Supplemental Repertoire Series

FAQ and short guide

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This collection of educational repertoire is aimed at filling some technical and musical gaps I’ve found while teaching with George Vance’s Progressive Repertoire Series for Double Bass. A student might need a little extra work on a certain concept, or as a teacher I want to introduce ½ position a lot sooner than Volume 2, or I need music that makes use of several handshapes in 4th position, etc. The aim is to supplement an already fantastic method book, not make a new one. If you don’t have Progressive Repertoire, I highly recommend adding it to your collection, (www.carlfischer.com), in addition to the pieces I’ve written.

• I learned/teach a different fingering system (i.e. Simandl), is this repertoire still useful for me?

Yes! Absolutely. Some of the “Elementary” works might be a bit tough for someone starting in the Simandl method, Essential Elements, or other schoolbooks, but there is still plenty of attainable, fun music in this collection for bassists of all fingering persuasions. I’ve made video recordings and posted them to YouTube and the description pages to help you make a more informed decision before you purchase.

• Do you sell these as whole/can I get physical copies?

At the moment, no. Think of these as “single sheets” pieces like piano publishers Faber or FJH make, only as a pdf. HOWEVER, if you’re a teacher and would like to have the entire collection for reference, send me an email at jasker1020@gmail.com. As a self-publisher it is cost-prohibitive to make physical copies. The pdfs you receive are free to print as many times as needed, unlike other online sheet music retailers.

• Will you be adding more repertoire to this series? Do any have piano accompaniment?

Yes. I am constantly writing new pieces as students need more help with a concept here or there. In fact, that’s how all of these get written; my poor students are my guinea pigs! I’m working on making a collection of piano accompaniments for several of the pieces. If you’re interested in getting those ASAP, or have a request for accompaniment to a specific piece, send me an email at jasker1020@gmail.com.

• Can I share the pdfs I purchased with other people?

As an independent self-publisher, I would prefer you didn’t. While encrypting these files and limiting prints would offer some level of protection, paper is just as easy to copy! So, if you think someone would benefit from a piece, or if you’ve come here after being given a copy, keep in mind every purchase helps me write more of this repertoire.

Any other questions or feedback? Contact me at jasker1020@gmail.com

General Guide

Below is a list of solos written, to date, ordered generally with techniques/difficulty in George Vance’s Progressive Repertoire. Each has a quick summary of some technical/musical goals. Recordings provided on YouTube and on each description page are another useful way to assess what material is appropriate for you or your student.

Elementary (Vol. 1 of Progressive Repertoire)

1. Once Upon a Star:

• i. Introduces flats (i.e. use of the second finger) in 1st position, as well as repeats, dynamic shaping, and some bow distribution.

2. The Graceful Duck

• i. Serves as an early introduction to ½ position, ¾ time, and slurs.

3. The Obelisk

• i. 4th position, and 1st position versions introduce D harmonic minor, hooked bowings, and 3rd position flats.

• ii. 4th pos. version introduces notes on the A string

4. A Wolf’s Summer Waltz

• i. Introduces 2nd position.

• ii. Shifts between ½ and 1st positions.

5. Clock Work!

• i. Uses both whole-tone scales. Shifting between ½ and 1st positions.

6. Under the Mountain

• i. Simple, catchy D-minor 1st position piece. Develops strong articulation and can make a student feel virtuosic.

7. Pond in the Sky

• i. Simple Rhythms and slow; trains bow control and shifting between 6th, 4th, 3rd, and 1st positions using harmonics. Good for developing a whole-fingerboard layout.

8. Panini Press

• i. Changing 4th pos. handshapes from chromatic, to semi-chromatic, to extended. Alternates F naturals and F-sharps.

• ii. A la Paganini, the changing meters, clefs, and virtuosic flair make it an exciting recital piece.

9. Tatanka, Waltz for the Bison

• i. 3rd position and 4th pos. versions introduce mode mixture and is lengthier to increase focus/stamina.

• ii. 4th pos. version introduces notes on the E string.

10. Grizzly Bear Rock

• i. 1st and ½ positions used, switches between pizz and arco, and 16th note subdivisions. Great for developing a gritty articulation.

Intermediate (Vol. 2 of Progressive Repertoire)

11. Bruniquel Cave

• i. 3rd position pivots in G minor. Shifts from ½ position up to extended 4th position.

12. A Pivot in Time

• i. 1st position pivots up and down ½ step, and 3rd position pivots.

• ii. Changes meters between ¾ and 4/4 and uses a mixture of A natural and melodic minor.

13. Valley of the Butterflies (Lapwaii)

• i. Short middle section works on 2nd and 3rd position pivots as well as ½ position.

14. Nessie’s Jig

• i. Very catchy tune based in 1st position D-major that works on 6/8 time and hooked bowings. The bridge modulates to D minor in 3rd position.

15. Fowl Play

• i. Bluesy F-sharp minor exercise in syncopated rhythms and gritty articulation. Second section focuses on 3rd position pivots to high F-sharp.

16. The Crows

• i. Introduction to A-flat Major/F minor, ponticello, large glissandi for effects.

• ii. Every type 3rd position pivot.

17. Lavender Fields at Twilight

• i. More 2nd position pivots in A Major

• . ii. D.S. Al Coda road map

• iii. Uses the “Universal Scale Fingering” and encourages playing across the strings.

18. Razzleberry Rag

• i. 2nd position pivots, with heavily syncopated “ragtime” rhythms.

• ii. Strange bowing patterns and uneven distribution for the purpose of accents and style.

19. By The Lake

• i. 3rd position pivots and 4th position chromatic handshape.

• ii. Introduction to using the natural harmonic A on the D string as part of a melody to avoid shifting to 4th pos.

• iii. More melodic fingering concepts.

20. Devil’s Tower

• i. Concert-style piece in E-minor. Culmination of pivots in all positions, usage of the thumb to stop a D-sharp in 4th position, shifts through melodic lines.

21. Snake Eyes

• i. Chance music.

• ii. Each section presents its own challenges in articulation, pivoting, musicality, etc.

22. Seven Bridges to Cross

• i. An exercise in 7/4 with a variety of rhythmic groupings and continuous “double note” 16ths mixed with straight 16th note passages.

Advanced (Vol. 3 of Progressive Repertoire)

23. Snow One’s Fall

• i. Minimalism for solo bass.

• ii. Helps build focus and stamina with subtly changing patterns and repeats.

24. Stellar Dendrites Descending in Siberia

• i. Works on 3rd position pivots in A Major and melodic fingering concepts.

• ii. Great piece for spiccato work.

25. Fall in a Forest of Deciduous Fauna

• i. Changing meters, chromatic lines, 3rd position pivots, and a brief melody in 5th position.

26. Romance of the Garden Gnomes

• i. Introduction to D-flat Major, double flats, L.H. Pizzicato in D Major and heavily chromatic & dissonant melodic figures.

27. Measured Steps

• i. Uses the triads of an octatonic scale. Develops hand frames for chords and working between them from ½ through 4th positions.

28. Day Dream

• i. Bach-style prelude featuring large slurs over big arpeggios. No fingerings are given to encourage students to make their own informed decisions. Stays below 4th position.