Repertoire-Specific Exercises for Double Bass - CiteSeerX

APPROVED: Jeff Bradetich, Major Professor Clay Couturiaux, Committee Member Nikola Ruzevic, Committee Member John Holt, Chair of the Division of

Instrumental Studies Lynn Eustis, Director of Graduate

Studies of the College of Music James Scott, Dean of the College of

Music James D. Meernik, Acting Dean of the

Toulouse Graduate School

ORCHESTRAL ETUDES: REPERTOIRE-SPECIFIC

EXERCISES FOR DOUBLE BASS

Jack Andrew Unzicker, A.A.S., B.MUS., M.M.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

August 2011

Unzicker, Jack Andrew. Orchestral Etudes: Repertoire-Specific Exercises for

Double Bass. Doctor of Musical Arts (Performance), August 2011, 79 pp., 30

illustrations, 26 references, 43 titles.

In this project, frequently required double bass orchestral audition excerpts as

well as their individual technical difficulties are identified. A survey of professional

double bass players and teachers currently and formerly employed by major orchestras,

universities, and conservatories have participated to validate the importance of four of

the most frequently required orchestral excerpts: Ludwig van Beethoven’s Symphony

No. 9, Mvt. 4, and Symphony No. 5, Mvt. 3; Richard Strauss’ Ein Heldenleben; and

Wolfgang Amadeus Mozart’s Symphony No. 40, Mvt. 1. The survey respondents

identified the primary and secondary technical concerns of each of the four excerpts. I

have created technical studies, or etudes, that specifically address these difficulties and

help fill a literary gap within the existing pedagogical resources for the double bass.

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Copyright 2011

by

Jack Andrew Unzicker

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TABLE OF CONTENTS

Page Chapters

1. INTRODUCTION ....................................................................................... 1 Purpose Thesis Method

2. SURVEY .................................................................................................... 6

Survey Questions Survey Results

3. ETUDES, STUDIES, AND EXERCISES .................................................. 13

State of Research 4. CREATING REPERTOIRE-SPECIFIC TECHNICAL EXERCISES .......... 24

Beethoven Symphony No. 9, Fourth Movement Beethoven Symphony No. 5, Third Movement Strauss Ein Heldenleben Mozart Symphony No. 40, First Movement

5. CONCLUSION ......................................................................................... 40

Appendices

A. BEETHOVEN RECITATIVES ETUDE ..................................................... 41 B. BEETHOVEN SYM. NO. 5 ETUDE ......................................................... 47 C. EIN HELDENLEBEN ETUDE .................................................................. 50 D. MOZART SYM. NO. 40 ETUDE .............................................................. 66

BIBLIOGRAPHY ........................................................................................................... 77

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CHAPTER 1

INTRODUCTION

Purpose

A literary gap exists within the available pedagogical resources for double

bassists. Several important and frequently studied pieces of orchestral repertoire have

yet to be incorporated into the collection of dedicated instructional resources, including

exercises and etudes. A large and diverse collection of solo and ensemble repertoire,

method books, technical studies, etudes, recordings, and videos are available for

double bass students, teachers, and professionals, referenced in Murray Grodner’s

extensive Comprehensive Catalog of Music, Books, Recordings and Videos for the

Double Bass.1 Existing within these resources are numerous collections of excerpts

and complete double bass parts of orchestral works, including many editions with

suggested bowings and fingerings, such as Fig. 1.

Figure 1: Ludwig van Beethoven Symphony No. 5, Third Movement, Trio. Bowing and fingerings by Oscar Zimmerman.2

The collections of complete double bass parts, edited by Oscar Zimmerman,3

contain suggested bowings and fingerings and are a helpful resource to begin problem

solving and confronting this repertoire (Fig. 1). However, they do not address the 1 Grodner, Murray, Comprehensive Catalog of Music, Books, Recordings and Videos for the Double Bass, 4th ed. (Littleton: Grodner Publications, 2000). 2 Beethoven, Ludwig van, Symphony No. 5 Symphony No. 5, in The Complete Double Bass Parts of the Beethoven Nine Symphonies and Leonore no. 3 Overture, Edited by Oscar G. Zimmerman (Interlochen: Zimmerman Publications, 1970), 55. 3 Bach, J.S., et al., The Complete Double Bass Parts, 10 Volumes, Edited by Oscar G. Zimmerman (Interlochen: Zimmerman Publications, 1970).

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technical difficulties that may result from the suggested fingerings, bowings, string

crossings, etc.

Etudes and technical exercises are also available, including some based upon

solo, and chamber music repertoire. However, there is a lack of orchestral etudes based

upon the excerpts most commonly required for orchestra auditions, which represent

some of the most complex and challenging double bass repertoire. A few exist, but are

not organized, the original works upon which they are based are not identified, therefore

the students that could benefit greatly from the etudes are largely unaware of their

existence.

Figures 1-3 are examples of the resources currently available, and their

limitations. Figures 1 and 2 are examples of standard orchestral repertoire, with

fingerings and bowings by Oscar Zimmerman. This Sturm study (Fig. 3) contains two

quotations of Beethoven Symphony No. 5, mm. 1-4 and mm. 13-18, but does not

contain any exercises to aid with these passages. The study is related to the orchestral

work only thematically. The intent is to develop broad technical facility on the bass,

rather than repertoire-specific technique problem solving.

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Figure 2: Beethoven Symphony No. 5, Third Movement, Scherzo. Bowings and fingerings by Oscar Zimmerman.4

Figure 3: Sturm Study No. 78. Based on Beethoven Symphony No. 5, Third Movement, Scherzo.5

4 Beethoven, Ludwig van, Symphony No. 5, in The Complete Double Bass Parts of the Beethoven Nine Symphonies and Leonore No. 3 Overture, Edited by Oscar G. Zimmerman (Interlochen: Zimmerman Publications, 1970), 54. 5 Sturm, Wilhelm, 110 Studies, Opus 20, Vol. 2, Edited by Frederick Zimmermann (New York: International Music Company, 1963), 14.

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Thesis

In this project, frequently required double bass orchestral audition excerpts, as

well as their individual technical difficulties, are identified. Technical studies, or etudes

are created that specifically address these difficulties and help fill a literary gap within

the existing pedagogical resources for the double bass. This project encourages

continued scholarship and further creation of similarly designed technical studies based

upon other specific orchestral repertoire.

Method

The orchestral etudes of this project are based upon the most commonly

required repertoire for orchestral auditions, in order to be most useful. In the 1990

journal, International Society of Bassists, Vol. 16, No. 2, the International Society of

Bassists (ISB) published a survey by David M. Sickle of the most frequently required

solos and excerpts from the most recent auditions of fifty-three American orchestras.6

In Sickle’s survey, the four most requested works were Ludwig van Beethoven

Symphony No. 9 and Symphony No. 5, Richard Strauss Ein Heldenleben, and

Wolfgang Amadeus Mozart Symphony No. 40. These works were required thirty-six,

thirty-two, twenty-six and twenty-one times, respectively.

Due to the age of Sickle’s survey, a new survey was conducted. Professional

double bass players and teachers currently and formerly employed by major orchestras,

universities, and conservatories have participated in an on-line or electronic mail survey

to validate the importance of the four previously mentioned works. They were also

asked to identify any existing or commonly used etudes or technical studies based upon

6 Sickle, David M., “Orchestra Audition Report,” International Society of Bassists, Vol. 16, No. 2 (International Society of Bassists, Winter 1990), 47-49.

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these works, identify the primary and secondary technical concerns presented by each

work, and identify other works to be the basis for possible future series of etudes.

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CHAPTER 2

SURVEY

This chapter discusses the intent of the survey, its questions, and the results of

the survey. Specifically, the primary and secondary technical concerns of the orchestral

excerpts are identified. These concerns represent the central focus of the technical

studies and etudes introduced in Chapter 3.

Survey Questions

Introduction: The purpose of this survey and the resulting project is two-fold:

1) To document the existing importance of four orchestral excerpts, ranked

highest by David M. Sickle’s International Society of Bassists survey,

from the orchestral literature that are frequently required for double bass

auditions, identifying their unique and most problematic technical

difficulties.

2) To design etudes to assist double bass students to develop the

technique used in this repertoire.

It is understood that auditions require much more than technical ability alone,

including musicality, phrasing, style, and elements that escape music notation, such as

sound production, vibrato, and rubato. While these artistic attributes are essential, they

are beyond the scope of this project. The technical elements that are discussed and

addressed within this project include intonation, rhythm, string crossings, shifting, bow

strokes, and other fundamental techniques.

Double bass students, during their introduction to this specific repertoire and/or

the technique that occurs within, are the intended beneficiaries of these etudes.

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1) Please list your name, orchestral and teaching positions currently and previously

held.

2) In how many double bass orchestra auditions have you participated, as a

performer and as a panel member?

3) What percentages of the auditions in which you have participated, as either a

performer or a panel member, have included each of the following excerpts?

a. L.v. Beethoven Symphony No. 9, Recitatives in Mvt. IV

b. L.v. Beethoven Symphony No. 5, Trio in Mvt. III

c. R. Strauss Ein Heldenleben, at Rehearsal No. 9

d. W.A. Mozart Symphony No. 40, Development Section in Mvt. I

4) Are there other excerpts that are more frequently required in auditions? If so,

please identify the composer, compositions, excerpt, and percentage of

inclusion.

5) For each of the following excerpts, are you familiar with any etudes or technical

studies that are based directly upon this repertoire? (For example: L.v.

Beethoven Symphony No. 5, Scherzo in Mvt. III is the basis for Wilhelm Sturm’s

Study No. 78, in 110 Studies, Op. 20.)





6) Of the following excerpts, which technical difficulties would you first need to see

addressed in a etude in order to be most helpful for double bass students?

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7) For the same excerpts, which technical difficulties would you need to see

addressed second?





8) Following the completion of etudes based upon the four excerpts previously

mentioned, which orchestral audition excerpts would you appreciate being

examined in future orchestral etudes?

Survey Results

The survey questions and answers were completed either by electronic mail, or

through an on-line survey service, SurveyMonkey.7 The survey answers have been

compiled to assess the relevance of the listed excerpts, identify existing technical

studies related to each excerpt, and identify the primary and secondary technical

concerns.

Question 1: The surveyed professional double bassists and teachers currently

and formerly perform and teach in major orchestras, universities, and conservatories,

including the American Symphony, Columbus Symphony Orchestra, Delaware

Symphony, Fort Worth Symphony Orchestra, Los Angeles Philharmonic, Metropolitan 7 SurveyMonkey, 10 Feb. 2011, <https://www.surveymonkey.com/>.

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Opera Orchestra, National Symphony Orchestra, New York Ballet Orchestra, New York

Philharmonic, Oklahoma City Philharmonic, Orchestre Symphonique de Montréal,

Pittsburgh Symphony Orchestra, San Francisco Symphony, Winnipeg Symphony

Orchestra, Bowling Green State University, Brigham Young University, Carnegie Mellon

University, Catholic University of America, Columbia University, Duquesne University,

Eastman School of Music, Indiana University, Manhattan School of Music, McGill

University, Mills College, Peabody Conservatory, San Francisco Conservatory of Music,

Stanford University, University of California – Berkeley, University of California – Santa

Cruz, University of Manitoba, University of Maryland, University of North Texas,

University of Oklahoma, and the University of Washington.

Question 2: The survey respondents have collectively taken part in 302

auditions, either as candidates for positions or panel members.

Question 3: Of those 302 auditions, 91.7% have included Beethoven Symphony

No. 9, 93.6% have included Beethoven Symphony No. 5, 87.7% have included Strauss

Ein Heldenleben, and 70% have included Mozart Symphony No. 40. These figures

parallel Sickle’s findings, published twenty years ago; the same excerpts are still the

most commonly requested.

Question 4: The survey respondents also identified Mozart Symphony No. 35 as

occurring in 60.8% of the auditions in which they have participated. Mozart Symphony

No. 39 was required in 29.3% of auditions, followed by Johannes Brahms Symphony

No. 2 (22%), Brahms Symphony No. 1 (19%), Felix Mendelssohn Symphony No. 4

(13%), Mozart Symphony No. 41 (6%), Giuseppe Verdi Otello (6%), Franz Schubert

Symphony No. 9, “The Great” (5%), and Richard Strauss Also Sprach Zarathustra (2%).

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Question 5: Only one of the survey respondents was aware of the Sturm Study

No. 78, based on Beethoven Symphony No. 5, Third Movement. No additional etudes

or technical studies were identified that were based upon the four specific excerpts of

this project. However, the respondents identified numerous etudes, technical studies,

and methods that are beneficial to the development of techniques required in the four

excerpts. Although the identified existing studies may aid with technical development,

i.e. spiccato bow strokes, the studies vary dramatically from the excerpts. In these

cases, the identified studies are written in different keys and meters than the specific

excerpts.

Question 6 & 7: The survey respondents were asked to identify the primary and

secondary technical concerns for each etude. A simple tally of the responses identifies

theses concerns as:

• Beethoven Symphony No. 9, Fourth Movement, Intonation and Legato

• Beethoven Symphony No. 5, Third Movement, Bow Strokes and Articulation

• Strauss Ein Heldenleben, Shifting and Bow Technique

• Mozart Symphony No. 40, Bow Strokes and String Crossings

Further evaluation of results identified additional technical concerns. In

Beethoven Symphony No. 9, right hand concerns were mentioned repeatedly, including,

in order of rank, sound production, bow technique, smooth bow, and dynamics. Overall,

right hand concerns surpassed left hand concerns slightly, totaling twenty-three and

eighteen respectively.

For Beethoven Symphony No. 5, bow strokes were identified as the primary

technical concern, twice as often as the secondary technical concern, articulation.

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Rhythm and string crossings were among the following concerns. Bow strokes,

articulation, rhythm, and string crossings are all functions of the right hand. And, for this

excerpt, right hand concerns surpassed left hand concerns greatly, totaling twenty-five

and nine respectively.

For Strauss Ein Heldenleben, left hand concerns surpassed right hand concerns

slightly for this excerpt and only this excerpt, totaling twenty-four and twenty

respectively. Shifting, intonation, and arpeggios were identified as the principal left

hand concerns of this excerpt. Legato and sound production ranked slightly behind the

secondary technical concern of this excerpts, bow technique.

For Mozart Symphony No. 40, bow strokes were identified as the primary

technical concern, twice as often as the secondary technical concern, string crossings.

The next two highest ranked concerns were coordination between the two hands and

sound production. For this excerpt, right hand technical concerns more than doubled

left hand concerns, totaling twenty-three and eleven respectively.

For all four excerpts, right hand technical concerns surpassed left hand concerns

by a ratio of approximately three to two, totaling ninety-one and sixty-two respectively.

Question 8: Respondents identified thirteen excerpts from less commonly

requested orchestral excerpts for possible future repertoire-specific etudes. The order

of recommended excerpts does not parallel the frequency in which these excerpts are

required for auditions, as outlined in Question 4 of the survey. Respondents identified

Mendelssohn Symphony No. 4, Brahms Symphonies No. 1 and No. 2, Mozart

Symphonies No. 35 and No. 40 (Fourth Movement), Beethoven Symphony No. 7, and

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Gustav Mahler Symphony No. 2, in order from highest to lowest number of

recommendations.

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CHAPTER 3

ETUDES, STUDIES, AND EXERCISES

State of Research

The highly regarded work by Frederick Zimmermann, A Contemporary Concept

of Bowing Technique for the Double Bass, focuses on the duties of the bow arm and

hand.8 Zimmermann’s concept of isolating the right arm, hand, and bow to facilitate

focused practice and improvement is not unique to the double bass, as practicing the

part of each hand separately is a common practice method of pianists, for example.

Zimmermann addresses complex string crossing and bowing patterns by simplifying the

left hand to play only the pitches E and A, in order to focus on bowing precision.

When applying this concept to specific passages, including excerpts,

Zimmermann establishes a fingering, then notates the string crossing and bowing

pattern, determined by that fingering. (Fig. 4)

8 Zimmermann, Frederick, A Contemporary Concept of Bowing Technique for the Double Bass (New York: MCA Publishing, 1966).

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Figure 4: Beethoven Symphony No. 3 passage with Frederick Zimmermann’s exercise below. Simplified left hand with two lowest open strings E and A, and A and E fingered on the D and G strings, respectively.9

Zimmermann’s selection of pitches, E and A, simply designed not to detract from

the focus of his exercises for the right hand, could certainly be improved. Exercises that

focus on the right hand may be more effective by including the tonality, register, and the

approximate string length of specific passages. Zimmermann’s selection of the two

open bottom strings, E and A represent the longest string length which is the most

difficult to articulate and requires the shortest bow stroke. The octave higher A and E,

played on the D and G strings, respectively, have shortened the string length by one

third and two fifths, respectively, greatly reducing the resistance of the string, allowing

for quicker articulation and demanding longer bow strokes. In the previous example

(Fig. 4), Zimmermann has assigned only the pitches E and A to the left hand for an

exercise based upon a passage from Beethoven Symphony No. 3. The original 9 Beethoven, Ludwig van, Symphony No. 3, in Zimmermann, Frederick, A Contemporary Concept of Bowing Technique for the Double Bass (New York: MCA Publishing, 1966) 41.

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passage, with Zimmermann’s fingering, remains in half-position until the end of the fifth

measure. Zimmermann’s exercise, written underneath the original passage, shortens

the D and G strings lengths by thirty to forty percent. By altering the string length for the

exercise, the resistance of the string and length of bow stroke differs from that of the

original passage. This exercise would be more beneficial if the string lengths remained

more closely related to that of the original passage, expanding the exercise to aid not

only string crossing patterns, but bow strokes as well. Furthermore, a left-hand

fingering can be selected that requires no shifting, as not to detract from focus on the

right hand, yet maintains the tonality of the original passage. This improvement would

simultaneously aid the development and security of intonation in half position, without

interfering with the primary focus of the exercise, right hand string crossings (Fig. 5).

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Figure 5: Enhancements to Zimmermann’s practice method.

Reflecting upon his audition preparation after winning a Section Bass position

with The Cleveland Orchestra, Scott Dixon remarks, “Another helpful technique was to

isolate each hand. Once I had solved the problems of each hand separately, I was able

to put them together quite easily.”10 Similarly, after winning a Section Bass position with

the Fort Worth Symphony, Brian Perry adds, “…by creating a daily regimen of technical

exercises that focus on fundamentals, you will develop and solidify the necessary

foundation for a successful audition. Things like Galamian scales, Zimmerman[n]

bowing etudes, Hal Robinson's Strokin' etudes, and some of Jeff Bradetich' s technical

exercises are all great ways to build this foundation.”11 Many professional bassists

attribute both their audition successes and refinement of other difficult passages to

Zimmermann’s isolated right hand practicing concept. 10 Dixon, Scott, “Hot Shots,” edited by Jeffrey Turner, Bass World: The Magazine of the International Society of Bassists, Vol. 31, No. 1 (International Society of Bassists, 2007) 23. 11 Perry, Brian, “Hot Shots,” edited by Jeffrey Turner, Bass World: The Magazine of the International Society of Bassists, Vol. 28, No. 3 (International Society of Bassists, 2005) 19.

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Survey respondents recommended using Zimmermann’s book for Beethoven

Symphony No. 9, Symphony, No. 5, and Mozart Symphony No. 40. Although

Zimmermann focuses on string crossings with separate bows, his concept of right hand

isolation is equally valuable when applied to string crossings with slurred bowings, such

as found in Strauss Ein Heldenleben. The survey responses indicated that right hand

technical concerns surpassed left hand concerns by a factor of approximately three to

two. The recommendation of Zimmermann’s book, by numerous survey respondents,

further emphasizes the technical burden of the right hand in orchestral auditions.

Other useful tools for improving passagework are the rhythm exercises derived

from Ivan Galamian’s publication, Contemporary Violin Technique, of scale, double

stop, and arpeggio exercises, and bowing and rhythm patterns.12 A repetitive scale or

arpeggio rhythm, all eighth notes for example, is altered into countless versions of

combinations of slow and fast rhythms in an effort to gain “control of mind over

muscle.”13 Championing the validity of this method of practice, Galamian asserts, “Any

scale or passage that the player can perform with a great many different rhythms,

accentuations and bowings is one that has been completely assimilated by the mind

and muscles.”14 (Fig. 6)

12 Galamian, Ivan and Neumann, Frederick, Contemporary Violin Technique, Vol. 1 (Parts 1 & 2), Scale and Arpeggio Exercises with Bowing and Rhythm Patterns, (New York: Galaxy Music Corp., 1966). 13 Ibid. Part 1, Preface, ii. 14 Galamian, Ivan, Principles of Violin Playing & Teaching, 3rd Ed. (New Jersey: Prentice-Hall, 1985) 6.

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Figure 6: Galamian rhythm patterns.15

First, we encounter these motifs in less demanding forms and, later on, in various levels of difficulty. In the process, we shall discover a certain development has taken place. In the eyes (sight), then in the ears (hearing), and finally in the mind, the rhythmic motif can solve the almost endless challenges presented by this manner of practicing.16

Essentially, combinations of slow and fast rhythms in two-note through sixteen-

note groupings provide moments for mental preparation during slower rhythms.

Elizabeth Green describes the mental preparation benefits of rhythmic motive-based

practice, “This type of practice focuses the attention because two notes must be

prepared (read) ahead. This is the first step in what becomes a lengthy period of

mental development.”17 Simon Fischer has also integrated this practice method into his

suggested training regime, “Practicing in rhythms is a key practice method, and one of

15 Galamian, Ivan, Principles of Violin Playing & Teaching, 3rd Ed. (New Jersey: Prentice-Hall, 1985). Part 2, 24-25. 16 Green, Elizabeth, Practicing Successfully: A Masterclass in the Musical Art (Chicago: GIA, 2006) 20. 17 Ibid. 23.

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the fastest and easiest ways to improve many different types of medium-tempo to fast

passage work.”18 The repetition of a passage with many different rhythmic

combinations aids the construction of muscle memory, mental anticipation, and exposes

technical issues in passagework. Again, Fischer explains, “Rhythm practice works by

setting the mind a series of timing and co-ordination problems to solve. In solving them

the mental picture of the passage becomes clearer, and the physical response to each

mental command becomes quicker.” Although Galamian’s original implementation of

these exercises was intended for scale and arpeggio studies, the exercises are very

beneficial when applied to passagework, such as in Mozart Symphony No. 40, First

Movement and Mozart Symphony No. 35, Fourth Movement. Jeff Bradetich identifies

rhythmic motives as one of three major practice methods, along with multiple strokes

and “add-a-note,” for improving fast passages.19 Bradetich has demonstrated how

different rhythms emphasize different technical issues, such as a string crossing or a

shift. After winning a Section Bass position with the Nashville Symphony Orchestra,

Ryan Kamm attributes his success to this type of practice, “It is also important to

practice excerpts with different rhythms and accents to solidify the coordination.”20

18 Fischer, Simon, Practice (London: Peters, 2004) 36. 19 Bradetich, Jeff, “Practice_Methods,” Web, 20 March 2011, <http://music.unt.edu/strings/mp3/Practice_Methods.html>. 20 Kamm, Ryan, “Hot Shots,” edited by Jeffrey Turner, Bass World: The Magazine of the International Society of Bassists, Vol. 28, No. 2 (International Society of Bassists, 2004) 25.

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Figure 7: Mozart Symphony No. 40, First Movement. Eighth-note passage beginning in the fifth measure of the excerpt below.21

Figure 8: Applying four of Galamian’s four-note rhythm patterns to an excerpt. Rhythms need not to change each measure.

21 Mozart, Wolfgang Amadeus, Symphony No. 40, in The Complete Double Bass Parts: Selected Works of Mozart, Haydn and Weber, Edited by Oscar G. Zimmerman (Interlochen: Zimmerman Publications, 1970), 46.

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Wilhelm Sturm has composed several etudes based upon orchestral repertoire,

some implicitly, such as No. 23 (Fig. 9) being closely related to Mendelssohn Symphony

No. 4 and others overtly, such as No. 39 (Fig. 10) that even quotes the opening of

Beethoven Symphony No. 5.

Figure 9: Sturm Study No. 23, based on Mendelssohn Symphony No. 4. 22

22 Sturm, Wilhelm, 110 Studies, Op. 20, Vol. 1, ed. Fred Zimmermann (New York: International Music Company, 1963), 13-15.

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Figure 10: Sturm Study No. 39, based on Beethoven Symphony No. 5.23

Sturm’s etudes are not identified as orchestral etudes and are thus likely to remain

unknown to double bassists as they study the works upon which the etudes are based.

Furthermore, these etudes are at least as difficult as the excerpts upon which they were

based, yet do not offer sequential, focused, or varied practice methods to aid students.

An excellent example of existing orchestral etudes is Karl Hinterbichler’s book,

11 Orchestral Etudes for Bass Trombone.24 The purpose of Hinterbichler’s work is

summarized in the Introduction and Practice Notes:

These etudes are based on some of the more challenging excerpts in the bass trombone orchestral repertoire. It is assumed that the player already has a basic familiarity with the original excerpts and the works they are drawn from. The etudes are for the most part more challenging than the excerpts. They offer different ways of approaching this music and adding variety to one’s practice routine. It is hoped that by practicing and mastering these etudes, the excerpts themselves will become less daunting and easier to perform.25

23 Sturm, Wilhelm, 110 Studies, Op. 20, Vol. 1, ed. Fred Zimmermann (New York: International Music Company, 1963), 30-31. 24 Hinterbichler, Karl, 11 Orchestral Etudes for Bass Trombone (Vancouver: Cherry Classics Music, 2006). 25 Ibid. Introduction and Practice Notes.

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The bass trombone and double bass often perform the same or similar parts in the

orchestral repertoire from the nineteenth century through the present, causing even

some of the excerpts chosen for orchestra auditions to overlap. Unfortunately, the

technical problems encountered in this common repertoire differ because the bass

trombone and double bass are physically such different instruments. Therefore, a

simple transcription of Hinterbichler’s etudes for the double bass would not be ideal.

The concept and intent of Hinterbichler’s etudes parallels those of this project. Both the

Hinterbichler etudes and those of this project aim to aid the performer’s technical

security through exercises that mimic the excerpts upon which they are based,

rhythmically, melodically, stylistically, and dynamically. Where Hinterbichler assumes

that the player of his etudes has some experience with the original excerpts, the etudes

in this project will be accessible for students approaching this repertoire for the first time

and be beneficial to more experienced players. Furthermore, Hinterbichler’s etudes

may be performed from beginning to end. That is not the design of the etudes in this

project. Each etude is a combination of exercises that should be practiced and

developed individually.

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CHAPTER 4

CREATING REPERTOIRE-SPECIFIC TECHNICAL EXERCISES

This chapter will discuss the creation of exercises for the technical concerns

identified in the survey and apply and enhance the suggested practice methods of

Zimmermann, Galamian, and Hinterbichler for each specific excerpt.

Etudes composed by the author (Appendix) are titled as follows:

• Beethoven Recitatives Etude. Based upon Beethoven Symphony No. 9, Fourth

Movement

• Beethoven Sym. No. 5 Etude. Based upon Beethoven Symphony No. 5, Third

Movement

• Ein Heldenleben Etude. Based upon Strauss Ein Heldenleben

• Mozart Sym. No. 40 Etude. Based upon Mozart Symphony No. 40

Beethoven Symphony No. 9, Fourth Movement

Intonation and legato are the primary and secondary concerns of the survey

respondents for Beethoven Symphony No. 9, Fourth Movement. The instrumental

recitatives, featuring the cello and double bass sections playing in octaves, are greatly

exposed and prone to intonation problems. The recitatives consist of six phrases

separated by brief orchestral interludes, including quotations from the previous three

movements. The tonality of each phrase varies and may modulate. The tonalities

include D minor, G minor, B-flat major, A minor, G-flat major, C-sharp minor, and D

major in less than one hundred measures.

The vocal, singing style of these recitatives encourages legato slurs and dictated

separate bows. Later in the fourth movement, a baritone soloist sings similar material to

25

the instrumental recitatives. The articulation of the cello and double bass phrases

should match those of the baritone soloist. Consistent legato slurred passages over

string crossings are a major technical issue of the bow and right hand.

In Beethoven Recitative Etude (Appendix A), consistent intonation is aided

through first hearing the first three notes of the first phrase in harmonics. Then, the

pitches are repeated stopped (fingered). A to E and A to D are both perfect intervals

which have little ambiguity in perfect intonation. (Fig. 11)

Fig. 11: Beethoven Recitative Etude, First Phrase

Following the first fragment, the phrase is oriented around G1 and G2. Often, G2

is played first with the open G string, and then fingered on the D string. The add-a-note

concept26 has been applied to repeatedly sound both the closed and open G2, and then

gradually build the remainder of the phrase fragment. Through add-a-note and

repetition, the legato bow stroke across string crossings is also exposed. (Fig. 12)

26 Add-a-note is a practice method that begins by focusing on one note, two notes, or the transition from one note to the next. Then, another note from the original passage is added to the exercise, either before or after the current notes being practiced. This process is repeated to gradually rebuild the original phrase.

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Fig. 12: Beethoven Recitative Etude, First Phrase

The second recitative phrase moves away from D minor toward G minor, then an

F dominant seven passage resolves to B-flat major. In Beethoven Recitative Etude, the

first measures are designed to isolate the movement from F-sharp to F-natural and to

solidify the perfect fifth interval from C to F, as well as the minor thirds of the F dominant

seven harmony, A – C – E-flat. (Fig. 13)

Fig. 13: Beethoven Recitative Etude, Second Phrase

Further into the second phrase, the fourth finger to fourth finger shifts between C to E-

flat, and E-flat to C have been isolated with a shifting drill that includes a perfect fifth

interval, B-flat to E-flat, to secure intonation. The following B-flat and A finger

27

replacements and first finger to first finger shifts have also been isolated using a shifting

drill. (Fig. 14)

Fig. 14: Beethoven Recitative Etude, Second Phrase

The remaining phrases of the recitatives receive similar treatment in the

Beethoven Recitative Etude. Problematic shifts and intonation concerns are exposed

and exercised through shifting drills, repeating recurring pitches, and isolating perfect

intervals. (Fig. 15-16)

28

Fig. 15: Beethoven Recitative Etude, Third Phrase.

29

Fig. 16: Beethoven Recitative Etude, Fifth Phrase.

Beethoven Symphony No. 5, Third Movement

Survey respondents identified bow strokes and articulation as technical concerns

within Beethoven Symphony No. 5, Third Movement. The bow stroke alternates

between marcato eighth notes and staccato quarter notes. The eighth notes range

between G1 (written G2) and B-flat 2. (Fig. 17)

30

Fig. 17: Eighth note passages from Beethoven Symphony No. 5, Third Movement

Playing low, fast, short, articulately, and loud, as required by this excerpt, is

difficult and requires an advanced bowing technique on the double bass. The staccato

quarter notes in this excerpt range between C2 and F3. Within the quarter note

passages, the changing string length creates dramatic corresponding changes in the

length of bow stroke. As the passage ascends, the bow stroke must lengthen

considerably to match the note length of the lower pitches.

Exercises with a simplified left hand will allow one to maintain focus upon

consistency of bow strokes, string crossings, and articulation. Both multiple strokes

(Fig. 18) and Zimmermann (Fig. 19) concepts have been applied, in the Beethoven Trio

Etude (Appendix B), to encourage maximum focus on the right hand.

31

Fig. 18: Beethoven Trio Etude. Exercise eighth note triplets are equal to the original quarter note. Likewise, the sixteenth note triplets are equal to the original eighth note. The exercise bow stroke and direction are the same as the original with three strokes per note.

32

Fig. 19: Beethoven Trio Etude. Zimmermann concept string crossing exercises.

The Beethoven Trio Etude (Fig. 19) enhances Zimmermann’s concept by

retaining a simplified left-hand fingering yet also replicates the approximate string

lengths, position, and tonality of the original passage.

Strauss Ein Heldenleben

Strauss Ein Heldenleben includes difficult arpeggio and shifting issues for the left

hand. (Fig. 20) Each dash in the fingering below, notated as 1 -2, indicates a shift or

pivot between positions. “1 -2” indicates a shift or pivot to second finger in another

position. The first two measures below contain four shifts and/or pivots to perform nine

pitches.

33

Figure 20: Strauss Ein Heldenleben.

The Ein Heldenleben Etude (Appendix C) of this project combines shifting

exercises of shifting between two pitches with Galamian’s rhythmic patterns and the

add-a-note concept of gradually adding the surrounding musical context to the exercise.

The first two measures state the original passage with fingerings and string crossings

that are to be maintained throughout the exercise. The exercises that follow are based

upon only the first two measures of the original passage. The maximum benefit of

these exercises may be derived from repeating and improving each section, rather than

performing from beginning to end. Each alteration of rhythm will expose and emphasize

different technical issues. Although the original passage begins down bow, many of the

exercises are indicated to begin up bow. In the original passage, the ascending shifts

occur during an up bow. The exercises imitate this same relationship of ascending

shifts and up bow. (Fig. 21)

34

Fig 21: Ein Heldenleben Etude

The survey respondents also identified legato as one of the main technical

concerns within Strauss Ein Heldenleben. The right hand is required to perform difficult

slurred string crossings while compensating for drastic changes in string length.

Applying Zimmermann’s bowing concept to this passage, using open strings, the odd

rhythm of the string crossing is quickly apparent. (Fig. 22)

35

Fig. 22: Strauss Ein Heldenleben with Zimmermann concept, right hand isolation, and open strings.

One of the limitations of Zimmermann’s concept is the absence of string length

consideration. The string length greatly influences the weight, placement, and speed of

the bow. Changes in string length greatly affect the resulting distribution of the bow.

Incorporating the left hand to replicate the string length will enhance these exercises by

adding changes in bow weight, speed, and placement in addition to string crossings.

Zimmermann’s concept isolates the right hand by removing shifts and anything else that

that requires focusing on the left hand. Understanding that poor intonation, shifting, and

complex fingerings may detract from the right hand focus, the Ein Heldenleben Etude

require shifting only to harmonics. Although the pitches vary from the original passage,

the string crossings and very similar string lengths are maintained. (Fig. 23)

36

Fig. 23: Strauss Ein Heldenleben, Enhanced Zimmerman concept, isolating right hand, incorporates string length without creating distracting intonation problems. The first note of the enhanced exercise may be played E-flat, if the double bassist has a C-extension with locking chromatic stops. Otherwise, the first note may be played E-natural.

Mozart Symphony No. 40

The survey respondents identified bow strokes and string crossings as technical

concerns found in Mozart Symphony No. 40, First Movement. Galamian’s concept of

applying various rhythmic patterns is useful for improving passagework. Often these

rhythmic patterns dramatically alter the bow strokes of the original passage. Using

multiple strokes in passagework, repeating each pitch two, three, or more times, allows

increased attention to the right hand while essentially performing the left hand at half-

speed, or slower. In Mozart Sym. No. 40 Etude (Appendix D), Galamian-style rhythms

37

and multiple strokes are combined to receive the benefits of Galamian’s concept while

retaining the bow stroke from the original passage. (Fig. 24)

Fig. 24: Mozart Sym. No. 40 Etude. Galamian rhythms combined with multiple strokes. Dotted quarter - eighth note rhythm, expanded with multiple strokes

The string length and tuning of the double bass generally requires more shifting

and string crossings than the other members of the string family. Arpeggio passages,

as in this Mozart excerpt, require precise and agile technique to be performed quickly

and articulately. Fig. 25 (below) shows one such complicated measure, with Mozart’s

original passage on the top line, usually played in half position. The lower line illustrates

the string-crossing pattern using open strings.

38

Fig. 25: Mozart Sym. No. 40 Etude. String-crossing pattern for open strings.

Mozart Sym. No. 40 Etude combines Galamian, Zimmermann, and Add-a-note

concepts in its progressive exercises. (Fig. 26)

Fig. 26: Mozart Sym. No. 40 Etude.

40

CHAPTER 5

CONCLUSION

With these orchestral etudes and technical exercises, double bass students and

professionals have new tools at their disposal to learn and improve the technical

requirements of the most commonly requested orchestral audition excerpts. By

creatively applying appropriate and successful practice methods to this repertoire,

students may progressively develop the necessary technique and advanced players

may refine this repertoire with a fresh approach. These concepts may and should be

applied to more of the double bass repertoire, especially to our most popular and

important works.

41

APPENDIX A

BEETHOVEN RECITATIVES ETUDE

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© 2011

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2 Beethoven Recitatives Etude

44

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5Beethoven Recitatives Etude

47

APPENDIX B

BEETHOVEN SYM. NO. 5 ETUDE

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43Original

Exercises

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Beethoven Sym. No. 5 Etude

2 1 0 2 1 0

2 1 0 2 1 0 2

IV III II III - - -

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2 Beethoven Sym. No. 5 Etude

50

APPENDIX C

EIN HELDENLEBEN ETUDE

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57

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108 !.œ œn .œ œ .œn œ .œ œn

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111 !œ .œn œ .œ ˙

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118 !

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126 !w

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129 !

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59

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61

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62

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191 !œ œ œ œ œ œ œ

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202 !œ œ œ œ œ œ

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63

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64

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66

APPENDIX D

MOZART SYM. NO. 40 ETUDE

67

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Original

Exercises

Ó Œ œ œn

Ó Œ œ œnœn œ œ œ œ œœn œ œ œ œ œ œ œ

œn œŒ

œ œ#

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9 œ œœ œ Ó

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œ œ œn œ# œ œ œ œnœ œ œ œ œ œ œ œ

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13 œ œ œn œ# œ œ œ œ

œn œ œ œ œ# œ œ œ

œ œœ œ œ œ œn œ œ œ#

!œ œ œ œ œ œ œ œn

!œ œ œ œ œn œ œ œ#

Mozart Sym. No. 40 Etude

68

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17 !œ œ œ œ œ œ œ œ

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21 œ œ œn œ# œ œ œ œnœ œ œ œ œ œ œ œ


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25 !œ œ œ œ œn œ# œ œ


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29 œ œ œ œ œn œ œ# œœ œn œ œ œ œ œ œb

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33 !œ œ œ# œ œ œn œ œ

!œ œ œ œ œ œ œn œ

!

œn œ# œ œ œ œ œ œ

!

œ œ œ œ œ œn œ œ

2 Mozart Sym. No. 40 Etude

69

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37 !œ œ œ œ œ œ œn œ

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41 œ œn œ œ œ œb œ œœ œ œn œ œ œ œ œ


œ œ œn œ# œ œ œ œnœ œ œn œ œ œ œ# œ


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45 œ œ Ó

œ œ œ œn œ œ œ œ!

œn œ# œ œ œ œ œ œ!

œ œ Ó

œ œn œ œ œ œb œ œœ œ œn œ œ œ œ œ

??

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49 œ œ œ œ œn œ œ# œœ œ œ œ œ œ œ œ

œ œ œn œ# œ œ œ œnœ œ œn œ œ œ# œ œ


œ œ œ œn œ# œ œ œ

œ œ Ó

œ œ œn œ œ œ œ œ

??

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53 !œ# œ œ œ œ œ œ œ

!œ œ Ó

œ œn œ œ œ œb œ œœ œn œ œ œ œ œ œb


3Mozart Sym. No. 40 Etude

70

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57 œ œ œn œ# œ œ œ œnœ œ œn œ œ# œ œ œ


œ œ œn œ œ# œ œ œ

œ œ Óœ œ œn œ œ œ œ œ

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61 !œ œ Ó

œ œn œ œ œ œb œ œœ œn œ œ œ œ œ œb


œ œ œn œ# œ œ œ œnœ œ œn œ œ œ# œ œ

??

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65 œ œ œn œ# œ œ œ œ

œ œ œ œn œ œ# œ œ

œ œ Ó

œ œ œ œn œ œ œ œ!

œn œ# œ œ œ œ œ œ!

œ œ Ó

??

bb

bb

69 Ó Œ œ œ

Ó Œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ

œ œn Œ œ œ

œ œ œn œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ

??

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73 œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ






71

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77 œ œ œ œ œ œ œ œ


œ œ œ œ œ œ# œ œn


œ# œ œn œ œ œb œ œœ# œ œn œ œ œb œ œ

œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ#

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81 œ œ œ œ ˙œ œ œ œ ˙




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85 œ œ œ œ œ œ œ œ






œ# œ œn œ œ œb œ œ


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89 œ œ œ œ œ œ œ œ#


œ œ œ œ ˙


œ œ œ œ ˙œ œ œ œ œ œ œ œ


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93 !œ œ œ œ# œ œ œ œn

!œ# œ œ œ œn œ œ œ




72

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97 !œ œ œ œ œ œ œ œ#

!œ œ œ œ ˙



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105 œ# œ œn œ œ œb œ œ


œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ

œ œ œ œ ˙œ œ œ œ œ œ œ œ


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109 !œ œ# œ œ œ œn œ œ

!œ# œ œ œ œn œ œ œ



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113 !œ œ œ œ œ œ# œ œ

!œ œ œ œ ˙




73

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œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ



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121 œ# œ œn œ œ œb œ œ


œ œ œ œ œ œ œ œ#


œ œ œ œ ˙

œ œ œ œ œ œ œ œ!


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!œ œ œ œ# œ œ œ œ

!œ œn œ œ œ# œ œ œ

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133 !œ œ œn œ œ œ# œ œ





74

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!œb œ œ œn œ œ œ œ

!˙ Ó

œ œ œ œ œn œ œ# œœ .œ œ .œ œ .œ œ .œ

??

bb

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141

Jœ ‰ Œ Óœ .œ œ .œ œ .œ œ .œ

œn œ œ# œ Óœn .œ œ .œ œ .œ œ .œ

!œ# .œn œ .œ œ .œ œ .œ

œ œ œ œ Óœ .œ œ .œ œ .œ œ .œ

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145 !.œ œ œ .œ .œ œ œ .œ

!œ œ œ œ œ œ œ œ œ œ œ œ

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148 !œ œ œ œ Œ œ œ œ œ Œ

œ œ œ œ Jœn ‰ Œœ œ œ œ œn œ œ œ œ œ

3 3

!œ œ œ œ Jœn ‰ Œ

!œ œ œ œ Jœn ‰ Œ

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152 œn œ œ# œ Óœn .œ œ# .œ œ .œ œ .œ

!.œn œ .œ# œ .œ œ .œ œ

!œn œ œ# œ œ œ œ œ œ œ œ œ


75

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155 !œn œ œ# œ œ œ œ œ œ œ œ œ

!œn œ œ# œ Œ œ œ œ œ Œ

œn œ œ# œ Jœ ‰ Œœn œ œ# œ œ œ œ œ œ œ

3 3

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158 !œn œ œ# œ œ Œ

!œn œ œ# œ œ Œ

œ œ œ œ œn œ œ# œD - G D - - - - - G D

œ œ œ œ œ œ œ œD - G D - - - - - G D

œ œ œ œ œn œ œ# œ2 4 4 2 1 2 41

œb œn œ œb œ œ œ œ2 4 4 2 1 2 4 1

D - - G D - - - - - G D - - -

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162

Jœ ‰ Œ Ó0

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œ œ œ œ œ œ œ œD - G D A D G A


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166 !œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3

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!œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

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169 œ œ œ œ jœ ‰ Œœ œ œ œ œ œ œ œ





76

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177 !œ œ œ œ œ œ Œ

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182 !jœ ‰ Œ Ó


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77

BIBLIOGRAPHY

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