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Bassrlc Essentials Book 1 A Tuneful Companion to the

Gary Karr DoubleBass Book by

Alice Spatz edited by

Gary Karr Te:irt

and Music @ Copyright 1996 by Alice Spatz

Amati Productions 9607 Allende Lane Oakdale, Ca 95361

2

ACKNOWLEDGMENT

Special thanks to Kristen Thttman, Sarah Wood, and Steve Murray for their hard work and cooperation, and to my husband Larry for his invaluable help and support.

FOREWORD

Alice Spatz has done a brilliant job in bridging the gap between the material in my books and the more traditional approach to teaching and playing. It was never my intention or desire to have any teacher or student use my books without any input from other published sources. With Alice Spatz's materials, I have been released from the difficult burden of citing other books which would be complementary to mine. In fact, her ideas work so well in concert with mine that it would be impossible for me to recommend any other books that are so much on the same wave-length. I have devoted my life to raising the standards of the doublebass and I consider it absolutely imperative that in order to accomplish this task, one must be given a good start. The student's first encounter with the instrument is the most important event in the process of development. The future level of attainment is determined in the first rudimentary steps. I feel confident that the combination ofAlice Spatz's books and mine will prepare the student for a satisfactorily high level of playing.

Garv Karr

3

INTRODUCTION

The method and much of the music presented in this book has been created over the years and used with my students of all ages, but primarily children. It focuses on the development of left hand facility and familiarity with bass clef reading skills so that the student can quickly begin playing in an orchestra, and enjoy performing tuneful pieces in recitals. The unusual aspect to this method is that it does not use the bow, except for harmonics, until the end of the first section; instead, exercises and pieces are played przzrcato. I do this because as the left hand techique and reading ability are growing, the beginner is concentrating on bowing skills, bass balance and posture by working through Gary Karr's Book I. Although the student can only play pizzicato in the ensemble for a while, by the end of the first book, he or she will be using the bow for orchestral parts and solo pieces. The control and clarity of the bowed sound. that can be achieved this way makes the wait well worthwhile; and the orchestra, though missing a bass arco for a few months, still gets the low notes it needs.

It is extremely beneficial, ifnot mandatory, to have a parent present during lessons through the first book. Parental support and guidance at home helps rapid progress and diminishes miscommunication of the teacher's instructions to the child.

I have designed and organized the book so that it is used simultaneously with The Karr method books; part of the lesson should be devoted to each. This insures variety, challenge, success, and most of all, fun for both the new bass player and the teacher.

I am dedicating

these books to all my students, who have inspired me, and to Marion Maby and the Pittsfreld Community Music School who have supported and encouraged my efforts.

All music in this book has been written

and./or arranged by Alice Spatz.

Unless indicated, only harmonics are bowed. All open strings and non-harmonics are played ptzzicato. Despite the limitations imposed by open strings, I have tried to provide interest by choosing accompanyrng chords that imply a variety of modality and feeling, and are sometimes less than predictable. The accompanist should feel free to improvise his/her own harmonies.

Alice Spatz

4

Table Of Contents

The

Clef

..........7

.... Open Strings on the Bass

The Music Alphabet

......7

..

Open Strings and Rhythms

.........8

.

Note The Whole Note Basic Math Quarter Rests Mix-Up More Rests Review The Dot Write Your Own T\rnes Eighth Notes Run With Number 8 ....... Sync. Mix I The Half

Svnc.

Sixteenth

........I ... 11

........

11

........

11

...L2 .......12 ........ 13

.......... 13

.......I4 .,..........L4 .........

lb

................ lG ....... 16

Mix II

Notes

Tlvist Write Your Own Tunes More Dots, Same Rule Slow Gallop Gallop and Walk Sixteenth Note

Write Your Own T\rne

......18 ..........18 ..........19 .....20 ........20 .......20

'...,...,.,..,..2I

5

Accidentals.. Key Signature 4th Position ..... Hot Cross Buns in

lst Position

..........22 .....23 .........23

G

..

G Hot Cross Buns in D....... Hot Cross Buns in A ....... Half A Shortnin' Bread The Whole Shortnin'Bread Frere Jacques in 4th Position Frere Jacques in 1st Position D Minor Hot Cross Buns in

Position Joshua Fit The Battle Of Jericho in lst Position Six-Eight Time lst Dance............ 2nd Dance........... 3rd Dance ..... 4th Dance ............ Six-Eight In TWo A Jig Pop Goes The Weasel ..... Row, Row, RowYour Boat Hey, Ho, Nobody Home in 4th Position Hey, Ho, Nobody Home in 1st Position Away In A Manger in 4th Position ......... Away In A Manger in lst Position ........ Joshua Fit The Battle Of Jericho in 4th

..........24 ....

,

..

.

..24

.....25

...,...25 ........ . ..25

....26 ...........27 .......28 ....29 .......30 .... 31

.....32 ..... BB

..........33 .......88 ......84 .....8b ......8G .............. 86

...36 .........38 .............38 .............39 .... 40

...........41

7

THE CLEF This

FF

in this- clef. It is found on a Staff consisting of 5 lines and 4 spaces which have letter names. a a

Draw some bass clefs. Notice that the dots (:) of the sign surround the "F". o a

THE MUSICALPHABBT The musical alphabet has seven letters: AB C D E F G . The lines and spaces continue to repeat the seven letters of the alphabet upward and downward to include all the notes you can play on the instrument. rr

a a

+

-

(e)(0G)ABCDEFG(a)(b)(c)

a

8

OPEN STRINGS ON THE BASS Open strings on the bass are named from high to low, or I IV (4th).

highest 1st .

2nd

3rd

(lst), II (2nd), III (3rd) and lowest 4tl'l

al

a

()

€>

G

D

A

E

I

II

III

IV

PIZZICATO is when you pull the string with the 1st, 2nd, or both fingers of the right hand, and let the string roll off the tip of the finger(s).

È

11 \r a

X

The right thumb rests on outside edge of fingerboard (x), as far down the fingerboard as is comfortable. For a good ptzzicato sound, pull the string downward landing on the fingerboard almost under the next string. Be sure to use t}re arm to help the fingers. DO NOT pull the string away from the fingerboard. IJse as much finger meat as possible for a fat sound. Your entire arm should move when you play ptzzicato. If you use the fingers alone, without the arm, the sound will be weak and thin. Practice playing each repeated group of the 4 open strings in ONE downward stroke.

9

OPEI\T STRINGS

AI\D RHYTHMS

All notes consist of a h ad, a stem, and sometimes a flag or tryo, or three!.

The staff is divided into Measures by vertical lines called Bar-Lines. bar line

bar line

bar

measure

measure

Note that the last one is doubled because

measure

line

double bar line

measure

it indicates the end.

After the bass clef sign you will find a Time Signature which looks like one of these: a - ta

a

T}re bottoÍn number represents the

duration of note: 4 on the bottom alwavs means a quarter note or TA, and looks like this:

It has a dark head and a stem. (We will learn later

how figures other than 4 can

be used on the bottom.)

will notice dynamic markings

(i.e , f , p, ,etc.)

in all the music, which tell you how loudly or softly to play. Passages to be played softly are marked with a p; even softer ís PP.Tlne f means play loudly; un ff is louder still. There is also medium soft: nlp, and medium loud: mf . Also, pay attention to crescendos (getting You

Iouder)=;anddecrescendos(gettingsofter)>

10

Play these quarter notes, and say "TA" for each one. Then recite the alphabet representation of the notes aloud as you play. The double bar with two dots means to repeaú al1 four measures. Chords: D

)--zz

D

GA

A

G

C D

D

G

mf

a z

- ,a

-

-

TA TA TA TA TA TA TA TA TA TA TA TA TA TA TA TA

DDAADAADGGDDGDDG

In the following exercises, the úop number indicates how many of the bottom notes you can find in one measure. Say syllable "TA", then say the alphabet representation of the notes as you play.

Chords:

)=72 I

Am mf

Dm

Am

D

G

Em Am

D

Am Em

a

a.

-

-

-

TA AADDADDGEEAADAEE

TA TA TA TA

Chords:

)--r, ,a I - ta a

A

TA TA TA

TA TA TA

TA

TA TA TA TA

GDA

D

mf ^-t

-

-

TA TA TA AEAETC. Chords: | .rcr a='12 I

I

I

l,

--

Em Am f' f -p on repeat -

-

ETC.

D

G

Em

Bm

D -

Em

11

THE HALF NOTE When you add two quarter notes (TA'S) together, it becomes twice as long, and you call it a half note or TA.A. Chords:

)

Am

- ,a

Dm

G

Am

P -fonrepeat

=r, a

Dm

-

.

-

TA TA AE

TA_A A

TA-A TA_A DD

l^1 (t

TA D

TA_A

TA_A

TA_A

G

D

A

THE WHOLE I{OTE When you add four quarter notes (TA's) together you get a whole note or TA-A-A-A. You can also add two halfnotes together and get a whole note. (TA-A, TA-A).

Chords: c

)--r,

A

D

D

D

f

G

mf TA TA TA

TA

TA_A_A_A

TA

_A TA _A

TA_A_A_A

BASIC MATH 1) Question: How many half notes in a whole note? 2) Question: How many quarter notes equal a half note? 3) Question: How many quarter notes equal a whole note? 1) a

2)

3)

Z :ro1y\suv (I Z :ro1v\suv (Z 7 :ro1r\suv (8

T2

QUARTER RESTS Rests, which is another way of saying silences, look like this:

(TA) (TA) (TA) (TA) Using the quarter notes or quarter note rests as one count, play and count aloud. (Count first, then say the alphabetical names of the notes.) Chords: Am

)=r,

P -f

Dm onrePeat

MIX-UP This time say the duration syllables, then the alphabetical names of the notes.

Chords: c

Am

)=r, f

p

mp

a

-

TA TA TA TA TA TA (rest) TA DG f

-

ETC, D

A

D

repeat all 8 measures

a,

\a

TA_A TA_A

TA_A

(rest)

TA_A-A_A

Count, then say alphabetical names.

Dm lc )=72 J 'p on rePeat Chords:

G

Dm

ia

-

3

(4)

13

MORE RESTS A Half Note Rest looks like this: It sits on top of the line.

a

r 1

(TA

Count and say note names as you play.

Chords:

c

D

D

C

I

2

3

4

A)

(TA

A)

D

L

)=72 mf qI

r 2

3 4

(1

2)

(3

A Whole Note Rest looks like this: It hangs below the line. Even though it is a rest, dontt fall asleep! Keep counting in the silences!

Chords:

D

- ta

a

.

4)

I

(1

34)

2

(TA-A A-A)

G

Am

)=r, mf

Em

-s)-

(1

4\

(1

4)

REVIEW Review the notes, rests, and rhythms you have learned so far. Play and say the duration syllables. Play and say the alphabetical names of notes. Don't forget to repeat all 8 measures. Chords:

E

A

D

G

I

a=::

I

-5)-

TA TA TA TA

TA

TA

D

p

(TA_A)

TA

TA

(TAAAA)

(TA_A) TA_A TA (TA) D

AE

TA_A

TA_A

TA _

A

TA

TA_A_A_A

TA

T4

THE DOT The dot on the right side of a note or a rest indicates that the duration of the note (or rest) is

half as much longer.

EXAMPLE: The dot is equal to a quarter note (half of a half note). Therefore, the duration of the note is a half note plus a quarter note. Count and say the alphabetical names of the notes.

Chords:

)=r,

D

p

al

- ta

-

a

2

3

2

2

3

2

3

3

G

C

f

-)

a

a,

2

3

3

2

3

2

WRITEYOUR OWI\T TUNTES Add notes and/or rests to the blanks in the measures, being sure all measures have the correct number of quarter notes. Then learn to play what you composed. Use a pencil so that you can make changes, and don't forget the dynamics!

Title:

By'

a

- ta .

-

a - ta

-

15

Title: .

By: L.r

Title:

By'

EIGHTH NIOTES An eighth note looks like this: It has a dark head and a flag. When you break a quarter note ínto two parts, you get two shorter notes called Eighth Notes or TI's (pronouncedtee.).

When there are two eighth notes together, the flags are joined into beams, and look like this: Chords:

)=un

D

A

D

A

G

PP

TI TI TI

ETC.

As you see, the duration of two eighth notes equal one quarter note.

D

16

An Eighth Note Rest looks like this:

' ,.

o

..'l

(TI)

Play while you say the alphabetical names of the notes and duration syllables. Say the rests silently as "TI's".

Chords: )

ln =

s4

c

"t'-

Dm

Em

Am

C

G

P on rePeat

TI

TI

ETC.

RUN WITH NUMBER 8 Clap on the "x's" and say the "TI's". You could also try tapping the top of your bass instead of clapping. Then play the same rhythm in the little open string melody that follows.

)=54

mf"

TI TI

Chords:

Gm

i,l x

XX

TI

ETC.

ADA

Gm

Am

A

) --un

mf

SYNC. MIX

I

As with the last piece, clap or tap your bass on the "x's", and say the syllables of the rhythm (TI-TI, TA, TA, TA-A). Emphasizellne accents in both versions of Sync. Mix I below. The time signature is now ?, or the equivalent of 3 quarter note durations in each measure.

t7

XX

TI TI

xx TA-A

x TA

TA

x TA

X

X

TI

TI (TI) TI

>

xx TI TI

TI

X

x

XX

TA

TA-

A-A

>

xxxx TI TI TI

.fTTT X

TA-A

TA

rl

ll

x

XX

x

(TI) TI TA

TA-A

x (TA)

Are your right hand fingers a little sore and tired? They will get stronger and tougher the more you play. Practice in small time periods at first - two or three times a day, 5-10 minutes each, in addition to the practice time for the Karr book.

Chords:

D

)--un

SYI{C. MIX

II

Clap and say the rhythms before playing,

Chords:

)=un

G

:>

DDm

t\l

>

l>

mp x

x TI TI (TI)

xx TI TA

xx TA

xx

TA-A TA TA

E

f x

xx

TA TI

A

mp x

TI TI TI TA

XXXX

TA-A TA-A

18

SIXTEENTH NOTES An eighth note can be divided rnhalf, giving youtwo sixteenth notes.

sixteenth rest

SIXTEENTH NOTE TWIST Clap and say the rhythm slowly.

pp-

)= no

pp

X

X

x

TOO TOOTOO TOO TOOTOO TOOTOO TI

TI

TO o

XX

nn

x

Too Too

x

x

Too Too Too Too Too

(TI)

TI

TI

"tr

,tt .a

./,.t/./.t.///al/// aaalaata

xxxx TOO TOO TOO TOO TOO TOO TOO

TOO

(TI) TI

xxx TI

TOOTOO TOO TOO TOO TOO TOO

X

TOO

Tr

T]

TA

When you play the Sixteenth Note Tlvist, try using 2 alternate fingers for pízzrcato. Play slowly while saying the duration syllables aloud at frrst.

Chords:

)=n

G

pp

DG

Gm

pp

D

"tr

19

WRITEYOUR OWI\T TUI{ES Time to write some more tunes using the new duration rhythm notes and rests. Notice the time signature - the duration of all notes must equal 2 quarter note durations for each measure in the first tune, and 3 quarter note durations in the second tune. Decide how loudly or softly you want your tunes played, and write in the dynamic markings. Learn to play them.

Title:

By,

TOOTOOTOOTOOTOOTOO TI

a

TOOTOOTOO TOO TA

Title:

By'

-5È+ TA

TI

TI

TA

TA_A

20

MORE DOTS, SAME RULE ta

-

+

-f

SLOW GALLOP Clap (or tap) on the beats (x's) while saying syllables, Then play on the D string. T?y using alternating index and second f,rngers. Call the dotted quarter notes "'IA.-EE" and the eighth notes "TI", so the rhythm is TA-EE TI TA-EE TI. I

i

=

60 f- p on rePeat xxxxxxxxxxxx TA-EE TI

xxxx

XXXX

TA_EETI TA-EE TI TA-EE

TA_EE TI TA-EE TI

TI

TA-EE

TI

TA_A

Now play Slow Gallop on all the strings as follows:

I

Chords: J= 60

D

>

f- p on repeat

GALLOPAND WALK Clap (or tap) on the beats (x's) while saying syllables. Then play on the D string. T[y using alternate index and second fingers. Call the dotted eighth notes "TI-OO" and the sixteenth notes "TOO", so the rhythm is TI-OO TOO TI-OO TOO. J= uo ,a

- ta . I

Tr-oo roo x

I

I

TI-OO X

TOO Tr-OO TOO Tr-OO

xx

TOO

TA TA TA. A xxxx

2L P,=-

f.,=

:>>

I

T

I

I

TI-OOTOOTI.OOTOOTI-OOTOOTI-OOTOO

xxxxxx

I

TA

TA

TA

TI-OO TOO TA - A

xxxx

I

I

TI-OO TOO TI-OO TOOTr-OO TOO Tr-OOTOO

1A-A

XXXX

XX

pr)

I

l>

TI-OO TOO

T.{

TI-OO TOO TA

TA

TI-OO TOO TA

xx

XXXX

(TA)

XX

Now Gallop and Walk on all the strings:

úcC

lChords:

J= 60

G

C

G

_>

:>

l>

D l>

t

- t.

p

7

AEAD

WRITE YOI]R OW}T TUNTES One more chance for you to write an original tune.

Title:

By,

O.

at

-

,.\. -.

t

G

>

22

ACCIDET{TALS The notes vou have learned so far are all natural notes. \.

It

a

tt

€>

A natural note can be altered by raising

FLAT

SHARP at

I

,a

it a half step, or by lowering it a half step.

- ta )

NATURAL

It t) I

half step higher

half step lower

as above

Practice making sharp signs (fi) i" front of the foliorving notes, being sure that they are on the same line or space as th'e note. O

Now write flat signs (b) and space.

. -

i" front of the following notes, paying attention to the correct line

aD

t)

V

L.J

L,,

Now put natural signs in front of the open strings.

. -taL,

at

n

a) l

-

23

KEY SIGI\TATT]RE To the

right of the time signature you may find one or more of these accidentals called

KEY SIGNATURE.

,

a

a.

lL

n,.

fl

I

at

.

tt,

t

V

V

rt

tt,

|,

u

It

v

;lV

tI

,]tt

It

.,

TI

.

I

tt,

-tv

lV

.r

'tlt

tt,

It

rlv

It

IMPORTANT The key signature tells you which notes are played sharp or flat throughout the whole piece. EXCEPTIONS: During the piece when you see an accidental to the left of the note, you play that accídental, euen if it is not in the key signature, or if it is different from the key signature.

You play E

natur"l (h) not E nat $)

as indicated

in the key signature.

Ath Position Since the bass strings are easier to press dorvn

further away from the scroll, we will learn

4th position first. The best way to frnd 4th position is to locate the harmonics found on page 34 in Karr Book I. These are called the "Dittersdorf 'harmonics. They are also found

onpage9.

4

4

4

4

o IV

Instead of playing these harmonics with your fourth finger, play them with your first finger. You are now in 4th position.

24

Here are the notes in 4th position for your first and fourth fingers. Play and say the alphabetical names of all these notes, including both sharp and flat names. Remember to keep the "C" formation with your thumb and first frnger, and to use your fingertips as you press the notes down in 4th position. Look at Karr Book I page 51 for a reference. 4

+

aA

Play your notes in tune by adjusting your first frnger to the pitch of the adjacent open string. Always use pizzicato.

HOT CROSS BI]NS

INT G

Sing the song first. Then, sing the alphabetical names of the notes as you play

Hot Cross

Buns in 4th position.

I Chords:c D G )=72 4thpos.4 | o

G D 4 1

G

D

G

o

1

4

II a pe*ny, two a pen-ny.

Hot

DG 10

a

III HotCrossBuns,

III Hot Cross Buns,

One

p

mf

I Cross Buns.

mf

lst POSITION You can play the same notes of Hot Cross Buns also in 1st position. But before you do, let's look at all the notes you can play with your first and fourth fingers in lst position: lst Position

notes

Play and say as for 4th position notes.

25 As before, make sure to hold your left hand in the same C formation, using your fingertips. WARNING:You need a bigger stretch as you play near the scroll in 1st position. The left shoulder should remain low, and the left elbow raised high to make it easier to press the notes down as you play. Look at Karr Book I pages 42 and 51 for a reference. Now back to Hot Cross Buns in G.

Chords:c D G a=72 I

lstPos.

4

1 O

G D 4

1

G

D

G

D

G

0

I

4

1

0

I Hot CrossBuns, Hot CrossBuns,

One

mf

P

a pen- ny, two a pen- ny.

Hot Cross Buns.

HOT CROSS BI.INS IN D Chords:

)=r,

D

4th pos. 4

AD 10

III

Chords:

) =r,

1st Pos.

-mf

p

mf DAD 4I0

p

HOT CROSS BI]NIS INA Sing or say notes as you play the tune. Your left hand fingers will get stronger and tougher as they get used to pressing the strings. Remember to practice for short periods two or three times a dav.

I Chords: A )=72 4thpos. n

(la

t

E

A

A

E

A

E

A

E

A

1

0

4

1

0

1

4

1

0

TII

IV

tL

î

mf

III

-

-

pmf

IV

III

26

)=r, -r.ttl

AE 410

AEA 4t0

Chords: lst Pos.

A

AEA 4L0

E 1

a ft

III

p

mf

Now try the same tunes above alternating positions. Play the first two measures in 4th position and the last two measures in 1st position, Then, try the first two measures in 1st position, and the last two measures in 4th position. Which do you like the best? Can you create other combinations?

If you want to impress other string players with your uniqueness, try playing Hot Cross Buns in the deepest (lowest) register on the doublebass. This must be played in 1st position.

Chords:

)=r,

lst

Pos.

E 87 410

E

EBTE 410

B7 1

E B7 4L0

E

a

p

mf

,ilf

HALF A SHORTI{IN' BREAD \r l\

= shift toward bridge = shift toward scroll

Chords: G(6)

66

4th Pos. O

III

I Ma- ma's

Chords: J = uu

lit - tle chil- drenlove

shortnin',shorbrin',

Ma- ma's

lit- tle chil- drenlove shortnin'bread.

G(6)

4th Pos'o

I.{otice the differences in the last measures of

Half A Shortnin' Bread.

27

THE WHOLE SHORTI\TII{' BREAD

I ;

III

(Koussenitzkyharmonics from Karr Book 1 p. 23)

't .-ttt ^lIi

o

Arco €>

(3rd finger or thumb)

fvF

i

r.'lco

-

pízz. or piano

D. C. al Fine

DG

c(6)

lst.

Pos.

5ì. lî

0102

10

I.II

7IV

I'III

I

|lo ?

;

n\/

?o

tr

?

O

a

010

.?

Oo

??

t É+?.

0Z\

'II l-E

;ì tr?

III

F r,f tr ? tr

v

.?

ry

?o€

|

28

FRERE JACQT]ES Play together as a round and/or with the ostinato.

Chords: J=u,

D

Pízz. 4thPos. 0

L 4

0

1 4

0

ltt

'III

III

a

lu 'III

mf Arco a

oo

o

o

+ ??

? e?

i i ;,

o

o

? ? ?

mf 4 0 1

4 6 1

IIII

III I

o

o

-t.

o

? ??

II

1! 1 s4 -

IIIIIU oo

o

o

4 s

? i ?

I III

oo

???

?

t

aU t

DADDAD 00

I tu oo

?

a,

- ,a

II

I21s

I

lrI

I oo

IrI

III

? 1?

o

+ e

o

?

oo

? i

A P

0

'II

29

FRERE JACQUES Shift to 1st Position and play Frere Jacques again.

Chords:

I J=63

D

Przz. lstpos. 0 1 4 o

I 4

0

ra - aa

ll

II

Arco a

mf o

o

+ ??

:

o

? 1?

OO

+

? i ?

a-

- ta

mf 4 6 1

4 6 1

o

a

-

III

I

oa

o

? e?

? ??

4 0

21s

16 4

1!

III

ie

III oo

o

???

e

DADDAD 00 ' oo

III

??? O

o

II

. oc

III 'II

? i ?

o

? i

o

e

oo

A

? i ?

0

30

D MINOR In Hot Cross Buns and Frere Jacques you have been playing an "Ff," with the fourth finger, either on the A string in 4th position, or on the D string in 1st position, because both the key signatures of D major and G major have an Ffi. 4thPos.- - - -

4or4

o - aa

lstPos. - - - -l

.

II

III

If you move back a half step from the 4th finger (Ff;l to the 2nd finger, you will be playing a true F (Natural).

4thPos. , lstPos.---2or2 I

E^

- ta

iI

III

Let's look at the familiar Hot Cross Buns, and what it sounds like with an F natural in d minor instead of D major.

Dm a--72 lstPos.2 L o Chords: Dm A7 aa

Dm 2 1 0

Dm A7

0

A7 1

Dm A7 Dm

2 I

0

a V

II

p

mf Chords: Dm A7

l=724thpos.2 |

Dm

Dm A7 Dm

o

2 t 0

II

III

A7 0

Dm A7

Dm

L210

(1. V

III

mf

II

p

III

II

Now play it the old way in D major on page 22-23. Which sounds happier? Which sadder? For Joshua Fit The Battle Of Jericho, you are in the key of d minor.

31

JOSHUAFIT THE BATTLE OF JERICHO Before playing this traditional gospel, clap on beats 1,2,3, and 4, and chant the syllables (as written) in rhythm. Do the same thing using the words to the song.

)=72 mf I

TI TI TI TI TI TI

xxx

TI TA_EE x x

TA x

TA x

-Ax

TA_A

TA_EE

TI x

XX

X

mf a

a

)

/.

TI

.t

TA

x

TI

EE x

Chords:

TI

,,

TA xx

TI

,t

TI xxx TI

TI

x

TI TA_EE TA xxxx Now play Joshua

,t

TI TI

Ti

TI

TA x

TA_A-A_A xxxx

TI TI TA

TA

TI TI X

XX

Fit The Battle Of Jericho in 4th position - pizzícato, ofcourse.

Dm

)=rrnt\'r))y

A7

I

0

ra o

III

II Josh- ua

a a

frt the bat - tle

Dm

A7

1

I

-

n

Jer-

i

II

of

Jer-

I i

Jer-i -

cho,

cho,

Dm

mf

021

-

VI

I

0

-II

II Josh

cho

-ua

A7 1

I

III fit

the

bat

tle

of

Dm

A7

Dm

2

I

0

a ta

vl

II Jer-

III i

cho

I

and the

II

I

III

walls

came

bum

II - bl

mg

down.

32 Play Joshua Fit The Battle Of Jericho again in 1st position (the fingering is the same but the strings are different). Now try it with your teacher, taking turns with thepizzicato melody and the Arco accompaniment.

Chords: Dm ) =rr lst Pos. o

mf Arco

A7 0

Harmonics from Karr Book 1 p. 34

(chords)

Dm 1

U

V

-

,-

II

-. mJr

TII

-

a

d-o

A7

20

1

Dm

02

A7 l, o_

lc

t-

10

Dm 0

a

Ir

III à a

II c

o

')

aa a)

2 /-)

?

33

SX.EIGHT TIME 'aJnsBour r{cBa ur suorl€Jnp oîou r{+q8lo g :ro1v\suv (I

1) How many of the bottom note durations can

there be in one measure in six-eight time? 2) What

kind of note duration does 8 represent?

olou ql8 :ralr\stlv (Z

This is the time signature for six-eight time,

1st DAI{CE It's time to return to open strings for a while. For the next set of pieces, you are going to encounter the equivalent of 6 eighth notes per measure. Play and count aloud, emphasizing accents. With the left hand, tap the bass on the first and fourth counts.

, Chords: D

AE

G

D

G

l>

:>

N

J! 88

>

->

>

mf

123

4

56

56

1234

123

45

6

fl2

3 4 56

Quarter notes are held for two counts and the numbers in the parentheses are not spoken aloud.

1(2)

3

4(5)

1 2(3) 4 5 clap clap

6

clap

clap

(6)

2nd DANCE Chant aloud and tap the bass on accents before playing the next piece on open strings.

Chords: \ ,l

Dm

A7

Dm

Dm

A7

:88

mf

TA

TI

TA

TI

TI

TA

TA

TI

ETC.

A7 Dm A7

Dm

34

Dotted Quarters are held for 3 counts or the equivalent of 3 eighth note durations, and Dotted Half notes are held for the entire length of the measure or the equivalent of 6 eighth note durations.

1 (2)

(3) 4 (5) (6)

1 (2) (3) (4) (5) (6)

3rd DANCE Before playing the next piece, clap on the x's and chant the rhythm. After you can do that, clap only on the accents as you chant.

À

SS

mf -f

TA x

onrepeat

xxx

TI

TI

TI xxx

TI x

l>

ì>

TA

TA

EE

xx

x

>

l>

a

att,/t//

TOO TOO TI

xx

TI

TA

x

X

TI x

TOO

TOO TI

xx

TI x

Now play the 3rd Dance on the open strings (emphasizing the accents).

Chords:

D

Irt

mp

-f

on repeat

TA xxx

EE

35

4tLa DANCE Follow the same instructions as before. Take it slowlv because of the trickv dots.

Irt

mf

o - aa

T

I

DI TI TI TI xxxx

DUM XX

TI

DUM XX

DI

TI x

TA

TI

XXX

J a attttt/

I

DUM XX

DI

TI TI TI xxxx

TI

TOO TOO TOO TOO TOO TOO

xxx

TA

XXX

EE

Play the 4th Dance on the open strings.

Chords:

Irt

D

mf Dm

AmGAm

Em

By now, using this book and the Karr Book 1, you should be able to practice 30 minutes a day in two or three segments without difficulty.

36

SX-EIGHT

INT

TWO

When six-eight is performed at a quick tempo, it is counted in two - each count having the equivalent of three 8th notes, as you can see in the first two measures of the next piece. This time, clap the rhythm as you count aloud: "one" "two". Then play A Jig on the open strings as you count aloud.

AJIG

mf ONE

ONE

TWO

TWO

ONE

TWO

f

ONE

TWO

A7

Chords: ).= +z-s+

mf ONE

_>

ONE

TWO

TWO

ONE

TWO

f

ONE

TWO

POP GOES THE WEASEL Count this piece in two. Take turns with the tune and the accompaniment. Remember to keep your left elbow up and the fingers of your left hand curved, using your frnger tips.

Chords: 1 ).=54

4th Pos.

Pizz.

G

g

1

I

II

N mt / (Harmonics from Karr Book1pp.23&37)

Arco

o

37

(2nd time)

!L!o II

III

Em lst Pos.

0

mf A

,Ll

o

Em

D

) I

I

,II

o

4L4

I

IIIU o

o

0

D

104

01

I'III

II

o

o

III

38

ROW ROW ROWYOURBOAT Here is another piece in six-eight time that is counted in two. Play this tune as a round, with a new part starting every two measures. Also, try it with the accompaniment.

Chords:

I

rl'=

D

ath Pos.

60 pizz. 0 Tllf Row,

row,

row vour boat

gent

- ly down

II the

stream,

c

(Harmonics from Karr Book 1 pp. 23 & 37)

III Mer- ri- ly, mer- ri- ly,

mer-ri- ly, mer-ri- ly,

II I III Iife is but

a

o

HEY, HO, }IOBODYHOME This is another round. Add a new part every two measures. First play it in 1st position.

Chords:

I

J=

Em

lst Pos.

B0 pizz. 1 mfn 'TT "u

Hey,

I

Ho,

o

'II meat, no drink, I

bo

- dy home,

no

oo

(all on E string)

Arco

I_III no -

2

a

(Harmonics from Karr Book 1pp. 23,37,& 49)

?? T-

t-

o a)

aa)

o

no

39

III

I mon- ey have

I

none.

i

Yet

shall

oo

Now play

it in 4th position.

Does

this sound minor or major?

Chords: Em

1

J

4th Pos.

= 80 Pizz.

t-

h iu 17[ Hey,

ltl

,III

Ho,

no

bo

o

o

(all on E string)

Arco o

o

p T_

Z

,III I meat, no drink, '

- dy -IV

+o L I

home,

no

o

l.)

no

o

a

I mon- ey

have I

III none.

AWAY

Ii

Yet

I shall

be

II{AMA\IGER

Tly singing the words to this carol as you play the melody to the last song in B4ss-ic Essentials I. Take turns playing all the parts with your teacher and your bass companions.

40

AWAY II\TAMAI\TGER ,

I

ath

= 88

Pos.Chords:

Pizz.

D

D

04

1

II

0

III

mf A-way The cat

lna

tle

A

man are

IV

II

low

- ger, - ing,

no

the

III

crib for ba- by

Arco n

a a -

bed.

The

u'akes.

but

l.l

Uo'-./

o

o

IV III

mp

lit - tle Lord lit - tle Lord l'l

tU'

C

èoJ

t-

1.-WP

mf

a

Pizz. or piano

III

ry

- sus lay Je - sus, no Je

down his cry

- ing

sweet he

head. makes.

.II

mI

I

III the Lord

The

stars

in

i

ìove

thee

skylooked Je - sus, look

F

-/"

Bm A

III

'II

downwhere he

Iay.

The

down from the

sky

and

lit - tle Lord stay by my l'l

Je - sus, a cra - dle till

V-

-

sleep

on

morn-ing

the

hay.

is

nigh

4t

AWAY INAMANGER lst ros. Chords:

t =88

Pízz.

D

D

04

1

1

0

ITI mf

III

A - way The cat -

in a are

man

t1e

lorv

Arcoll

- ser. no - ing. the

mP

crib for a bed. The ba - b1' a - wakes, but

lit - tle lit - tle

._)

.

:

--

mf

ntP

4__;',

Pizz. or piano

I

G

D

1

0

IIIIIIIIIIII] sus ìay sus, no

mf down his sweet head. cry - ing he makes.

vl'l

c i-s'

Lord

.-F

v"--/

Je Je -

Lord

The I

stars love

in the thee Lord

skylooked Je - sus, look

rjn,J, a

t,-'/

o

o o

o

mf

III down where he

lay.

down from the

sky,

The lit - tle Lord and stay by my

- sus, a cra - dle till Je

sleep morn-

on the ing is

hay.

nigh.

ERRATA SHEBT Please substitute this music for Row, Row, Row Your tsoat on pg' 38"

Chords:

I

ol'=

D

4th Pos.

60 pizz.

o

III

ffi,f Ro*,

II

I

row,

row your

boat

gent - ly down the stream, o

III Mer- ri- ly, mer- ri- ly,

ITI

II

mer-ri- ly, mer-ri- ly,

(II) I III Iife is but o

a

42

Alice Spatz Alice Spatz has composed for chamber ensembles, orchestra, chorus, music-theater, voice and solo instruments. Her major works includeAmerican Plainsong, a music-theater piece performed twice in 1992, and lona, a concerto for two cellos, commissioned by the Sage City Symphony which premiered the work in 1994 with soloists Michael Finckel

and Maxine Neuman. In 1994 the Massachusetts Cultural Council awarded a grant to Spatz for the creation of a music-theater/dance work Sarah's Laughter, Rachel's Tears, a collaboration involving Williams College and Calliope Theater Co., commissioned by the Atlantic Sinfonietta. In addition, she has completed her second piano trio, commissioned by the Linden Tbio, premiered in the Spring of 1996. Alice Spatz's music has been performed throughout the Northeast, recorded, broadcast on television, public radio, and published by Shawnee Press and W.W. Norton. "Bosgjg Essentials" Vols. I and II, doublebass instruction books with a collection ofher compositions, were written by Spatz and edited by Gary Karr and are published byAmati Productions. In addition to many other grants, commissions and awards, she has been the recipient of ASCAP Standard Awards 1990-96. Spatz has an M.F.A. in composition from Bennington College, is a free-lance classical doublebassist, and performs widely as a folk musician with the trio Wintergreen. Slne teaches doublebass, music classes for pre-schoolers and composition and theory at the Pittsfield Community Music School in Pittsfield, MA. Her home is in Lanesborough, MA.