MUSIC FOR STRINGS THE FREDERICK ZIMMERMANN MEMORIAL SERIES FOR DOUBLE BASS For Double Bass (Cello or Viola da Gamba) Compiled and Edited by Lucas Drew ——————— UNIVERSITY OF MIAMI MUSIC PUBLICATIONS —_—_e Sole Agen: SAM FOX Publishing Co, nc. S Cooper Square, N.Y. 10003 Price:: 5.1 UM-158FOREWORD THE FREDERICK ZIMMERMANN MEMORIAL SERIES FOR DOUBLE BASS Frederick Zimmermann (1906-1967), one of the twentieth century's leading performers and teachers of the Double Bass, studied in New York City under Herman Reins- hagen succeeding his teacher at the Juilliard School of Music in 1986, where he served on the faculty until his death. He was a member of the New York Philharmonic ‘Symphony Orchestra from 1930 to 1966, during the last 18 years as Assistant Principal Bass. His more than 50 publications have enriched the Double Bass literature, and helped to enhance the dignity of the Bass both as a solo instrument and as a prominent member of small ensembles. His many successful pupils attest to his devotion to the pedagogy of his instrument, and his personal warmth, unselfishness, vast knowledge and dedication to his pro- fession, both as a performer and teacher, have become legendary. The concept of several Double Basses playing in ensemble as a method of study was one of Mr. Zimmer- mann’s innovations in Bass pedagogy, and he constantly searched for new literature that would aid in developing musicianship and ensemble performing abilities. As a result, he continually compiled, edited and transcribed a {great deal of music for his instrument, and several addi- tional collections were being prepared for publication at the time of his death. University of Miami Music Publications is pleased to make available to Bass players, students and teachers everywhere, this new series of new folio collections based on the rich accumulation of Mr. Zimmermann’s manuscripts, including both solo and ensemble works. 77 BAROQUE BASS LINES FOR DOUBLE BASS This collection of “etudes”, drawn from the basso continuo parts of various Baroque sonatas for Flute and Keyboard, as woll as the chorales of J.S. Bach, will, it is hoped, prove to be of musical as well as technical value to the student and aspiring professional performer on the Double Bass. Each of these lines should be studied for phrasing and sense of style, as well as, technique, and the player should at all times be aware of the melodic and harmonic implications or functions of each note, in addition to the technical demands of fingering and bowing, This collection may be used after the student has learned the various positions in order to help reinforce his knowledge of the fingerboard. Actual fingerings have been omitted in order to permit the player to make his ‘own decisions here, consistent with the style and tempo of each line. Further, specific bowings have also been, omitted, to help the player make his own, relatively simple decisions as regards direction of the bow. In general, the following basic principles of bow direction should be utilized where applicable: 1. The note on the first beat of a measure is usually played down-bow. 2. The last note in a measure is usually taken up-bow. 8. An up-beat which isto be slurred over a bar line is played down-bow. 4, An odd number of notes (bows) before a bar line, and after a rest, starts up-bow, especially if the notes are of even value. 5. An even number of notes (bows) before a bar line, and after a rest, starts down-bow. All of the major and minor keys are represented in this collection, and will be found to appear in the follow- ing sequence: C Major - A Minor, G Major - E Minor, F Major-D Minor, D Major -B Minor, Bb Major -G Minor, etc. In addition to the Double Bass, the material in this collection will also be found suitable for the Cello and/or Viola da Gamba. Lucas Drew, Ed. D. ‘Associate Professor of Music University of Miami Principal Bass Miami Philharmonic Orchestra77 BAROQUE BASS LINES For Double Bass (Cello or Viola da Gamba) PRELUDE JOHANN CHRISTIAN SCHICKHARD* Allegro (d =e. 108) ANTONIO VIVALDI 2 sim. Allegro presto (d=c. 126) . simile 5) nf (35) UM-158ALLEMANDE JOHANN CHRISTIAN SCHICKHARDT Allegro (d =c.104) mf cresc. tf P cresc. f Allegro (d =c. 104) BENEDETTO MARCELLO = fJOHANN CHRISTIAN SCHICKHARDT N 6 mf P crese. crese. ft P cresc. FP cresc.BENEDETTO MARCELLO 6. f - 108) BENEDETTO MARCELLO | f mf P gyomans 1.s.sacHCHORALE (J =c. 78) J. S. BAC! 9. af B® x CHORALE (J=c. 78) J. 8. BAC! —— m~ BOURREE (d=c, 152) 5 G. F, HANDE! mf MENUETTO (J=c. 112) (5) G. F. HANDEL ot (0)Presto (J =c. 104) G. F. HANDEL G. F, HANDEL10 JOHANN PHILLIP KIRNBERGER, Allegro (d =c. 126) a [55] ng = Allegro (d =c. 108) gy BENEDETTO MARCELLOWW SARABANDE JEAN BAPTISTE LOEILLET Largo (J =e. 56) reo (1 ) = simile Ba zx a a 2 FRANCESCO GEMINIANI Adagio (J =c. 72) 18. mp G. F. HANDEL Adagio (J =e. 80) a5 512 BENEDETIO MARCELLO Adagio (J =¢.72) BENEDETTO MARCELLO Allegro (# =c. 108) ol 21. tf13 Adagio (2) =c. 72) JOHANN CHRISTOPH PEPUSCH art 22. Dee.” Allegro (J =e. 108) JOHANN CHRISTOPH PEPUSCH14 GIGUE, Allegro (d.=c. 108) HENRY ECCLES Allegro (d.=c. 80) 25. Yaa GEORG PHILLIPP TELEMANN15 Adagio (4 =e, 60) Ba16 Adagio (d =c.72) JEAN BAPTISTE LOFILLET te i o> zz 28. Allegro (=e. 108) JEAN BAPTISTE LOBILLET17 SICILIANE (J. =c. 60) G. F. HANDEL EN simile 80. mp Largo (d =c. 56) a BENEDETTO MARCELLO18 JEAN BAPTISTE LOEILLET PRELUDIO ARCANGELO CORELLI Grave (} =c.72) 5) 1 83. mf19 ARCANGELO CO! ‘Adagio (2) =0."72) RCANGELO CORELLI 34. 3 G, F. HANDEL vivace (d =e. 112)20 Cantabile (d=c. 80) GEORG PHILLIPP TELEMANN Pp mp P erese. BSS => f Sy21 Con spirito (J =c. 72) JOHANN HELMICH ROMAN 38. t GI | JOHANN HELMICH ROMAN Allegro (d =c. 104) simile ES22 MICHEL BLAVET Largo (d =e. 72) Andante (d= ¢, 66) ~ G. F. HANDEL 42: a 743.2 Adagio (J) =c. 72) FRANCESCO BARSANTI a Gl24 CHORALE (4 =c.78) J.8, BACH —~ mf Oy _ (oz4) are J.S. BACH Non tanto allegro (d-=c. 88) FRANCESCO BARSANTI = ates, le sim.Sostenuto (J=c, 56) B FRANCESCO BARSANTI JOHANN CHRISTIAN SCHICKHARDT Vivace (J =c. 120) 48. ~ crese. OF26 JOHN STANLEY Allegro (d=c. 104) i» (I HN ALLEMANDE JOHANN CHRISTIAN SCHICKHARDT (d =c.112) 502 fa7 Allegro (4 =e. 104) ATEN Sz SSS ‘T. ALBINONI Grave (2 =c. 80) 52. mf dolce28 MICHEL CORRETTE Allegro (d =c. 108) P crese. ? t SARABANDE ANTONIO VIVALDI (d=¢.56) BD AN SS29 J. 8, BACH ARCANGELO CORELLIJ. 8. BACH CHORALE |. S. BACH (J=0.78) a j 58. mf Bey; a > Largo (J =e. 63) w BENEDETTO MARCELLO31 CHORALE, d J. 8. BACH JEAN BAPTISTE LOEILLET Allegro (d =e, 132) J 61. ag32 GIGUE ARCANGELO CORELLI Allegro (d= 0. 112) 8 Allegro (J =c. 120) @ ANTONIO VIVALDI CHORALE (J=c. 76)CHORALE (¢=0.76) e 4 — Dp ee a5 — — Allegro (J =c. 108) JEAN BAPTISTE LOEILLE’ CHORALE (J =c.76) Bm J. 8. BAC! 67- mf aLargo (d=c. 56) JEAN BAPTISTE LOEILLET = 7, . o ~ , —~ GAVOTTE Allegro (4=c. 100) ARCANGELO CORELLI 69. CHORALE J. S. BACH (J =0.76) a 70. mf CHORALE: (d =0. 76) J. 8. BACHCHORALE (J = 0.78) J. 8. BACH ARCANGELO CORELL Adagio (=e. 60) ARCANGELO CORELLI . —~36 CHORALE J... BACH (J=c. 76) _ la CHORALE (J=c. 76) 1. ScmAcH CHORALE (J =e.76)