Bassrlc

Essentials
Book 1
A Tuneful Companion
to the
Gary Karr DoubleBass Book

by
Alice Spatz
edited by
Gary Karr

Te:irt and Music @ Copyright 1996 by Alice Spatz

Amati Productions
9607 Allende Lane
Oakdale, Ca 95361
2

ACKNOWLEDGMENT

Special thanks to Kristen Thttman, Sarah Wood, and

Steve Murray for their hard work and cooperation,
and to my husband Larry
for his invaluable help and support.

FOREWORD

Alice Spatz has done a brilliant job in bridging the gap between the material in my books
and the more traditional approach to teaching and playing. It was never my intention or
desire to have any teacher or student use my books without any input from other published
sources. With Alice Spatz's materials, I have been released from the difficult burden of
citing other books which would be complementary to mine. In fact, her ideas work so well
in concert with mine that it would be impossible for me to recommend any other books
that are so much on the same wave-length. I have devoted my life to raising the standards
of the doublebass and I consider it absolutely imperative that in order to accomplish this
task, one must be given a good start. The student's first encounter with the instrument is
the most important event in the process of development. The future level of attainment is
determined in the first rudimentary steps. I feel confident that the combination ofAlice
Spatz's books and mine will prepare the student for a satisfactorily high level of playing.

Garv Karr
 3

INTRODUCTION

The method and much of the music presented in this book has been created over the
years and used with my students of all ages, but primarily children. It focuses on the
development of left hand facility and familiarity with bass clef reading skills so that the
student can quickly begin playing in an orchestra, and enjoy performing tuneful pieces in
recitals. The unusual aspect to this method is that it does not use the bow, except for
harmonics, until the end of the first section; instead, exercises and pieces are played
przzrcato. I do this because as the left hand techique and reading ability are growing, the
beginner is concentrating on bowing skills, bass balance and posture by working through
Gary Karr's Book I. Although the student can only play pizzicato in the ensemble for a
while, by the end of the first book, he or she will be using the bow for orchestral parts and
solo pieces. The control and clarity of the bowed sound. that can be achieved this way
makes the wait well worthwhile; and the orchestra, though missing a bass arco for a few
months, still gets the low notes it needs.
It is extremely beneficial, ifnot mandatory, to have a parent present during lessons through
the first book. Parental support and guidance at home helps rapid progress and dimin-
ishes miscommunication of the teacher's instructions to the child.
I have designed and organized the book so that it is used simultaneously with The
Karr method books; part of the lesson should be devoted to each. This insures variety,
challenge, success, and most of all, fun for both the new bass player and the teacher.
I am dedicatingthese books to all my students, who have inspired me, and to Marion
Maby and the Pittsfreld Community Music School who have supported and encouraged
my efforts.
All music in this book has been written and./or arranged by Alice Spatz.

Unless indicated, only harmonics are bowed. All open strings and non-harmonics are
played ptzzicato.
Despite the limitations imposed by open strings, I have tried to provide interest by choosing
accompanyrng chords that imply a variety of modality and feeling, and are sometimes less
than predictable. The accompanist should feel free to improvise his/her own harmonies.

Alice Spatz
4

Table Of Contents

The Clef ..........7

The Music Alphabet ....
.. ......7
Open Strings on the Bass .........8
Open Strings and Rhythms . ........I
The Half Note ... 11

The Whole Note ........ 11

Basic Math ........ 11

Quarter Rests ...L2

Mix-Up .......12
More Rests ........ 13
Review .......... 13
The Dot .......I4
Write Your Own T\rnes .,..........L4
Eighth Notes ......... lb
Run With Number 8 ....... ................ lG
Sync. Mix I ....... 16
Svnc. Mix II
Sixteenth Notes ......18
Tlvist
Sixteenth Note ..........18
Write Your Own Tunes ..........19
More Dots, Same Rule .....20
Slow Gallop ........20
Gallop and Walk .......20
Write Your Own T\rne '...,...,.,..,..2I
 5

Accidentals.. ..........22
Key Signature .....23
4th Position ..... .........23
Hot Cross Buns in G ..........24
lst Position .. .... , .. . ..24
Hot Cross Buns in G .....25
Hot Cross Buns in D....... ...,...25
Hot Cross Buns in A ....... ........ . ..25

Half A Shortnin' Bread ....26

The Whole Shortnin'Bread ...........27
Frere Jacques in 4th Position .......28
Frere Jacques in 1st Position ....29
D Minor .......30
Joshua Fit The Battle Of Jericho in 4th Position .... 31

Joshua Fit The Battle Of Jericho in lst Position .....32

Six-Eight Time ..... BB
lst Dance............ ..........33
2nd Dance........... .......88
3rd Dance ..... ......84
4th Dance ............ .....8b
Six-Eight In TWo ......8G
A Jig .............. 86
Pop Goes The Weasel ..... ...36
Row, Row, RowYour Boat .........38
Hey, Ho, Nobody Home in 4th Position .............38
Hey, Ho, Nobody Home in 1st Position .............39
Away In A Manger in 4th Position ......... .... 40

Away In A Manger in lst Position ........ ...........41

 7

THE CLEF
FF
This
in this- clef. It is found on a Staff consisting of 5 lines and 4 spaces which have letter
names.

a
a

Draw some bass clefs. Notice that the dots (:) of the sign surround the "F".

o
a

THE MUSICALPHABBT
The musical alphabet has seven letters: AB C D E F G . The lines and spaces continue
to repeat the seven letters of the alphabet upward and downward to include all the
notes you can play on the instrument.

a rr a
a

-
+
(e)(0G)ABCDEFG(a)(b)(c)
8

OPEN STRINGS ON THE BASS

Open strings on the bass are named from high to low, or I (lst), II (2nd), III (3rd) and
IV (4th).
highest lowest
1st 2nd 3rd 4tl'l
. al
a

()
>
G D A E
I II III IV

PIZZICATO is when you pull the string with the 1st, 2nd, or both fingers of the right
hand, and let the string roll off the tip of the finger(s).

11
\r
a

The right thumb rests on outside edge of fingerboard (x), as far down the finger-
board as is comfortable. For a good ptzzicato sound, pull the string downward
landing on the fingerboard almost under the next string. Be sure to use t}re arm
to help the fingers. DO NOT pull the string away from the fingerboard. IJse as
much finger meat as possible for a fat sound. Your entire arm should move when
you play ptzzicato. If you use the fingers alone, without the arm, the sound will
be weak and thin.

Practice playing each repeated group of the 4 open strings in ONE downward stroke.
 9

OPEI\T STRINGS AI\D RHYTHMS

All notes consist of a h ad, a stem, and sometimes a flag or tryo, or three!.

The staff is divided into Measures by vertical lines called Bar-Lines.

bar line bar line bar line double bar line

measure measure measure measure

Note that the last one is doubled because it indicates the end.

After the bass clef sign you will find a Time Signature which looks like one of
these:
a
- ta a

T}re botton number represents the

duration of note: 4 on the bottom alwavs means
a quarter note or TA, and looks like this:

It has a dark head and a stem. (We will learn later how figures other than 4 can
be used on the bottom.)

You will notice dynamic markings (i.e , f , p, ,etc.)

in all the music, which tell you
how loudly or softly to play. Passages to be played softly are marked with a p;
even softer s PP.Tlne f means play loudly; un ff is louder still. There is also
medium soft: nlp, and medium loud: mf . Also, pay attention to crescendos (getting
Iouder)=;anddecrescendos(gettingsofter)>
10

Play these quarter notes, and say "TA" for each one. Then recite the alphabet
representation of the notes aloud as you play. The double bar with two dots means
to repea al1 four measures.

Chords: D A GA D G D C D G
)--zz a
mf
- ,a z

- -
TA TA TA TA TA TA TA TA TA TA TA TA TA TA TA TA
DDAADAADGGDDGDDG

In the following exercises, the op number indicates how many of the bottom notes
you can find in one measure. Say syllable "TA", then say the alphabet representa-
tion of the notes as you play.

Chords: Am Dm Am D G Em Am D Am Em
)=72 mf
I

a
a.

- - -
TA TA TA TA TA TA TA TA TA TA TA TA TA TA TA TA
AADDADDGEEAADAEE

Chords: A D GDA
)--r, ,a I
mf
- ta a ^-t
- - -
TA TA TA ETC.
AEAETC.

Chords: Em Am D G Em Bm D Em
| .rcr
I
f'
a='12 f -p on repeat
I I l,
--
- -
 11

THE HALF NOTE

When you add two quarter notes
(TA'S) together, it becomes twice as
long, and you call it a half note or
TA.A.
Chords: Am Dm G Dm Am
) =r, P -fonrepeat
- ,a
a
. -
-
TA TA TA_A TA-A TA_A l^1 TA TA_A TA_A TA_A
AE A DD (t D G D A

THE WHOLE I{OTE

When you add four quarter notes
(TA's) together you get a whole note
or TA-A-A-A.

You can also add two halfnotes together

and get a whole note. (TA-A, TA-A).

Chords: c D A D f
D G

)--r, mf

TA TA TA TA TA_A_A_A TA _A TA _A TA_A_A_A

BASIC MATH
1) Question: How many half notes in a whole note? Z :ro1y\suv (I
2) Question: How many quarter notes equal a half note? Z :ro1v\suv (Z
3) Question: How many quarter notes equal a whole note? 7 :ro1r\suv (8

1) 2) 3)
a
T2

QUARTER RESTS
Rests, which is another way of
saying silences, look like this:
(TA) (TA) (TA) (TA)
Using the quarter notes or quarter note rests as one count, play and count aloud.
(Count first, then say the alphabetical names of the notes.)

Chords: Am Dm

)=r, P -f onrePeat

MIX-UP
This time say the duration syllables, then the alphabetical names of the notes.

Chords: c Am

)=r, f
a
p mp

- -

TA TA TA TA TA TA (rest) TA ETC,

DG D A D
f a, repeat all 8 measures
\a

TA_A TA_A (rest) TA_A TA_A-A_A

Count, then say alphabetical names.

Dm
Chords: G Dm
lc
)=72 J 'p on rePeat
ia

-
3 (4)
 13

MORE RESTS
A Half Note Rest looks like this: a
r I

It sits on top of the line.

1 2 3 4
(TA A) (TA A)
Count and say note names as you play.
Chords: c D D C D L

)=72 mf
I

q-

r 2 3 4 (1 2) (3 4)

A Whole Note Rest looks like this: - ta

a
. I

It hangs below the line. Even though

it is a rest, dontt fall asleep! Keep (1 2 34)
counting in the silences! (TA-A A-A)

Chords: D G Am Em
)=r, mf
-s)-
-
(1 4\ (1 4)

REVIEW
Review the notes, rests, and rhythms you have learned so far. Play and say the
duration syllables. Play and say the alphabetical names of notes. Don't forget to
repeat all 8 measures.
Chords: E A D G
I

a=:: I
-5)-
-
TA TA TA TA TA TA (TA_A) TA_A TA (TA) TA _ A TA TA

D D AE
p

(TA_A) TA TA (TAAAA) TA_A TA_A TA_A_A_A

T4

THE DOT
The dot on the right side of a note or a rest
indicates that the duration of the note (or rest)
is half as much longer.
EXAMPLE: The dot is equal to a quarter
note (half of a half note). Therefore, the du-
ration of the note is a half note plus a quar-
ter note.
Count and say the alphabetical names of the notes.

Chords: D

)=r, al
p
- ta a
-

2 3 2 3 2 3 2 3

C G

a
f -)
a,

-
2 3 3 2 3 2

WRITEYOUR OWI\T TUNTES

Add notes and/or rests to the blanks in the measures, being sure all measures have the
correct number of quarter notes. Then learn to play what you composed. Use a pencil so
that you can make changes, and don't forget the dynamics!

Title: By'

a
- ta .
-

a
- ta

-
 15

Title: By:

. L.r

Title: By'

EIGHTH NIOTES
An eighth note looks like this:
It has a dark head and a flag.

When you break a quarter note nto two

parts, you get two shorter notes called
Eighth Notes or TI's (pronouncedtee.).

When there are two eighth notes

together, the flags are joined into
beams, and look like this:

Chords: D A D A G D

)=un PP

TI TI TI ETC.

As you see, the duration of two eighth notes equal one quarter note.
16
o
An Eighth Note Rest looks like this: ' ,. ..'l

(TI)

Play while you say the alphabetical names of the notes and duration syllables. Say the
rests silently as "TI's".

Chords: c Dm Am Em C G
ln
) = s4 "t'- P on rePeat

TI TI ETC.

RUN WITH NUMBER 8

Clap on the "x's" and say the "TI's". You could also try tapping the top of your bass instead
of clapping. Then play the same rhythm in the little open string melody that follows.

)=54

i,l
mf" XX x
TI TI TI ETC.

Chords: Gm ADA Am Gm A

) --un

mf

SYNC. MIX I
As with the last piece, clap or tap your bass on the "x's", and say the syllables of the
rhythm (TI-TI, TA, TA, TA-A). Emphasizellne accents in both versions of Sync. Mix I
below. The time signature is now ?, or the equivalent of 3 quarter note durations in
each measure.
 t7

XX x xx x X X X x XX
TI TI TA TA TA-A TA TI TI (TI) TI TA TA- A-A
> >

xx xxxx -
X x x XX x
.fTTT
TI TI TI TI TI TI TA-A TA rl ll (TI) TI TA TA-A (TA)

Are your right hand fingers a little sore and tired? They will get stronger and tougher the
more you play. Practice in small time periods at first - two or three times a day, 5-10
minutes each, in addition to the practice time for the Karr book.

Chords: D

)--un

SYI{C. MIX II
Clap and say the rhythms before playing,

Chords: G DDm t\l E A

)=un :> > l>

mp
x x xx xx xx
f
x xx x
mp
XXXX
TI TI (TI) TI TA TA TA-A TA TA TA TI TI TI TI TA TA-A TA-A
18

SIXTEENTH NOTES
An eighth note can be divided rnhalf, giving youtwo sixteenth notes.

sixteenth rest

SIXTEENTH NOTE TWIST

Clap and say the rhythm slowly.

)= no pp- pp

XX X X x x x x
TOO TOOTOO TOO TOOTOO TOOTOO TI TI TO o Too Too Too Too Too Too Too TI (TI) TI

nn
.a
,tt
./,.t/./.t.///al///
"tr
aaalaata

xxxx xxx X
TOO TOO TOO TOO TOO TOO TOO TOO (TI) TI TI TOOTOO TOO TOO TOO TOO TOO TOO Tr T] TA

When you play the Sixteenth Note Tlvist, try using 2 alternate fingers for pzzrcato.
Play slowly while saying the duration syllables aloud at frrst.

Chords: G DG Gm

)=n pp pp

"tr
 19

WRITEYOUR OWI\T TUI{ES

Time to write some more tunes using the new duration rhythm notes and rests. Notice
the time signature - the duration of all notes must equal 2 quarter note durations for
each measure in the first tune, and 3 quarter note durations in the second tune. Decide
how loudly or softly you want your tunes played, and write in the dynamic markings.
Learn to play them.

Title: By,

TOOTOOTOOTOOTOOTOO TI

TOOTOOTOO TOO TA

Title: By'

-5+
- -
TA TI TI TA TA_A
20

MORE DOTS, SAME RULE

- ta -f +

SLOW GALLOP
Clap (or tap) on the beats (x's) while saying syllables, Then play on the D string. T?y
using alternating index and second f,rngers. Call the dotted quarter notes "'IA.-EE" and
the eighth notes "TI", so the rhythm is TA-EE TI TA-EE TI.
I

i = 60 f- p on rePeat

xxxxxxxxxxxx XXXX xxxx

TA-EE TI TA_EETI TA-EE TI TA-EE TI TA_EE TI TA-EE TI TA-EE TI TA_A

Now play Slow Gallop on all the strings as follows:

I Chords: D
J= 60 >

f- p on repeat

GALLOPAND WALK
Clap (or tap) on the beats (x's) while saying syllables. Then play on the D string. T[y
using alternate index and second fingers. Call the dotted eighth notes "TI-OO" and the
sixteenth notes "TOO", so the rhythm is TI-OO TOO TI-OO TOO.

J= uo
,a
- ta .

I I I

Tr-oo roo TI-OO TOO Tr-OO TOO Tr-OO TOO TA TA TA. A

x X xx xxxx
 2L

P,=- :>> f.,=

I I T I I I I I

TI-OOTOOTI.OOTOOTI-OOTOOTI-OOTOO TA TA 1A-A TI-OO TOO TI-OO TOOTr-OO TOO Tr-OOTOO

xxxxxx XX XXXX
pr)
l>

TA TI-OO TOO TA - A TI-OO TOO T.{ TI-OO TOO TA TI-OO TOO TA TA (TA)
xxxx XXXX xx XX

Now Gallop and Walk on all the strings:

lChords: cC G C G D G
J= 60 _> :> l> l> >
- t. t

p 7
AEAD

WRITE YOI]R OW}T TUNTES

One more chance for you to write an original tune.

Title: By,
O.
at

- ,.\.
-. t
22

ACCIDET{TALS
The notes vou have learned so far are all natural notes.

\. It
a

tt
>

A natural note can be altered by raising it a half step, or by lowering it a half step.

SHARP FLAT NATURAL

,a I at It t)
- ta ) I

half step higher half step lower as above

Practice making sharp signs (fi) i" front of the foliorving notes, being sure that they are
on the same line or space as th'e note.

Now write flat signs (b) i" front of the following notes, paying attention to the correct line
and space.

. aD
- t) L.J V

L,,

Now put natural signs in front of the open strings.

. at n a)
-taL, l

-
 23

KEY SIGI\TATT]RE
To the right of the time signature you may find one or more of these accidentals called
KEY SIGNATURE.

a
a.
, lL .r
tI
It
TI
.,
'tlt ,]tt
fl n,. rt .

I I
at tt, tt, tt, tt,
V V .
t lV
|, u
-tv
It v
;lV
It
rlv
It

IMPORTANT The key signature tells you which notes are played sharp or flat through-
out the whole piece. EXCEPTIONS: During the piece when you see an accidental to the
left of the note, you play that accdental, euen if it is not in the key signature, or if it is
different from the key signature.

You play E natur"l (h) not E nat $) as indicated in the key signature.

Ath Position
Since the bass strings are easier to press dorvn further away from the scroll, we will learn
4th position first. The best way to frnd 4th position is to locate the harmonics found on
page 34 in Karr Book I. These are called the "Dittersdorf 'harmonics. They are also found
onpage9. 4 4 4 4

o
IV
Instead of playing these harmonics with your fourth finger, play them with your first
finger. You are now in 4th position.
24

Here are the notes in 4th position for your first and fourth fingers. Play and say the
alphabetical names of all these notes, including both sharp and flat names. Remember to
keep the "C" formation with your thumb and first frnger, and to use your fingertips as you
press the notes down in 4th position. Look at Karr Book I page 51 for a reference.
4
+ aA

Play your notes in tune by adjusting your first frnger to the pitch of the adjacent open
string. Always use pizzicato.

HOT CROSS BI]NS INT G

Sing the song first. Then, sing the alphabetical names of the notes as you play Hot Cross
Buns in 4th position.

I Chords:c D G G D G D G DG
)=72 4thpos.4 | o 4 1 o 1 4 10
a

III III II I
HotCrossBuns, Hot Cross Buns, One a pe*ny, two a pen-ny. Hot Cross Buns.
mf p mf

lst POSITION
You can play the same notes of Hot Cross Buns also in 1st position. But before you do,
let's look at all the notes you can play with your first and fourth fingers in lst position:

lst Position notes

Play and say as for 4th position notes.

 25

As before, make sure to hold your left hand in the same C formation, using your finger-
tips. WARNING:You need a bigger stretch as you play near the scroll in 1st position. The
left shoulder should remain low, and the left elbow raised high to make it easier to press
the notes down as you play. Look at Karr Book I pages 42 and 51 for a reference. Now
back to Hot Cross Buns in G.

Chords:c D G G D G D G D G
a=72 4 1 O 4 1
I

lstPos. 0 I 4 1 0

I
Hot CrossBuns, Hot CrossBuns, One a pen- ny, two a pen- ny. Hot Cross Buns.
mf P

HOT CROSS BI.INS IN D

Chords: D AD
)=r, 4th pos. 4 10

III
mf p -mf
Chords: DAD
) =r, 1st Pos. 4I0

HOT CROSS BI]NIS INA

Sing or say notes as you play the tune. Your left hand fingers will get stronger and tougher
as they get used to pressing the strings. Remember to practice for short periods two or
three times a dav.

I Chords: A
)=72 4thpos.
E A A E A E A E A
n 1 0 4 1 0 1 4 1 0
(la t tL

- -
TII IV III IV III
mf pmf
26

Chords: AEA AE A E AEA

)=r, lst Pos. 4t0 410 1 4L0
-r.ttl a
ft

III
mf p

Now try the same tunes above alternating positions. Play the first two measures in
4th position and the last two measures in 1st position, Then, try the first two measures
in 1st position, and the last two measures in 4th position. Which do you like the best?
Can you create other combinations?

If you want to impress other string players with your uniqueness, try playing Hot
Cross Buns in the deepest (lowest) register on the doublebass. This must be played in
1st position.

Chords: E 87 E EBTE B7 E B7 E

)=r, lst Pos.

410 410 1 4L0
a

mf p ,ilf

HALF A SHORTI{IN' BREAD

\r = shift toward bridge
l\
= shift toward scroll

Chords: G(6)
4th Pos.
66 O

I III
Ma- ma's lit - tle chil- drenlove shortnin',shorbrin', Ma- ma's lit- tle chil- drenlove shortnin'bread.

Chords: G(6)
4th Pos'o
J = uu

I.{otice the differences in the last measures of Half A Shortnin' Bread.

 27

THE WHOLE SHORTI\TII{' BREAD

I (Koussenitzkyharmonics III

Arco >
;
o
from Karr Book 1 p. 23)

(3rd finger or thumb)

't
^lIi
.-ttt
r.'lco i fvF
-

pzz. or piano

D. C. al Fine
c(6) DG
lst. Pos.
0102 10 010 0Z\
5. l

I.II 7IV I'III I 'II l-E III ry

|lo
? ; n\/
Oo
;
?o
v F r,f
?o
O
tr ? ?? tr? tr ? tr

a
.? t +?. .? |
28

FRERE JACQT]ES
Play together as a round and/or with the ostinato.

Chords: D
J=u, Pzz. 4thPos. 0 L 4 0 1 4 0
a

lu 'III ltt 'III III

mf
oo o
Arco o o
+ ??
o

a
i i ;, ? e? ? ? ?

mf

4 0 1 4 6 1 I21s 4 s 1! 1 s4 0

-
IIII II III I II IIIIIU I III 'II

o o o o oo oo
o
? ?? ? i ? ? ???
t

DADDAD
00
aU
-t. t

I tu lrI I IrI III

oo oo o o oo
A
a,
? ? 1? + e ? ? i P
- ,a I
 29

FRERE JACQUES
Shift to 1st Position and play Frere Jacques again.

I Chords: D
J=63 Przz. lstpos. 0 1 4 o I 4 0
ra
- aa

II ll
mf
Arco o o o : OO

a
+ ?? ? 1? + a- ? i ?
- ta

mf

4 6 1 4 6 1 21s 4 0 1! 16 4 0

-
I III III III

a
o
? e?
o oa
? ?? ie o
e
oo
???

DADDAD
00

' III II . III 'II

oo oc o o oo
A
O
??? ? i ? ? i e ? i ?
o
30

D MINOR
In Hot Cross Buns and Frere Jacques you have been playing an "Ff," with the fourth
finger, either on the A string in 4th position, or on the D string in 1st position, because
both the key signatures of D major and G major have an Ffi.

4thPos.- - - - lstPos. - - - -l
4or4
o
- aa .

III II

If you move back a half step from the 4th finger (Ff;l to the 2nd finger, you will be playing
a true F (Natural).
4thPos. , lstPos.----
2or2
I E^
- ta

III iI

Let's look at the familiar Hot Cross Buns, and what it sounds like with an F natural
in d minor instead of D major.

Chords: Dm A7 Dm Dm A7 Dm A7 Dm A7 Dm
a--72 lstPos.2 L o 2 1 0 0 1 2 I 0
aa a

II
mf p

Chords: Dm A7 Dm Dm A7 Dm A7 Dm A7 Dm

l=724thpos.2 | o 2 t 0 0 L210
(1.

III II III II III II

mf p

Now play it the old way in D major on page 22-23. Which sounds happier? Which sadder?
For Joshua Fit The Battle Of Jericho, you are in the key of d minor.
 31

JOSHUAFIT THE BATTLE OF JERICHO

Before playing this traditional gospel, clap on beats 1,2,3, and 4, and chant the syllables
(as written) in rhythm. Do the same thing using the words to the song.

)=72 mf
I

TI TI TI TI TI TI TA TI TA_EE TA -Ax TI TA_EE TA_A

xxx x x x x x X XX

mf
a
a ) /. .t ,t ,, ,t

TI TA EE TI TI TI
xxx TI TI TI Ti TI TI TI TA
x x x X x

TI TA_EE TA TI TI TA TA TI TI TA TA_A-A_A
xxxx xx XX xxxx
Now play Joshua Fit The Battle Of Jericho in 4th position - pizzcato, ofcourse.
Chords: Dm A7

)=rrnt\'r))y I 0
ra
o

II III I II I
Josh- ua frt the bat - tle of Jer- i cho, Jer-i - cho,
Dm A7 Dm

- mf
1 021 0
a
a I
- --
VI

n - I
II II III
Jer- i cho Josh -ua fit the bat tle of

A7 Dm A7 Dm
1
2 I 0
a
ta

vl

II III I II I III II
Jer- i cho and the walls came bum - bl mg down.
32

Play Joshua Fit The Battle Of Jericho again in 1st position (the fingering is the same
but the strings are different). Now try it with your teacher, taking turns with thepizzicato
melody and the Arco accompaniment.

Chords: Dm A7
) =rr lst Pos. o 0

mf Harmonics from
Arco Karr Book 1 p. 34

(chords)
Dm
1
U

V
- ,-
II -.
TII
mJr
-
a
d-o

A7 Dm
A7 l, o_ lc
t- Dm
20 1 02 10 0
a

Ir

III II
2
aa

a
o c a) /-)
?
')
 33

SX.EIGHT TIME
1) How many of the bottom note durations can 'aJnsBour r{cBa ur suorlJnp
there be in one measure in six-eight time? oou r{+q8lo g :ro1v\suv (I
2) What kind of note duration does 8 represent? olou ql8 :ralr\stlv (Z

This is the time signature for six-eight time,

1st DAI{CE
It's time to return to open strings for a while. For the next set of pieces, you are going to
encounter the equivalent of 6 eighth notes per measure. Play and count aloud, emphasiz-
ing accents. With the left hand, tap the bass on the first and fourth counts.

, Chords: D G AE D G
N
J! 88 > -> l> :>

mf
123 4 56 1234
>
56 123 45 6
fl2 3 4 56

Quarter notes are held for two counts and the numbers in the parentheses are not
spoken aloud.

1(2) 3 4(5) 6 1 2(3) 4 5 (6)

clap clap clap clap

2nd DANCE
Chant aloud and tap the bass on accents before playing the next piece on open strings.

Chords: Dm A7 Dm A7 Dm A7 Dm A7 Dm
\
,l :88

mf
TA TI TA TI TI TA TA TI ETC.
34

Dotted Quarters are held for 3 counts or the equivalent of 3 eighth note durations,
and Dotted Half notes are held for the entire length of the measure or the equivalent
of 6 eighth note durations.

1 (2) (3) 4 (5) (6) 1 (2) (3) (4) (5) (6)

3rd DANCE
Before playing the next piece, clap on the x's and chant the rhythm. After you can do
that, clap only on the accents as you chant.

SS mf -f onrepeat

TA TI TI TI TI TA TA EE
x xxx x xxx xx x
> l> l> >
a
att,/t//

TOO TOO TI TI TA TI TOO TOO TI TI TA EE

xx x X x xx x xxx

Now play the 3rd Dance on the open strings (emphasizing the accents).

Chords: D

Irt
mp -f on repeat
 35

4tLa DANCE
Follow the same instructions as before. Take it slowlv because of the trickv dots.

Irt mf
o
- aa

T I

DUM DI TI TI TI TI DUM DI TI TA TI
XX xxxx XX x XXX

J
a
attttt/

DUM DI TI TI TI TI TOO TOO TOO TOO TOO TOO TA EE

XX xxxx xxx XXX

Play the 4th Dance on the open strings.

Chords: D
Irt
mf
Dm AmGAm Em

By now, using this book and the Karr Book 1, you should be able to practice 30 minutes
a day in two or three segments without difficulty.
36

SX-EIGHT INT TWO

When six-eight is performed at a quick tempo, it is counted in two - each count having
the equivalent of three 8th notes, as you can see in the first two measures of the next
piece. This time, clap the rhythm as you count aloud: "one" "two". Then play A Jig on
the open strings as you count aloud.

AJIG

mf
ONE TWO ONE TWO ONE TWO
f
ONE TWO

Chords: A7
).= +z-s+

mf
ONE TWO ONE
_>

TWO ONE TWO

f
ONE TWO

POP GOES THE WEASEL

Count this piece in two. Take turns with the tune and the accompaniment. Remember to
keep your left elbow up and the fingers of your left hand curved, using your frnger tips.

Chords: G
1 4th Pos.
).=54 Pizz. g 1

N I II
mt
/ (Harmonics from Karr
Book1pp.23&37)
Arco o
 37

(2nd time)

!L!o
III II I

Em D Em D

lst Pos. 0 o 4L4 o 0 104 01

)
,II I'III III
I I IIIU II
mf
A ,Ll
o o o o
38

ROW ROW ROWYOURBOAT

Here is another piece in six-eight time that is counted in two. Play this tune as a round,
with a new part starting every two measures. Also, try it with the accompaniment.
Chords: D
I ath Pos.
rl'= 60 pizz. 0

II
Tllf Row, row, row vour boat gent - ly down the stream,

(Harmonics from Karr

Book 1 pp. 23 & 37)

III II I III
Mer- ri- ly, mer- ri- ly, mer-ri- ly, mer-ri- ly, Iife is but a
o

HEY, HO, }IOBODYHOME

This is another round. Add a new part every two measures. First play it in 1st position.
Chords: Em

I lst Pos.
J= B0 pizz. 1

I_III
mfn 'TT 'II I
I

"u Hey, Ho, no - bo - dy home, no meat, no drink, no

(all on E string) oo
Arco o 2 ??
T- t-
o
a) aa)
o

(Harmonics from Karr

Book 1pp. 23,37,& 49)
 39

I III I
mon- ey have none. Yet i shall
oo

Now play it in 4th position. Does this sound minor or major?

Chords: Em
1 4th Pos.
J = 80 Pizz. t-

h iu ltl ,III ,III I '

17[ Hey, Ho, no -IV

bo- dy home, no meat, no drink, no
(all on E string) o o
Arco o Z
p
T_
+o
L
I l.) o
o
o
a

I III Ii
mon- ey have I none. Yet I shall be

AWAY II{AMA\IGER
Tly singing the words to this carol as you play the melody to the last song in B4ss-ic
Essentials I. Take turns playing all the parts with your teacher and your bass companions.
40

AWAY II\TAMAI\TGER
I ath Pos.Chords: D D A
, = 88 Pizz. 1
04 0

II III II IV III IV III

mf mp
A-way lna man - ger, no crib for a bed. The lit - tle Lord
The cat tle are low - ing, the ba- by a - u'akes. but lit - tle Lord
Arco n l.l l'l

Uo'-./ o o tU'
C
t-
1.-WP o-
J
a

mf
Pizz. or piano

ry III .II I III

mI
Je - sus lay down his sweet head. The stars in the sky- looked
Je - sus, no cry - ing he makes. i ove thee Lord Je - sus, look
F

-/"

Bm
A

III 'II
downwhere he Iay. The lit - tle Lord Je - sus, a - sleep on the hay.
down from the sky and stay by my cra - dle till morn-ing is nigh

l'l V-
 4t
AWAY INAMANGER
lst ros. Chords: D D
t =88 Pzz. 1 1
04 0

ITI III
mf mP
A - way in a man - ser. no crib for a bed. The lit - tle Lord
The cat - t1eare lorv - ing. the ba - b1' a - wakes, but lit - tle Lord
Arcoll .-F
v"--/
4__;',
._) .

:
mf -- ntP
Pizz. or piano I

G D
1 0

IIIIIIIIIIII]
mf
Je - sus ay down his sweet head. The stars in the sky- looked
Je - sus, no cry - ing he makes. I love thee Lord Je - sus, look
vl'l rjn,J,
c i-s' a t,-'/
o
o
o
o

mf

III
down where he lay. The lit - tle Lord Je - sus, a - sleep on the hay.
down from the sky, and stay by my cra - dle till morn- ing is nigh.
 ERRATA SHEBT
Please substitute this music for Row, Row, Row Your tsoat on pg' 38"

Chords: D
I 4th Pos.
ol'= 60 pizz. o

III I II
ffi,f Ro*, row, row your boat gent - ly down the stream,
o

III ITI (II) I III

II
Mer- ri- ly, mer- ri- ly, mer-ri- ly, mer-ri- ly, Iife is but a
o
42

Alice Spatz
Alice Spatz has composed for chamber ensembles, orchestra, chorus, music-theater,
voice and solo instruments. Her major works includeAmerican Plainsong, a music-theater
piece performed twice in 1992, and lona, a concerto for two cellos, commissioned by the
Sage City Symphony which premiered the work in 1994 with soloists Michael Finckel
and Maxine Neuman. In 1994 the Massachusetts Cultural Council awarded a grant to
Spatz for the creation of a music-theater/dance work Sarah's Laughter, Rachel's Tears, a
collaboration involving Williams College and Calliope Theater Co., commissioned by the
Atlantic Sinfonietta. In addition, she has completed her second piano trio, commissioned
by the Linden Tbio, premiered in the Spring of 1996.

Alice Spatz's music has been performed throughout the Northeast, recorded, broadcast
on television, public radio, and published by Shawnee Press and W.W. Norton. "Bosgjg
Essentials" Vols. I and II, doublebass instruction books with a collection ofher compositions,
were written by Spatz and edited by Gary Karr and are published byAmati Productions.
In addition to many other grants, commissions and awards, she has been the recipient of
ASCAP Standard Awards 1990-96. Spatz has an M.F.A. in composition from Bennington
College, is a free-lance classical doublebassist, and performs widely as a folk musician
with the trio Wintergreen. Slne teaches doublebass, music classes for pre-schoolers and
composition and theory at the Pittsfield Community Music School in Pittsfield, MA. Her
home is in Lanesborough, MA.