school board of brevard county educational services

SCHOOL BOARD OF BREVARD COUNTY

Educational Services Facility

2700 Judge Fran Jamieson Way

Viera, Florida 32940-6601

SCHOOL BOARD MEMBERS

Amy Kneessy, Chairman

Dr. Barbara A. Murray, Vice Chairman

Karen Henderson

Robert Jordan

Andrew Ziegler

SUPERINTENDENT

Dr. Brian T. Binggeli

DIVISION OF CURRICULUM AND INSTRUCTION

ASSOCIATE SUPERINTENDENT

Ms. Cyndi Van Meter

AREA SUPERINTENDENTS

Dr. Ronald Bobay

Ms. Sandra Demmon

Dr. Mark Mullins

SCHOOL BOARD OF BREVARD COUNTY

Educational Services Facility 2700 Judge Fran Jamieson Way

Viera, Florida 32940-6601

Amy Kneessy, Chairman

Dr. Barbara A. Murray, Vice Chairman

Karen Henderson Robert Jordan

Andrew Ziegler

SUPERINTENDENT


____________________________________________________________________________________________________________________________________________________________________________

NONDISCRIMINATION NOTICE

It is the policy of the School Board of Brevard County to offer the opportunity to all students to participate in appropriate programs and activities without regard to race, color, gender, religion, national origin,

disability, marital status, or age, except as otherwise provided by Federal law or by Florida state law.

A student having a grievance concerning discrimination may contact:


Superintendent

Brevard Public Schools

Ms. Cyndi Van Meter

Associate Superintendent

Division of Curriculum

and Instruction

Equity Coordinator

Dr. Walter Christy

Director

Office of Secondary

Programs

Ms. Pam Treadwell, Director

ESE Administrative

Support Services

ADA/Section 504

Coordinator

School Board of Brevard County

2700 Judge Fran Jamieson Way Viera, Florida 32940-6601

(321) 633-1000

It is the policy of the School Board of Brevard County not to discriminate against employees or applicants for employment on the basis of race, color, religion, sex, national origin, participation and membership in

professional or political organizations, marital status, age, or disability. Sexual harassment is a form of employee misconduct which undermines the integrity of the employment relationship, and is prohibited. This

policy shall apply to recruitment, employment, transfers, compensation, and other terms and conditions of employment.

An employee or applicant having a grievance concerning employment may contact:

Ms. Susan Standley

Director

Office of Compensation & Benefits

Ms. Joy Salamone, Director

Human Resources Services

and Labor Relations

School Board of Brevard County

2700 Judge Fran Jamieson Way Viera, Florida 32940-6601

(321) 633-1000

This publication or portions of this publication can be made available to persons with disabilities in a variety of formats, including large print, Braille or audiotape. Telephone or written requests should include your

name, address, and telephone number. Requests should be made to Kim Riddle, Exceptional Education Projects, 631-1911, extension 535, at least two (2) weeks prior to the time you need the publication

High School Bass All-County Preparation Packet #4

Brevard Public Schools

All-County Orchestra Preparation Packet

Writing Team Laura Pinfield, Violin, Hoover Middle School

Linda Waid, Viola, Edgewood J/S High School

Dr. Tom Silliman, Jr., Cello, Southwest Middle School

Tim Ashe, Bass, Eau Gallie High School

Division of Curriculum and Instruction

Associate Superintendent Cyndi Van Meter

Elementary Programs Director Lynn Spadaccini

Middle School Programs Director Dr. Beth Thedy

Secondary Programs Director Dr. Walter Christy

K-12 Music Resource Teacher Cynthia S. Johnson


Brevard All-County Orchestra Preparation Packet

Introduction: The purpose for these packets is to familiarize the prospective All-County Orchestra student with the techniques needed to audition for the All-

County Orchestra string section and to perform adequately as a member of the All-County Orchestra string section. Although it can be utilized in

class instruction, it is not meant as a replacement curriculum guide, nor is it meant to direct the course of study of any private teacher. Rather, it is a

sequential course of study to motivate students and to provide them with a sequenced range of materials that they can work through independently in

order to attain the techniques they need for the All-County level. It will help students make the transitions from the class elementary orchestra to the

middle school orchestra and the middle school orchestra to the high school orchestra.

Suggested Use: The scales, etudes, solos, and orchestral excerpts are intended to be given to students in November to be used for study throughout the year in

preparation for the following year’s audition. Opportunities for in-class review of the packets include a “Class Ensemble” in Step 5. In the middle

school packets, the second audition excerpt is one that may be learned as a class exercise. It is suggested that an overview of the packets be provided

to the students in a sectional setting. Students motivated to audition for the All-County Orchestra will work through the packets independently.

The middle school packets are on a two-year rotation and the high school packets are on a four-year rotation; both avoid repetition for any student

who matriculates normally. The audition excerpts are on the last page of each packet for each year.

Description and Layout: These preparation packets are designed as a series of steps: eight for middle school and eleven for high school. Each step contains one or more

excerpts from standard etude books, an excerpt from a solo work, and scales. In all cases, the sources of the excerpts are noted. Practice hints are

given with each section. It is of great importance that the students purchase the recommended etude books and solo repertoire, as the excerpts given

are only introductions to the standard repertoire.

The scales do not have fingerings; these are already available for the student on the Brevard All-County Scale sheets. However, the scales are broken

into learning steps for ease of practice, and the required scales are notated as such.


Brevard All-County Orchestra Preparation Packet High School Bass Rotation #4

The following Next Generation Sunshine State Standards are addressed in this packet:

MJ Course

Level Standard HS Course Level

Levels 2,3,4 MU.68.C.1.2/MU.912.C.1.2 All Levels

All Levels MU.68.C.2.1/MU.912.C.2.1 Levels 2,3,4,5,6

Levels 3,4 MU.68.C.2.2/MU.912.C.2.2 All Levels

All Levels MU.68.O.1.1/MU.912.O.1.1 Levels 2.3.4.5.6

Levels 3,4 MU.68.O.2.2/MU.912.O.2.2 Level 6

All Levels MU.68.O.3.2/MU.912.O.3.2 All Levels

All Levels LACC.68.RST.2.4/LACC.910.RST.2.4/

LACC.1112.RST.2.4 All Levels

All Levels DA.68.S.2.1/DA.912.S.2.1 All Levels

All Levels MU.68.S.2.1/MU.912.S.2.1 Levels 3,4,5,6

All Levels MU.68.S.2.2/MU.912.S.2.2 Levels 2,3,4,5,6

MJ Course

Level

Standard HS Course Level

All Levels MU.68.S.3.1/MU.912.S.3.1 Level 6

All Levels MU.68.S.3.2/MU.912.S.3.2 All Levels

All Levels MU.68.S.3.3 N/A

All Levels MU.68.S.3.4/MU.912.S.3.4 Levels 2,3,4,5,6

All Levels MU.68.S.3.6 N/A

Levels 2,3,4 LACC.68.WHST.3.9/LACC.910.WHST.3.9/

LACC.1112.WHST.3.9 Levels 2,3,4,5,6

N/A MU.912.C.3.1 All Levels

N/A MU.912.F.3.4 Levels 4,6

N/A LACC.910.SL.2.4/ LACC.1112.SL.2.4 All Levels

N/A LACC.1112.WHST.3.7 Levels 5,6

How to use this self-study packet: Practice using the steps presented, playing scales, études, and solos daily. The scales you need for the

All-County audition have an asterisk, and are in bold. You will find that none of the scales included in this packet have fingerings. Use the

Brevard All-County scale sheets to find a good fingering, or ask your teacher. These scales need to be reviewed throughout the year in order

to maintain them for the audition. It is strongly suggested that you purchase étude books and solos to enhance this packet, which is only a

sample of the standard repertoire. There is a list of suggested titles at the end of this packet.

Use resources to learn terms you do not know, listen to performance examples, and view video and web casts to see proper technique in

action. Your library may have the Harvard Dictionary of Music, and there are numerous sites on the web that are excellent.

The following information is listed for each excerpt. Remember that daily practice in small steps will help you develop into an All-

County Orchestra member!

Step

Number

Suggested

Timeline

Title Composer/Arranger Publisher

In this area you will find instructional tips and information.

High School Bass All-County Preparation Packet: Rotation #4

Equivalent Bass, Tenor, and Treble Clef Chart


Step 1

Étude

Step 1

October “Six b minor”

Contemporary Rhythm and Meter Studies for Bass Clef Instruments

Elliot del Borgo Meredith Music

Publications

1. This étude alternates between common time (4/4) and 6/8 time signatures. The eighth note pulse is the common thread which runs

throughout the excerpt.

2. Practice by clapping the rhythms with a metronome.


Excerpt

Step 1

October “When the Lilacs Last in the Dooryard Bloom’ed” 20th Century Studies for the Double Bass

Paul Hindemith Schirmer

1. Paul Hindemith used an innovative approach to compose for every instrument in the orchestra and was one of the first modern

composers to write solo music for the double bass.

2. This excerpt should be performed with a detaché bowing: slow and smooth.


Solo

Step 1

October “Moderato”

Develop Sight Reading for All Bass Clef Instruments

Gaston Dufresne Charles Colin

Music

1. Challenge yourself by starting the first note of this exercise on the D string in III1/2 position. Play the first four measures in this area

of the bass neck using the G, D, and A strings.

2. Take care to bring out the crescendos and dynamics.

Scales

Step 1

October *C Major - 2 octaves

*G Major - 2 octaves *All-County Scale

1. Practice daily using the All-County Scale sheet fingerings or private teacher fingerings.

2. Always start slowly and concentrate to make the notes clear and in tune.

3. Combine the first octave with the second to make the two-octave scale.

4. Use the chart on page 6 to figure out the tenor clef notes.

5. Continually review the All-County scales!!


Step 2

Étude

Step 2

November “Preparing for Thumb Position”

Tim Ashe N/A

1. When playing in thumb position, focus on keeping curved fingers while playing on the tips. The first note of this exercise can be

played by lightly putting your thumb on the D string (but not pressing down) and bowing the harmonic (D).

2. A harmonic is indicated by the small circle above the note. In the next measure, you will use your first finger while applying pressure

with your thumb.


Excerpt

Step 2

November “Symphony #4, Movement 2”

20th Century Orchestra Studies for the Double Bass

William Schumann G. Schirmer

1. Challenge yourself by playing this solo in thumb position.

2. Memorize the notes on the ledger lines to prepare yourself for sight reading.

3. Mark in the fingerings you have chosen with a pencil.

4. The thumb position symbol is .


Solo

Step 2

November “Theme from Mahler Symphony No. 1”

Suzuki Bass school, Volume 4

G. Mahler Alfred Publishing

1. You will recognize this famous melody!

2. Use the treble conversion chart on page 6 to read the music.

3. This excerpt is performed entirely in thumb position. The last measure is played on the G, A, and D strings.


Scales

Step 2

November *F Major - 2 octaves

*B Flat Major - 2 octaves

*E Flat Major - 2 octaves *All-County Scale




4. Use the chart on page 6 to figure out the notes in the tenor and treble clef.

5. Continually review the All-County scales from the previous steps!!


Step 3

Étude

Step 3

January “Étude #24”

110 Studies, Op. 2, Volume 1

Wilhelm Sturm International

Music Company

1. When performing a string crossing, do not lift your bow off the string; roll your bow to the next string.

2. Be sure to perform all the crescendos and decrescendos.

3. is a target tempo. Begin four times slower by setting your metronome at , and over time increase the tempo to

, which equals the target tempo.

4. Restez means to remain in the position.


Excerpt

Step 3

January “Barber of Seville Overture”

Orchestra Excerpts from the Symphonic Repertoire for String Bass,

Vol. II

G. Rossini International

Music Co.

1. Practice this excerpt slowly with a metronome.

2. When you can play in tune at a slow tempo ( ), move the metronome up a click at a time until you reach .

3. Record yourself and listen to your performance. Hearing yourself this way will help you identify areas in which you can improve.


Solo

Step 3

January “I Am the Walrus”

Lennon and McCartney 60 Greatest Hits

John Lennon and

Paul McCartney

Hal Leonard

1. Practice this excerpt slowly using a lot of bow. At the same time, gradually increase the tempo. (Practice tempo ) Play it

as if your bass were singing the song!

2. Practice without the bow (pizzicato) to get the correct fingerings. Watch the accidentals.

3. Listen to the original song, “I Am the Walrus”, as it is one of the Beatles’ most famous songs.


Scales

Step 3

January

*D Major – 2 octaves

*A Major – 2 octaves

*E Major – 2 octaves *All-County Scale




4. Use the chart on page 6 to figure out the notes in the tenor clef.



Step 4

Étude

Step 4

February “Rhythm #23”

Bass Clef Rhythms Complete

Dr. Charles Colin and

“Bugs” Bower

Colin Publications

1. Before performing this excerpt, play your Ab major scale to get the tonality in your ear.

2. Take care to watch the D and B naturals.

3. Write in the fingerings that you think are most logical.

4. Set your metronome to the quarter note and make sure that there is a clear distinction between the sixteenth note and triplet

subdivisions.


Excerpt

Step 4

February “Concerto Dumbarton Oaks” Orchestral Excerpts from the Symphonic Repertoire for String Bass

Igor Stravinsky International

Music Co.

1. This excerpt will challenge you! The eighth note is the common thread with which to keep count throughout and each click of the

metronome will represent an eighth note.

2. Clap the rhythms with the metronome before trying to play this excerpt.

3. Refer to the tenor clef guide on page 6.

Solo

Step 4 February “Andante”

Develop Sight Reading for All Bass Clef Instruments

Gaston Dufresne Charles Colin

Music

1. A good method of practice for this excerpt is to clap the rhythms using a metronome to maintain a steady beat.

2. After establishing the correct rhythms, play this excerpt without the bow (pizzicato). Find the fingerings that you are most

comfortable with and write them in.

3. Once you feel confident playing this excerpt pizzicato, play it using your bow.

4. Start practicing this excerpt slowly, gradually increasing the tempo.


Scales

Step 4

February

*A Flat Major – 2 octaves *All-County Scale






Step 5

Étude

Step 5

March “Exercise #4”

Method for the Double Bass, Part 1

Isaia Billie Ricordi

1. This chromatic exercise is a great piece to improve your intonation!

2. Write in fingerings that you think will work well for this exercise. Use only open strings, first, second, and fourth fingers.

Excerpt

Step 5

March “Symphony #4, Op 36, movement 1”

Orchestral Excerpts from the Symphonic Repertoire

Peter Tchaikovsky International

Music Co.

1. Moderato con anima means to play at a moderate speed with animation! Listen to Symphony #4, Op. 36, Movement 1 by

Tchaikovsky for the tempo target.

2. Practice the second to the last measure slowly until you are comfortable with the accidentals.


Solo

March “My Jelly Roll Soul”

Mingus More than a Fake Book

Charles Mingus Jazz Work Shop

1. Charles Mingus is one of America’s greatest double bassists and composers!

2. Practice this excerpt with a metronome by first clapping the rhythm and then using the bow.

3. Perform this excerpt with smooth (legato) bow strokes.

4. Play it in a smooth, but “grooving” style. You should always try to “feel the music” as you play it.


Scale

Step 5

March

* E Chromatic Scale - 2 octaves *All-County Scale





Step 6

Étude

Step 6

April “Étude #23” Tim Ashe Not Available

1. This excerpt uses both the ascending and descending forms of the g melodic minor scale.

2. As you practice this excerpt, pay attention to the ascending notes in the first five measures. Then practice the descending passage in

measures 8 and 9 carefully, playing the correct pitches.


Solo

Step 6

April “House Near the Haunted Grave Yard”

Tim Ashe Not Available

1. Be careful to perform the accidentals in this excerpt carefully, listening for the difference in the major and minor intervals.

2. The last two measures must be performed col logno or with the wood of the bow. Play these notes by hitting the string with the side

of your bow while fingering the notes to create the effect of bones rattling in a graveyard. This will add a chilling effect!

Scale

Step 6

April

*G Melodic Minor 2 Octave Scale *All-County Scale

1. The melodic form of minor raises the 6th and 7th steps of the scale ½ step while ascending, and lowers them while descending.






AUDITION EXCERPTS

Excerpt

#1

May-

Summer

“Life is Just a Game”

Stanley Clark Collection

Stanley Clark Hal Leonard

1. Stanley Clark is a prolific double bassist, electric bassist, as well as a composer!

2. Begin by practicing this excerpt at a slower tempo and gradually increasing the speed to the performance tempo. Count and

subdivide!

3. The quarter note is the common thread that holds the time signatures together.

4. Download and listen to an MP3 of this song.


Excerpt

#2

May-

Summer

“Violin Concerto in D minor”

Solos for the Double Bass

Antonio Vivaldi Schirmer

1. Practice this excerpt at a slow tempo gradually increasing the speed.

2. The symbol (-) above the notes is called a tenuto. Tenuto means to emphasize a note by holding it for its full value, and in some

cases, it may be played slightly louder.


To best prepare for the audition, continually review the following All-County audition scales:

Two octave Major scales: E, F,G, Ab, A, Bb, C, D, Eb

Two octave Chromatic scale: E-E

Two octave G Melodic Minor scale

Eight measures of sight-reading will also be performed at the audition.

Routinely learning new études and solos will support your continual improvement and musicianship.

It is suggested that every student purchase music in order to build a comprehensive library with a wide range of

repertoire that includes technique books, solos, and ensembles. The following list of suggested standard

repertoire is an excellent start to a lifelong collection.

Suggested Étude Books For Students To Own:

Progressive Repertoire for the Double Bass, Volume 2 & 3

A New Technique for the Double Bass Book 1, 2, & 3 by Francois Rabbath

A Contemporary Concept of Bowing Technique for the Double Bass by Fredrick Zimmermann


References Used in this packet

Isaia Billie. New Method for Double Bass Part III. Published by Ricordi.

Edouard Nanny. Complete Method for the Four and Five String Double Bass. Published by Alphonse Leduc.

Edited by Fred Zimmermann. Orchestra Excerpts for the String Bass Vol. II. Published by International Music Company.

Edited by Fred Zimmermann. Orchestra Excerpts for the String Bass Vol. III. Published by International Music Company.

Antonio Vivaldi. Six Sonatas for Double Bass and Piano. Published by Hal Leonard.

Passages for the Double Bass. Published by Boosey & Hawkes.

Franz Simandl. Simandl 30 Studies for String Bass. Published by International Music Company.

Edited by Fred Zimmermann.Orchestra Excerpts for the String Bass Vol. III. Published by International Music Company.

George Vance. Vade Mecum for the Double Bass. Published by Carl Fisher.

Edouard Nanny. Three Caprices for Double Bass. Published by Liben Publications.

Stevie Wonder.The Best of Stevie Wonder. Published by Hal Leonard.

Max Bruch. Kol Nidrel Op. 47 for String Bass and Piano. Published by International Music Company.

Franz Schubert. Quintet in A Major “Trout Quintet”. Published by International Music.

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