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Double Bass Solo Techniques


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Table of Contents

Overture to Le nozze di Figaro ; Symphony No. 8 ; Aida ; Symphony No. 41 'Jupiter' (excerpt 1) ; 'Rejoice Greatly' from Messiah ; Symphony No. 39 (excerpt 1) ; Concerto pour la main gauche ; Die Meistersinger von Nurnberg (Act II) ; Espana ; Symphony No. 2 ; La mer ; Variation VI from Variations on a Theme by J. Haydn ; Symphony No. 2 ; Overture to Der Freischutz ; Brandenburg Concerto No. 4 ; Il Barbiere di Siviglia (excerpt 1) ; Overture to Guillaume Tell ; 'Danse Espagnole' from Swan Lake ; 'Mars' from The Planets ; Alborada del gracioso ; La traviata (Act III) ; Octet in F (excerpt 1) ; Symphony No. 6 ; Falstaff (Act III) ; 'Scherzo' from A Midsummer Night's Dream ; Symphony No. 4 ; Lohengrin (Act II) ; Symphony No. 2 ; Scheherazade (excerpt 1) ; Symphony No. 9 ; Symphonie fantastique ; Boris Godunov (Act III) ; Sleeping Beauty (Act III) ; Symphony No. 35 'Haffner' ; Overture to Don Giovanni ; Overture to Il Barbiere di Siviglia (excerpt 2) ; Symphony No. 40 ; Symphony No. 88 ; La forza del destino ; Symphony No. 39 (excerpt 2) ; Symphony No. 41 'Jupiter' (excerpt 2) ; Serenade for Strings ; Piano Concerto No. 2 ; 'Fugue' from The Young Person's Guide to the Orchestra ; Madama Butterfly (Act 1) ; Die Zauberflote ; Octet in F (excerpt 2) ; Symphony No. 7 ; 'Vorspiel' from Gotterdammerung ; Symphony No. 4 ; La valse ; Valse nobles et sentimentales ; Ma mere l'oye ; Piano Concerto in G ; 'Menuet' from Le tombeau de Couperin ; Concerto in A ; 'Prelude' from Agon ; L'enfant et les sortileges ; L'heure espagnole ; Drei Orchesterstucke ; Wozzeck (Act III) ; Katya Kabanova (Act III) ; Variation XI from Variaciones concertantes ; Adagio from Suite No. 3 ; Sinfonietta ; Scheherazade (excerpt 2) ; Symphony No. 4 ; Daphnis et Chloe ; The Nutcracker ; Violin Concerto No. 5 ; 'Romance' from Eine Kleine Nachtmusik ; Symphony No. 2

About the Author

Keith Hartley is the author of the well-known Double Bass Solo series, published by Oxford University Press. He is a double bassist in the Orchestra of the Royal Opera House, London.


Whether you are a beginner wishing to learn new skills, a university player studying excerpts, or a professional preparing for orchestral auditions, this extremely useful volume will help you understand the marriage between technique and music making . . . Hartley has put together an excellent collection of music from the orchestral literature to demonstrate intermediate and advanced techniques used in music for the double bass. The excerpts are extremely efficient in conveying not only the proper procedure to execute the required skill but also the musical ideas behind them. * Daniel Nix, The Strad, May 09 *
This is an imaginatively produced book of orchestral excerpts for double bass. Keith Hartley . . . has found an innovative way to study instrumental technique and orchestral excerpts at the same time . . . If you need useful, relevant material to study slurs, upper and lower parts of the bow, spiccato, sautille, hook bows and so on with more advanced students, look no further. * Cathy Elliott, ESTA News & Views 2008 *
This is an essential book for the more advanced bass pupil. * Ensemble (Journal of the MMA), September 08 *
Hartley's extensive playing experience has enabled him to provide fingerings in the more challenging excerpts which he knows will work when the player finally gets to play the piece with an orchestra . . . excellent material for learning the orchestral repertoire while at the same time supporting the development of a good technique on the instrument. * Music Teacher, February 2009 *
Text instruction is clear and concise, and the musical examples are substantial enough to allow players to practice the technique that is presented. Diving into the technical elements in the context of actual repertoire is a valuable approach, and teachers and students are likely to benefit from the excerpts . . .This book is a practical resource for intermediate level students up through teachers, and provides ideal practice material for auditions and exams. * Graham Pellettieri, Strings Magazine (USA) *

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