars 21 through 28, being a caricature of Berlioz ethereal “Dance of the Sylphs’ offer Gentle comic contrast and should be played with a sightly saccharine vibrato 2 chuckle Side 4 - Band 10 The Elephant (from “Carnival of Animals”) Allegretto pomposo - 16 te