MUSIC FOR STRINGS THE FREDERICK ZIMMERMANN MEMORIAL SERIES FOR DOUBLE BASS 77 BAROQUE BASS LINES For Double Bass (Cello or Viola da Gamba) Compiled and Edited by Lucas Drew Jp) GnivERSITY OF MIAMI MUSIC PUBLICATIONS LY Selo haont SAM FOX Fuishng Co, ne ‘ooper Square, N.Y. 10003, Price:s 5 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 1936, whare he served on the facully 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 60 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, unsolfishness, 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- man’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 tor 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 “etude”, crawn from the basso continuo parts of various Baroque sonatas for Flute and Keyboard, as woll as the ehorales of J.S. Bach, will, it is hoped, prove to be of musical as well as technical value to the stucent 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 melodie 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 verious positions in order to help reinforce: his knowledge of the fingerboard. Actual fingerings have been omitted in order to permit the player to make nis ‘own decisions here, consistent with the style and tempo of cach line. Further, specific bowings have also been omitted, to help the player make his own, relatively simple dacisions 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, Thelastnotein ameasure ie usually taken up-bow. 8. An up-beat which Is to 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 f the notes are of even value. 5. An avon number of notes (bows) before @ bar line, and after a rest, star's down-bow. All of the major and minor keys ere represented in ‘this collection, and will be found to appear in the follow- jing sequence: C Major - A Minor, @ Major - E Minor. F major-D Minor, D Major-B Minor, Bb Major -G Minor, ero. In adcition to the Double Bess, the material in this collection will also be found suitable for the Celle and/or Viola da Gamba Lucas Drew, Ed.D. Associate Professor of Music University of Miami Principal Bass Miami Phiihermonic Orchestra77 BAROQUE BASS LINES For Double Bass (Cello or Viola da Gamba) PRELUDE JOHANN CHRISTTAN SCHICKHARD™ Allegro (d aaa SS eet =F ==] Sr roo =o = Allegro presto (d =c. 126) B ANTONIO VIVALDI 2 _simite + oh nf UM-158 © 1974 by UNIVERSITY OF MIAMI, Coral Gables, Florida International Copyright Secu Made in'U.S.A. All Rights Resexved Fh snopeions poe therad, may nat Be repeal in ane eos thet permis of te secsALLEMANDE JOHANN CHRISTIAN SCHICKHARDT Allegro (d =c.104) = |e. a £ oa n —— —! i == See J Sei] nf P evese, crese. ftBENEDETTO MARCELLO Allegro (d =c. 108) BENEDETTO MARCELLO SS SS St SS ee ee a "me CHORALE (J =0. 76) a eee 3 DS = eo * ~ a aCHORALE (J =c. 76) CHORALE (J =c.76) J. 8. BAGE ~N a = = BOURREE (d =c. 152) B G.F, HANDE! 11.5 mf MENUETTO (J =e. 112) wAllegro (J =e. 100) 4.3 = mf fie t 2S10 JOHANN PHILLIP KIRNBERGER Allegro (d=c. 126) BENEDETTO MARCELLOn SARABANDE JRAN BAPTISTE LOETLLET Largo (d =e. 56) simile (5 FRANCESCO GEMINIANI G.F. HANDEL12 RENEDETTO MARCELLO Adagio (2) =c. 72) Allegro (d=. 108) 21. rf a F13 satagis Dima. 2m JOHANN CHRISTOPH PEvUSCH Allegro (# =c. 108) JOHANN CHRISTOPH PEPUSCHcrovs Allegro (4.=c. 108) HENRY ECCLrRs SS. 2. 5H F GEORG PHILLIPP TELEMANN15 Adagio (d= c. 60) ig of SINFONTA (J =e. 100) _ J. 8. BACH 27 mf fs) tthe» fPbatJEAN BAPTISTE LOBILLET Adagio ( =c,72) oes Bore 7 B fee a JEAN BAPTISTE LOEILLET . =SICILIANE (d. =. 60) G. F. HANDEL Largo (d = ¢. 58) 13S =e z See18 JEAN BAPTISTE LOPILLET PRELUDIO ARCANGELO CORELLLI Grave (J) =c. 72) ~~ #£ 1 33, eS a abien 8 ~oitt ARCANGELO CORELLL *. G. F. HANDEL =pettesCantabile (d =e, 80) GEORG PHILLIPP TELEMANN evesc. poco a poco = SS eee Allegro (d= c, 152) FRANCESCO BARSANT2 Con spirito (4 =e. 72) JOHANN HE LMICH ROMAN JOHANN HELMICH ROMAN 5 simile ts] - P SSS SE SisS= = peda Sete esl B22 MICHEL BLAVET Largo (P =e. 72)24 chonaLe (¢= 6.76) 1. 8.DAar = a _— fe24) =e. 88) FRANCESCO BARSANTT Te Sime i Non tanto allegro (J.Sostenuto (J=c. 58) & FRANCESCO BARSANTI Vivace (J =c. 120)26 JOHN STANLEY ALLEMANDE, JOHANN CHRISTIAN SCHICKHARDT (J=c.112) so aEze wero im = eo SPs [Se Sara SoS =MICHEL CORRETTE Allegro (d =c. 108) ANTONIO VIVALDI ~ =~30 J. 8. BACH simile CHORALE (J=c. 76) J. 8. BACH Largo (J =e. 63) BENEDETTO MARCELLO31 3.5. BACH Allegro (d =<. 132) 61. — -- =o ce32 c1cuR, ARCANGELO CORELLI Allegro (# =e. 120) (st ANTONIO VIVALDI CHORALE (J=0. 76) J.8. BAGHJ. 8. BAC) a a ee Allegro (d =c. 108) JEAN BAPTISTE LOELLLE’ coe pF ot Et ap tite St CHORALE (J =c. 76) aJRAN BAPTISTE LOBILLET. GAVOTTE - 6a. = SS Ft ARCANGELO CORELLI =a ee CHORALE J. 8. 8ACH td yoni jeanne (=e. 76) i a a oe eS = SS a35 CHORALE. (d=0.76) J.8. BACH ARCGANGELO CORELII — ARCANGELO CORFLLICHORALE J.-S. BACH (J =c. 76) CHORALE (d =c.76) CHORALE. (d=. 76)