Bass World

Bass World V35 N3 Fixed_Bass World V34 N1 4/26/12 11:54 AM Page 100
BASS WORLD
The Magazine of the International Society of Bassists
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Volume 35
March
Number Three
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2012
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June July Aug
CONTENTS
Departments:
President’s Corner . . . . . . . . . . . . . . . .2
From the Editor’s Desk . . . . . . . . . . . .4
Child’s Play . . . . . . . . . . . . . . . . . . . . .7
My Turn . . . . . . . . . . . . . . . . . . . . . . . .9
Body & Bass . . . . . . . . . . . . . . . . . . . 37
Luthier’s Corner . . . . . . . . . . . . . . . . . 41
Bass Clubs . . . . . . . . . . . . . . . . . . . . . 45
Hot Shots. . . . . . . . . . . . . . . . . . . . . . 47
The Latest Score . . . . . . . . . . . . . . . . 48
Sounding Board . . . . . . . . . . . . . . . . . 52
Young Bassist Page . . . . . . . . . . . . . . 56
Features:
William “Keter” Betts: Everybody’s
Hand Man . . . . . . . . . . . . . . . . . . . . 13
in Search of Nino Rota and his
Divertimento for Double Bass
of 1973 . . . . . . . . . . . . . . . . . . . . . . 19
Johann Matthias Sperger (1750-1812)
Sonatas for Contrabass and Piano
Adaptation and Publication -
Klaus Trumpf. . . . . . . . . . . . . . . . . . 25
Velkommen til København! . . . . . . . . 51
ABOUT THE ARTIST

Rita Orsini was born in France to a family now spread across
the world, from Italy to Spain, France to the United States,
and England to Australia. After completing her academic
studies in France and travelling in Europe and Asia, Rita final-
ly settled in Australia, where she works as a French lecturer
at Sydney University. She works in watercolor and acrylic
painting, sculpture and silver jewelry. In 2005 she studied ink
painting in Aix-en-Provence, France to further her experience
with its smooth fluidity and bright transparency. Her painting
featured on the cover of this issue of Bass World, “Music to
my Ear,” is from this period. Rita exhibits her work in Sydney
and in France. Her first solo exhibition, “Invitation au
Voyage," retraced a journey across land and sea and reflect-
ed on the riches collected along the way. Travelling has been
part of her life from an early age, to reconnect with family or
uncover new destinations and experiences. At home, double
basses are a part of everyday life, as husband Matthew Tucker
is a double bass maker and repairer (Bresque Basses in
Sydney) and daughter Olivia is a bass player and teacher.
Both daughters, Olivia and Margot have inherited artistic
genes and have started exhibiting their own works. View
more of Rita’s works at http://ritaorsini.studio205.net.au.
Volume 35, Number 3 1

PRESIDENT’S CORNER
By John Kennedy The International Society of Bassists publishes

Bass World three times a year. Please address all cor-
Hello, colleagues, friends, and fellow lovers of the respondence, membership information and advertising
inquiries and materials to: ISB, 14070 Proton, Suite
bass! 100 LB 9, Dallas, TX 75244, USA, 972/233-9107 ext.
This is an exciting time to be a bassist and to be part 204, fax 972/490-4219, info@ISBworldoffice.com,
of the ISB. I am thrilled and humbled to watch the www.ISBworldoffice.com.
explosion of talent, visibility, and excitement in so The ISB is dedicated to stimulating public interest,
improving performance standards, and to providing an
many genres of bass playing, the melding of those gen-
organization for those specializing in the teaching, learn-
res and the blurring of lines separating players – we are ing, performing, repairing, making, researching, and
truly seeing the world becoming filled with bassists enjoyment of the double bass. The ISB limits its advertis-
without labels, not just this or that kind of bassist. I see ing to products and services that promote these purposes.
that explosion in my own teaching. My students are Domestic membership rates in U.S. dollars: one year,
$60; two years, $110; three years, $160; senior age 65
regularly choosing to explore with depth and commit-
plus (one year), $45; full time student (one year), $30;
ment multiple styles of playing (often needing to draw life membership $750. International membership rates in
on the resources of more than just one of us “old- U.S. funds: one year, $65; two years, $120; three years,
school” bassists who are not as broadly trained as they will be). At the same time, they are devel- $175; senior age 65 plus (one year), $50; full time stu-
oping at what seem unimaginably fast rates – I often find my students playing repertoire at a dent (one year), $35.
young age that I and my colleagues of a certain age typically learned in or beyond college. We Founder: Gary Karr.
are truly fortunate to be living in a “golden age” of bass playing! Administration: John Kennedy, President; Kristin
This is a golden age for the ISB itself. As we approach our golden anniversary of the found- Korb, President-Elect; Rob Nairn, Past President; David
Murray, Secretary; Marcel Villaflor, Treasurer;
ing of the ISB by Gary Karr in 1967, the ISB is experiencing changes that allow us to look both
Madeleine Crouch, General Manager; Jeremy Baguyos,
back and forward with greater depth and understanding. With the George Vance Online Resource Editor; Associate Editor, Connie Martin; Department
Library, available to members at our website www.isbworldoffice.com, you can now learn from Editors: Jeff Campbell, All That Jazz; Jennifer Sharp,
45 years of collected wisdom, insight, history, and personality of the ISB journal in all its forms Bass Clubs; Linda Gilbert, Body & Bass; Steven Reiley,
through the years. Every issue of Bass World, including this one, provides a window into our his- Centerfold; Virginia Dixon, Child’s Play; Colin Corner,
Different Strokes; Jeffrey Turner, Hot Shots; David
tory as bassists, into the lives of those who paved the way for us, and into the world of bass as it
Gage, Luthier’s Corner; Nick Scales, Orchestra Roll
is becoming today. Call; Robert Black, Latest Score; Chris Kosky and Rob
At our recent ISB board of directors meeting in January, the amazing collection of talent, Nairn, Sounding Board; James Lambert, Rumblings;
drive, and wisdom that is the board continued to pave the path the ISB will be taking to both Inez Wyrick, Young Bassists Page.
reflect and lead this new golden age. As we each shared why we are driven to donate our time Board of Directors:
and talents to the ISB, the themes of connection and collegiality wove themselves through all our Thierry Barbe
stories. The relationships and understanding that we’ve gained over years of conventions, our Jeff Campbell
Zi-ping Chen
excitement when we each learned that we were not alone in our “bass love,” and the sense of Mark Dresser
community that we feel throughout the bass world were common to us all. David Gage
Our work throughout the weekend returned again and again to this theme, focusing on how Peter Gallagher
we can bring this sense of belonging and connection to all our members, and offer it to the wider Bruce Gertz
community of bassists who have not yet found the ISB! In this increasingly technological age, Scott Haigh
Jason Heath
we identified three basic beliefs that we all shared. John Kennedy
One, that our currently most visible tools of connection, Bass World and our biennial conven- Tom Knific
tions, are in good hands and are providing powerful ways to educate, inform and excite each other Kristin Korb
as bassists. Bass World continues to be the finest magazine by and for the double bassist, and our Jeremy Kurtz-Harris
Alan Lewine
2013 Convention at the Eastman School of Music is already being shaped by president-elect
Douglas Mapp
Kristin Korb and the site team of Jeff Campbell and James VanDemark into an awesome week! Kurt Muroki
Two, that both of these wonderful manifestations of the ISB can reach a wider audience David Murray
through active and inventive use of the digital world to advertise what we do and enhance what Rob Nairn
we offer. Look for enhancements and expansion of future Bass World articles and features on the John Schimek
Lynn Seaton
web, and also for updates and previews of the convention there, too!
Hans Sturm
Three, that our web presence is already a powerful tool for bassists to learn about our history, Marcel Villaflor
access the artistry and music of our awesome membership though the online store, and keep up David Young
with important happenings through our newsletter of events. We believe it is also ripe for the Adjunct to the Directors:
addition of many of the digital innovations that are now available, and that www.isbworldof- Madeleine Crouch, General Manager
fice.com can and should join the magazine and the conventions as a primary tool for the ISB to Jeremy Baguyos, Editor
reach out to our members and the wider bass community. Our mission is to inform and build con- Connie Martin, Associate Editor
Diana Gannett, ISB Competition Chair
nections between bassists the world over, and I am excited to let you know that over the coming Robert Black, Composition Competition Chair
year, our website will be growing and changing to become a destination for bassists and a true Dustin Williams, Makers’ Competition Chair
home page of “bass love!” Advertising Policy: All ads should be sent camera-
ready. Size of ad and issues in which it should appear
should be specified. First-time advertisers must pay in
full for ads in advance. All advertisers receive a compli-
mentary issue in which their ad appears.
Copyright 2011 International Society of Bassists
2 International Society of Bassists

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FROM THE EDITOR’S DESK
Joining The Professoriate

It is also important to understand the differ- and tenure track ranks that do not hold doctorates,
ent types of faculty employment opportunities one can increase the chances of winning the job with
in academe. For purposes of career training and that final credential. Avoid the situation where an
the job search, there are three types of employ- application gets tossed out of the pile during the first
ment: full-time tenure track (after successful cut because of the lack of a paper credential. One
completion of a probationary period usually may have the most stellar performance and teaching
lasting six years, a faculty member is a “perma- history, but if a non-musician on the search commit-
nent” or “continuous” appointment), full-time tee or other hiring authority like the Human
non-tenure track (sometimes referred to as Resources officer is making the cut based on mini-
Photo by Adrienne Merit, 2008
“limited term” or “renewable” appointments), mum paper qualifications, an application without a

and part-time non-tenure track (sometimes terminal degree might get tossed out, regardless. As
referred to as “adjunct” faculty). mentioned in the introductory paragraphs, the acad-
The job market is becoming so competi- emy has its own set of criteria that may seem very
tive in some geographical areas that resumes different from the practitioner’s world where audi-
received for advertised adjunct faculty vacan- tions and competitions define a bassist’s abilities
cies are becoming just as impressive and just regardless of what credentials they may or may not
as numerous as resumes received for tenure hold.
track positions. No matter what type of job
vacancy may be announced, assume that the Will search committees and administrators make
Jeremy Baguyos in the Recital Hall of the Strauss competition will be very high. exceptions? Yes! In some institutions, like my insti-
Performing Arts Center, University of Nebraska at Omaha What is more important to understand is tution at the University of Nebraska Omaha, it is
that each type of job has a certain set of expec- written specifically in the hiring guidelines that cre-
tations and level of involvement within and ative artists who have demonstrated accomplishment
By Jeremy C. Baguyos outside of the university. For full-time tenure track as practitioners should be granted exceptions to the
As someone who made the mid-career cutover
positions, a double bass professor will be expected to terminal degree requirement. Usually these job qual-
from orchestral musician to music academic, I am
participate fully in all the various workings of the ifications ask for “DMA or professional equivalent.”
often asked how one goes about becoming a college
music school ranging from administrative support This allows search committees, administrators, and
professor in the music discipline. Like many ques-
duties (like producing a concert and committee work) institutions more hiring flexibility, but there is still
tions about pursuing a career in music, there is never
to performing chamber music with other faculty AND an advantage to holding a DMA/PhD over having
a simple answer. I wish it were as simple as going to
(with the exception of community college positions) a “equivalent professional experience.” A DMA is a
graduate school, earning an advanced degree, apply-
tenure track bass professor will be expected to be concrete and objective credential easily recognized
ing for listed jobs (in the Chronicle of Higher
active as a performer outside of their home institution, by everyone in academe including the most non-
Education http://chronicle.com/section/Jobs/61/,
which is central to his or her ability to win tenure. musical faculty and administrators that have never
www.higheredjobs.com, or the College Music
For a full-time non-tenure track position, the focus set foot in the campus performing arts center.
Society’s Music Vacancy List http://music.org/cgi-
is on being involved in the workings of the home insti- “Equivalent professional experience” is subject to
bin/showpage.pl), sending some applications, demos
tution. Free of the expectations to win tenure, the non- interpretation and not easily recognized by the entire
and letters of recommendation, and successfully com-
tenure track bass professor has more control on the professoriate and as a result, leaves very good and
pleting an audition/interview. If this were the case, I
focus of his or her outside creative time. However, in qualified artist-teachers vulnerable.
could end the article right now.
some places that offer these types of positions, it is One can cast a wider net and apply for more
Before anyone begins the process of pursuing a
prudent to remain active as a performer because pro- opportunities if the DMA program is finished or
career in the music academy, one must first understand
fessional creative activity is not only good for the bank almost finished, and the journey through the tenure
his or her own career motivations. Understanding these
account, it can be used as a stipulation for renewal. process becomes less arbitrary. Anyone that knows
motivations will help an aspiring artist-scholar navigate
Part-time faculty members are paid to teach the class- me personally might find this advice surprising, but
the “Why Do You Want To Go To Graduate School”
es or students that they are assigned to teach, and there even though many of us successfully landed a tenure
admissions essays and all the variations of the “Why Do
is very little expectation to be involved beyond the track job without a doctorate, it is not a path that I rec-
You Want To Be An Academic and Work Here” ques-
exact teaching assignment. Musicians who already ommend for everyone. One can always count on a
tion when running the gauntlet of multiple phone, Skype,
hold full-time positions or full-time freelance situa- DMA or PhD to meet a minimum paper credential
and on-campus interviews. There is no single right
tions often hold these part-time positions, and they can requirement, but “equivalent professional experience”
answer to these standard questions; it is important to be
provide a very rewarding experience as well as provide will always require additional explanations to the
honest with oneself and with others about one’s motiva-
access to the vast resources of a university with mini- administrators in the hiring hierarchy and multiple
tions. As a result, the head game becomes less cluttered
mal commitment. In some cases, these part-time posi- advocates who are willing to take the time to make a
and allows one to focus on the more important matters
tions offer important teaching experience, which allow pitch on a candidate’s behalf. Make it easy for search
pertaining to the job training and academic job search.
consideration for full-time positions elsewhere or at committees to hire you and get the DMA!
First of all, it is important to understand the different
the institution where one served part-time.
types of institutions that offer careers in academe. This
Finally, if one has spent their time training for a 2) Get extensive formalized training, teaching
becomes very important when you have to address,
career in performance and has spent time as a practi- experience, and professional or peer-reviewed
whether directly or indirectly, your “fit” within the orga-
tioner (someone who has made their primary income academic credentials in another academic area in
nizational culture of a potential employer. No matter
as a performing musician), the academy will offer a music. Most entry-level full-time jobs will ask you
what anyone says, “fit” is important. That is why it is
new set of values and reward systems that will need to do more than teach bass. This reflects the simple
important to be honest with one’s own motivations to
to be internalized alongside and sometimes recon- reality that most music schools cannot afford to hire
see how one may “fit in” with a potential employer.
ciled with the value and reward systems of a practic- all the personnel that they need, and they often have
This means a potential colleague must research as much
ing performer. Recognizing what is important to the to make the compromise of hiring one person that
as they can about a potential employer. Fortunately, the
professoriate is important for the aspiring artist- can be asked to perform two jobs at once within the
Carnegie Foundation for the Advancement of Teaching
scholar to internalize, because that is the best way to limits of the standard workload for the school or
has a very useful tool for learning about the different
answer the question, “What Are They Looking For?” department. These multi-disciplinary artist-scholars
organizations where one could work. Go to http://classi-
are very valuable to music schools and are highly
fications.carnegiefoundation.org/ to execute institution-
Tips On Getting The Academic Job sought after. Recent job postings in the Chronicle of
al lookups on any institute of higher education as well
Higher Education have asked for applicants who can
as read about the different types of organizations in the
1) Go ahead and finish the terminal degree (DMA teach the following disciplinary combinations: bass
standard listings. This is a good place to start before
or PhD). Even though there are many in the tenured + jazz studies, bass + music history, bass + music
researching institutional web sites.

education, bass + theory/composition, bass + music important to the job search process. When you apply market you as an aspiring academic. CD sales and
technology, bass + early music, and bass + music for a higher-education applied teaching job, search music downloads can also be good for the pocket-
administration and business. committees are not looking to hire just an artist-teacher. book.
They are looking to hire an artist-teacher that comes
The training comes in graduate school. If there is a with an empire consisting of recruiting contacts, former Your online artistic presence is very important.
particular academic cognate that is very interesting in and current students, national and international reputa- Count on getting Googled when you apply for a job,
the the long-term as well as short-term, consider tak- tions that raise the profile of the university and attract especially by those that will have interest and input in
ing at least eighteen graduate credit hours in that aca- attention locally, and the demonstrated ability to attract the search, but may not be on the core search com-
demic area. If the program allows it, declare that area students to the program. mittee. What results are returned when your name +
of interest as a cognate area and fulfill the require- “bass” is typed and entered into Google? Some call
ments for that academic cognate area. 4) Establish your track record as a soloist and this your “Google resume.” You should have a
It is very important that one can demonstrate con- chamber musician in addition to being an ensemble Youtube channel with complimentary videos of your
crete teaching experience in the secondary area. performer. Schools of Music are one of the most visible playing. Videos of live performances are especially
Obtaining a teaching assistantship in graduate school components of an institution of higher learning, and they important. You should have a public Facebook musi-
in the academic area of choice would be the perfect sit- want visible faculty who perform as marquis players on cian/band page that is separate from your personal
uation. Or look to nearby secondary schools or nearby any level. This might seem obvious, but the multiple path- page. Also, a Myspace music musician page is an
colleges who need part-time teachers in the secondary ways to achieving this goal are not as obvious. It is impor- excellent way to upload your audio and video docu-
area of interest. Even a tutoring job is relevant. Just tant to note that just because one is not an IMG roster bass ments and press documents for the public.
make sure there is documented teaching experience in soloist does not mean one cannot have a visible Soundcloud is emerging as a public repository of
the cognate area. Volunteer if you have to. solo/chamber career of some sort. However, it will take audio work. Finally, your formal 1-2 page resume
Finally, publish papers and give conference pre- some extra work to become a self-managed artist, espe- (brief version that highlights your accomplishments)
sentations in the academic secondary area. Every cially at the outset of a career. Find every opportunity to and CV (everything you have done) should be posted
academic music discipline has at least one or two perform visible solo recitals and document each proud somewhere. Linkedin or Academia.edu works per-
academic/professional societies that provide confer- occasion with video. Performance opportunities exist with fectly for this purpose. I’m currently experimenting
ence presentation opportunities and publication local-level and regional-level concert series, performing with ADAMS (Academic Digital Audio Music
opportunities for its members. Every academic music arts venues who are also concert promoters, churches, arts Service), a new service of the College Music Society.
discipline has its own version of the ISB! collectives, academic and professional music societies There are many free artist services that will allow you
(like the ISB, ASTA, SCI, & CMS), local bass clubs, fac- to get your name ubiquitously associated with “bass.”
3) Demonstrate that you are an excellent teacher ulty and guest recitals associated with teaching institu-
who can build and maintain a large, high-quality tions, pedagogy-based teaching events like string camps 6) Be one of their colleagues already. This refers to
studio through recruitment and retention. It is not and workshops, and chamber music series that are part of “fit” and understanding not only the specific organi-
enough to have teaching experience. The size of a a larger ensemble’s concert series. None of these oppor- zation to which you are applying, but also under-
bass teacher’s current studio and the accomplish- tunities should be discounted or overlooked. This will take standing the overall profession of higher education.
ments of the students in that studio weigh heavily in some marketing, networking, and cold calling, but as a top The Chronicle of Higher Education is a great place to
the evaluation of a potential faculty member. It is IMG manager said at a master class full of pianists at spot job openings, but it is also a great publication for
important for anyone who wants to win a studio Peabody, “When your butt is on that piano bench, your learning about the higher education profession. You
teaching job to be able to demonstrate an ability to mind must be focused 100% on the art of the piano. The have to highlight in both application materials like
recruit and retain top-performing students who can minute your butt leaves the piano bench, it’s all business.” your CV and in interviews that you understand the
then be developed under the guidance of the teacher Make sure your solo engagements are well publicized challenges that face a professor, a school of music,
and go on to become accomplished musicians. This through various media ranging from traditional press and the larger university. Search committees want to
can be demonstrated with the development of stu- releases/press kits, posters in targeted high-traffic areas, know that you sincerely share their concerns and
dents in a private studio or with an institution-affili- and radio spots, to events web sites, mailing lists, and aspirations, and that if you were to be offered the job,
ated studio, although I think there is a bias towards social media to assure that you add to your permanent web you will fit in with them as if you have been colle-
institution-affiliated studios. presence. gially working beside them for years. It is a complete
disconnect for a search committee when an institu-
Starting a new bass studio and recruiting and then Bassists who have spent a good deal of their tion is currently focused on one item like education-
continually developing all the students in that studio career preparation isolated in a practice room and the al assessment, recruiting, or organizational infra-
through inspiring and expert teaching so that their future conservatory environment honing the details of structure and a candidate is focused completely on
accomplishments begin to reflect on your abilities as a orchestra excerpts for auditions may be a bit squea- something else. It is not that you have to be a
teacher, is a long and complicated process that is beyond mish about the business end of a self-managed chameleon. You have to direct your attention to the
the scope of this article. The great bass pedagogues career, but remember that higher education values focus of the specific institution.
could probably write multiple volumes on this topic. visibility and reputation among its music faculty. If
However, there are a few pointers that can be highlight- you want to have a shot at higher education, you have There is a whole other side of the music academy,
ed, if the ultimate goal is a job in higher education. One to align your performance history with its focus on jazz bass. I have not addressed it because that is not
must be able to articulate a recruiting strategy. Plan on solo/chamber music performance credentials. Does the primary path that I followed, and I do not want to
answering this question in an interview: “How do you this mean orchestral experience is unimportant? NO! feign any kind of advanced expertise in that arena.
plan to recruit and retain students?” Answer the question Orchestral performance is central to a CV because It should go without saying, that one has to be at
succinctly and be prepared to give personal examples of that is where the majority of the classical bass pro- the top of their game to be competitive in this busi-
how the recruiting/retention strategy worked. fessional peer group makes their living. In short, ness, so don’t ever allow the business to supplant the
The best concrete answer to the question is actu- schools want to see that you can do it all and repre- art. This seems like a lot of work to get an academ-
ally having a large studio of students of remarkable sent their school as a highly-regarded colleague in ic job. For many of us, it does not seem like work,
ability to back up the articulated recruiting strategy. the professional world in all of the various places that and that’s why we do it. If you love what you are
Also, make and maintain an extensive list of contacts a classical bassist can practice their craft from doing, you will find that things just work out natural-
of private teachers and school orchestra directors. orchestral to chamber to solo to niche. ly. Going back to my introductory remarks about
Network at conferences and make school visits. being honest with yourself, if you really like what
Teach and coach at summer camps, festivals like all- 5) Be digitally transparent. Is the digital represen- you are doing, this advice will never seem like
state orchestras, string workshops, youth symphony tation of your accomplishments a clear, accurate, and drudgery and it will be a lot easier to be at the top of
rehearsals, and orchestra outreach activities. Publish flattering depiction? It starts with a professionally your game whether it’s being an orchestral player or
articles in local newsletters and national journals. Be produced CD and DVD, which will be requested by being an academic bassist. Good luck!
involved in the local and regional chapters of the search committees. It is best to have these ready in
national teaching organizations like ASTA, MENC, advance of any job announcement, so you can just
CMS, and MTNA. Be active in the ISB. Start a blog. send them the minute materials are requested. There
Be anywhere and everywhere as a teacher and always is no time to make professional CDs and DVDs on
at the front of everyone’s mind, so when the time demand as job prospects open up. It is a good idea for
does come to find a teacher, your name just naturally any aspiring artist to have a CD. A CD or DVD is like
pops out because you are ubiquitous. a business card at the very least, but if manufactured
This oversimplified view marginalizes the studio in large quantities and sold through digital aggrega-
teaching profession. However, it does distill what is tors and distributors like CD Baby, they can also help


CHILD’S PLAY Virginia Dixon, Editor
Starting a Class of Young Bassists

Although we would like to focus on play- and masterclasses, recorded CDs, and fine. I had two small students that used ¾
ing and teaching, building a career is everything musical that I’ve done, as well cello in one school, and four others in the
also about research and promotion. Here as other kinds of work that are indirectly second school that used a mini bass bought
is a successful bassist’s experience. - connected with music such as Alexander, by the school from the shop I had found. I
Virginia Dixon, Editor Kodaly, in addition to summer camp and was very excited about my new jobs!!!
school teaching. But my promotional work had not
by Antonello Peretto Now all was ready to start presenting ended. Since I had previously used only
my more polished project, and I contacted pictures from Virginia, I had to collect new
I began my Suzuki experience in 2007. It the Suzuki Schools by mail and in person. materials that I created myself. The stu-
was very exciting to be the first Suzuki dou- To my surprise the responses were posi- dents’ parents and I started to make photos
ble bass teacher in Italy and one of the first tive!! and videos of private and group lessons. I
three in Europe, along with Nicoline de It was time now to speak with school held public rehearsals and exhibitions
Waal-Asberg from the Netherlands and directors that were interested, but the sur- showing how fun it is even for the
Peter Skriver from Denmark. I took my first prises were not yet ended. At the first eval- youngest students to play double bass.
Bass Teacher Training course in the USA uation interview the school’s chief, after a These methods made it easier to attract
under the good teaching of Virginia Dixon. long discussion about the approach of the more schools and students, but the prob-
Once back at home in Italy, I had to find a Suzuki method on double bass and lem of instruments arose again. The stu-
way to introduce double bass into the whether it would work equally well in dent who had started with cello needed a
Suzuki family of instruments and to publi- Europe, asked me about finding the instru- real 1/8 bass; cello is good for the begin-
cize the possibility for the very youngest ments. This threw me into an embarrassing ner, but the tension of the strings is very
player to tackle its enormous size. situation. I suggested that it would be eas- high for a five-year-old. So they should
The first idea I had was to contact some ier to use small cellos tuned like a double change it as soon as possible, preferably
Suzuki school directors, hoping to create bass such as a ¾ for four- or five-year-old after the first year, but the school or par-
interest in this new movement, and putting students, with a bow one size below. But, I ents could not buy double basses more
strong emphasis on the fact that it would had no idea about where it would be possi- often than every two years.
be the first time this teaching method was ble to find a real small-sized double bass! My new solution was to find a place that
being applied to the double bass in Europe. So I was back to my research. I asked in rents instruments! This is, I think, the best
However it was not enough because they all the nearby music shops to find the best idea because parents don’t have to buy
needed to have something more detailed offer, but a lot of them didn’t sell the double basses but only pay a fee every
and concrete about it before risking the smallest basses at all. Finally, I found a month, changing the size for free when it is
introduction of a new instrument in their good compromise with a large dealer that necessary until the student is big enough to
schools. could find small double basses, but only buy a 3/4 double bass. The school doesn’t
Through this experience I discovered size 1/8 or larger, and nothing smaller. have to spend money for an instrument.
that I needed to take an additional step This was a good start, but not enough There is insurance on the instrument that
before this by making a brochure with gen- because the beginners often are about 4 or covers every kind of damage, which is not
eral Suzuki philosophy (only for non- 5 years old, so they must have 1/16 sized so strange in the hands of a five-year-
Suzuki schools), an explanation of the pos- instruments! old!!! Furthermore, set-up and sound are
itive effect this method has for children There was only one possibility to very good because they are higher quality
(which I had seen through observation in solve this problem immediately. I had to instruments. In fact, these double basses
the USA), a presentation of the way this find some 3/4 cellos and modify them into would be very expensive to buy!
method is applied for double bass and, “cellobasses!” This was very simple. The Now after three years my students have
probably the most important thing, pic- dealer that found double basses for me had increased in number to more than twenty
tures of happy students during group and no problem adding some 3/4 cellos (or in three different schools, so I think that
private lessons. even 1/2 cellos for the smaller students!!) the promotional method that I’ve created
I was now very happy with my work and to be retuned at G-D-A-E in the cello out of my direct experience works
I needed only one thing more, my résumé range. And so I made a table with the age well. I’m very glad to share it with every-
(curriculum vitae). I decided to attach my of the student, size of the instrument, price, body wanting to start a double bass class in
regular résumé, but after some thought I and the name and address of the shop to his own country or city. I hope this small
wrote a new one for this situation. In the make it easier to answer questions about story is of help to somebody!
first part, I put all my data, my references instruments the next time I would present
and my diplomas (also nonmusical). I my project.
divided the second part into three different The years following I started to teach in
columns with my experience in ensembles my first two schools and everything was


MY TURN
Excellence in the Age of Ratings

By Michael Klinghoffer talent… true musician… authentic… suit- fessional and as a person?
able for the Academy… oops!!... Not for Self-actualization is much talked about
This paper, which was presented on July the Academy… why does she need it … these days. The psychologist Abraham
2, 2010 at the Dostrovsky Forum for Music straight to the television… she can swim in Maslow drew a straight and obvious con-
Education, at the Jerusalem Academy of her own water… rock needs to grow on the nection between self-actualization and
Music and Dance, describes the differences street not in the university….” But wasn't excellence. Unlike Freud, who focused on
between excellence and professionalism this one of our measurable goals—to have studies of extreme mental disorders and
while also attempting to reframe the goals as many young people come to our acade- unlike the behaviorists, who studied the
of the projects run by an academy for my? Was it not one of our goals to have as average person, Abraham Maslow believed
music and dance. At the same time, I many first generation higher education stu- that we should study instead that group of
attempted to make a connection between dents as possible? elite excelling people he calls “Self
the theories of psychology professor I asked myself if there was a similar phe- Actualized.”
Abraham Maslow and a festival of young nomenon in other fields. Let us imagine a In his research, Maslow found that cre-
rock groups. young man with excellent achievements in ativity is the most distinguishable common
the fields of math and science. He is just denominator among all the subjects he
It all started at the end of the summer, on about to make a choice between a quick ascribed to that category. This creativity is
a pleasant evening in the south of Israel, and glamorous position in high-tech and characterized, among other things, by
during a festival for young rock bands. the possibility of working on scientific spontaneity, courage, the willingness to
Several young artists who began their research. Despite the fact that this young make mistakes, and humility. Maslow
career at this festival have gone on to win man has all the traits assuring him great claims that in some senses this creativity is
fame and recognition. Among the players, success in scientific research, his chances, similar to the creativity of children who
there were a few whom I knew from a pro- especially in our country, of earning a have not yet learned to be afraid of the
ject of the Jerusalem Academy of Music respectable living from research are much ridicule of others. “Almost any child” says
and Dance. Since I was not on duty that smaller than his chances of providing for a Maslow, “can compose a song or a poem or
evening, but rather playing the role of family by working in high-tech. Even if he dance or a painting or a play or a game on
father (my eldest son, who was volunteer- were successful in the field of research, the the spur of the moment, without planning
ing at that time in one of the towns, had academic path has fewer opportunities, is or previous intent.”1 If we return, for a
joined one of the bands), I kept a demeanor less financially rewarding, and is much moment, to that festival in the south, I can
of anonymity and listened with interest and longer. If our young man’s field is in say for certain that the words above are
with pleasure much of the time. At one humanities, his situation is even worse. accurate regarding most of the young par-
point my younger children, who had come Just a few weeks ago, the tragically ticipants, especially those who performed
to see their big brother and the guest stars small number of Hebrew literature students original material. Their material, itself, was
perform, whispered to me: “Dad! There’s was published. What is the likely career simple, without sophistry and the perfor-
Mr. Mitelman!” “Mr. Who?” I asked path for an articulate student with excellent mance was spontaneous, expressive, natur-
naively. “Mitelman, you know the key- verbal skills if he chooses to study commu- al and honest. “For this reason” says
board player from TV. He’s on the jury.” nications as opposed to the career he Maslow, “these people waste little time or
From that moment on, dozens of ques- should expect if he finished a PhD in liter- energy protecting themselves from them-
tions kept surfacing. I thought, for exam- ature or history? selves. They are not afraid of their own
ple, about the excitement the presence of a Having said this, who are we to claim desires; their appetites agree with their
celebrity raises in young people. I thought that the work in literature research is more judgments.”2
about how these young artists, blessed with important than that of advertising? Or that From the performances of these young-
talent, were performing in the south that it is better to be involved in classical music sters, it was clear to me that they had
night, but how they were thinking about the than in commercial music? Who am I to worked very hard. One could not help but
moment that people would recognize them use the power that I was given as an educa- notice that they had enjoyed the process at
on the street. I thought about how they tor to influence the future occupation and least as much as they enjoyed the results.
were dreaming of the money and the glam- lives of young people? Can I even promise Maslow also mentions hard work.
orous life that went with a megastar status, them that they will be better off in acade- “Inspirations are a dime a dozen. The dif-
and I thought about the fact that unfortu- mia than in economics? Or in history ference between inspiration and the final
nately for some of them reality might not research rather than in communications? product is an awful lot of hard work.”3
be as glamorous as the dream and for some Can I guarantee them self-fulfillment as With that, Maslow claims that creative peo-
the dream might shatter completely. musicians and as people, as Music ple’s love for games merges with their dili-
As time went by, these thoughts were Academy graduates? And what is the most gence and thus work and hobby, or game,
replaced by new ones. "Wow, what a tal- sublime goal of education if not to maxi- converge with one another.
ent… a convincing performance… great mize the potential in each student as a pro- Everything seemed perfect on that love-

beautiful
ly summer night, program
maybe too thatperfect,
included
but I audience members. Accompanied by 3E not
did (:7;@9A>6,
stop them to sing
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either for theTheperformer
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and fresh nuance touched the hearts of the appearing as one of the giants in Wagner’s and bass plumbed the quietest dynamic lev-
10 International Society
International Society of
of Bassists
Bassists
Unfortunately, we are so blinded by the the most cherished moments that I had The Author
idea of professionalism, that in most cases experienced with this project. The first one
we stop at this stage. was quite frightening. One afternoon the Performer, conductor and educator
bus was late. When we approached, we saw Michael Klinghoffer, author of Mr. Karr,
C) If it cannot be measured, it does the children waiting for us in the parking Would You Teach Me How to Drive a
not exist. lot. When they noticed us coming, they Double Bass, studied under Gary Karr at
In the age of ratings, where success is a started running enthusiastically towards the Yale University, where he received a
measurable thing, there is no place for bus. I cannot forget how I panicked at that Master of Music, and at the Hartt School-
excellence. Professionalism is measurable: moment. Neither can I forget the excite- University of Hartford, where he received
how much this or that group has played ment and happiness on the children's faces. his Doctor of Musical Arts. He has been
together, how many mistakes were made, The other event was when two drum- assistant principal bass player in the Israel
and how clear the text was (what percent- mers came for the first time to the Symphony Orchestra and in the Israel
age of the text did we understand correct- Academy in Jerusalem and we took them Sinfonietta. Since 1987, he has been on the
ly)—all of these are measurable. On the into the percussion room. Just looking into faculty of the Jerusalem Academy of Music
other hand, how much a song challenges their eyes said everything. A new and excit- and Dance, conducting orchestras, teach-
convention is immeasurable, how many ing world of mystery and possibilities had ing the double bass and other subjects. He
musical and nonmusical connotations does just opened up for them and for us. These is currently serving as the Dean of
it stimulate for the listener, and even how were strong experiences, but like the state- Performing Arts and is the Director of
original and how soulful the performance ments that we discovered in our survey, the Jerusalem Conservatory Chamber
was is immeasurable. We can check how they had nothing to do with measurable Orchestra.
many correct answers a student had on his musical success. Rather, they had to do
mathematics exam, but we cannot quantify with the vague term "values." Was that then
just how original or elegant a particular what we had been doing? Should we
solution was. When we stumble upon a reframe our goals?
brilliant solution or a brilliant creation, we If indeed education is about actualizing
identify them immediately, but we are the potential of everyone, as a person and
afraid to approach the subject because of as a professional, we must acknowledge the
questions such as how can we measure suc- fact that instilling knowledge and skills,
cess? How will we be able to grade? important as they may be, must forever
Maybe it is all a subjective matter? remain only within the boundaries of the
Being part of an academic institution, I necessary conditions and we must therefore
went into the process of evaluation and always strive to go beyond the measurable
assessment of our project in the communi- into the real world of values.
ty. In order for the evaluation to be even It was late; the young musicians were
more objective, we hired ZOFNAT, a com- saying their last goodbyes. We went back
pany that is known for its work with educa- stage to congratulate my son on his perfor-
tional institutions. The results were surpris- mance. A few of the musicians came to me
ing to all of us—students and faculty, as and said, “the project will continue next
well as, to the people from the communi- year, right?” and one of them added, “and
ties we worked in. by the way, what do I need to do if I want
The highest-ranking statements in all to study at the Academy?”
three locations were, in the first place, “I
have learned that in order to improve I have Notes
to work hard and put in much soul”
(Average 4.91 out of maximum 5), and in 1
Frank Goble, The Third Force: The
the second place was the statement, “I like Psychology of Abraham Maslow. (Chapel
working with my student instructors” Hill: Maurice Bassett Publishing, 2004) 39.
(Average 4.78). These two statements were 2
Ibid p. 41
rated far ahead of all the other ones, includ- 3
Ibid p. 40
ing the ones that dealt with the various 4
Ibid p. 113
musical experiences and with the individ- 5
Ibid p. 42
ual musical progress.
“Had we failed musically?” I asked
myself, “Shouldn't we be teaching music?
Shouldn't we instill musical skills?
Shouldn't we make them better young pro-
fessionals? What about all the measurable
outcomes?”
But then I tried to think what I felt were

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William “Keter” Betts:

EVERYBODY’S LEFT HAND MAN
By Paul Scimonelli
I think the best way to introduce William

Thomas “Keter” Betts to you is through this
anecdote: In the mid-1980s I was studying
improvisation with Keter. One day I had to
call him to arrange a lesson time. I got his
answering machine, with this message:
“Hi. This is Keter. Hey, do me a

favor? Listen to this.” [He then pro-
ceeds to rip off an extremely hip twen-
ty second jazz bass riff.] “I’m down at
the police station ‘cause the cops said
something about my licks being too
illegal. I don’t know. Wait for the beep
and let me know what you think.” 1
That was Keter: a tremendous sense of

humor, charming, avuncular, and the first
person to help if you asked. He was loved
and admired by all. And there was much to
admire about William Thomas "Keter"
Betts. As a bassist, he had flawless tech-
nique, a distinctive tone, and the ability to
serve both as a steady timekeeper and a
compelling soloist. As a bassist, I had the
pleasure to listen to him on numerous occa-
sions, and, as a bass player, rued the day
that I couldn’t play with him. When he was
on stage, there was no equal. He was THE
bass player of Washington D.C., and all of
us in the musical community gave him his
“props” with respect and admiration.
William Thomas Betts was born on July Keter Betts (Copyright Michael G. Stewart)
22, 1928 in Port Chester, New York, and
raised by his single mother, a domestic
later in life while onboard the famous Jazz was endless, and he was the first to give
worker. He got his nickname when a family
Cruise that left from Ft. Lauderdale, newcomers to the city a chance to break in.4
friend said the baby was as cute as a mos-
Florida. He was known simply as “The Betts credits an Italian street parade for
quito. Mosquito became “sketer,” then
Mayor.” Keter knew EVERYBODY, and inspiring his musical career. In fifth grade,
Keter.2
sometimes knew more than half the audi- his mother sent him to the store for gro-
Betts was a man of many nicknames. A
ence. He was the veritable info-central—so ceries. He saw the parade and followed the
1996 Washington Post article dubbed him
and so was on this recording, so and so was drummer all over town for hours. In spite of
“The First Lady’s Sideman” due to his long
on this tour there, there was an opening for being punished upon his return, he con-
association with the great Ella Fitzgerald.3
a band at this festival there. Even though vinced his mother to buy him his first drum.
In Washington, he was known as
you could never get Keter for a club date She helped him get a drum kit, and by the
“Everybody’s Left Hand Man.” Perhaps the
because he was always booked, he was kind time he was a sophomore in high school, he
best nickname was that which he earned
and giving to a fault. His book of contacts was going into New York City for drum
included concerts, club dates, radio broadcasts and recording ses-

sions, including the 1954 Dinah Jams recordings. Betts developed
a trusting relationship with the singer and in fact was appointed the
executor of her estate.10
Betts credits Dinah Washington with his “musical epiphany” as he
explained in the National Visionary Leadership Project videos.
Before playing with Dinah, Betts played with sidemen, where he
would focus on just the chord changes of a song, building his bass
lines around them, and supporting the soloist. There were no real
“charts” for the songs, and everyone would be “faking” or improvis-
ing around an established set of memorized chord changes. Upon
entering Dinah’s band, he realized a majority of Dinah’s charts con-
tained just the melody, the lyrics underneath, and a simple set of
chord changes. He learned from playing and listening to Dinah how
the melody fits the lyrics and the chord changes, in essence, the entire
nuance of the song, not just working around the chord changes.11
Betts explained it to National Public Radio host Steve Inskeep
for the program “In Their Own Words:”
“My concept is that a singer comes out there, is buck-naked

and it's my job to dress that person for the audience. A person
comes in and I'm a tailor and they want a certain type of a jack-
et made with a double vent and this big guy wants one made
with no vent and so forth. If you dress each one of those the
way that they want to be fitted, and when they come out of
there, their clothes fit them well, you’re a good tailor. And I
started tailor-making my bass to fit for the singing.”12
As he explained to this author many times during improvisation

1946 Port Chester High School Yearbook (Courtesy of Jennifer Betts, all lessons, “you don’t really know a song until you can sing it, and you
rights reserved) certainly can’t improvise around it until you do.”13
Betts met and married his wife Mildred "Pinky" Betts in 1953.
lessons every Friday.5 In 1946, Betts went to New York City, intent The reception, paid for by Ms. Washington, was held at the famous
on seeing Cab Callaway’s band, and to meet and talk with his drum- Birdland club in New York City, with Tito Puente providing the
mer, Cozy Cole. However, Calloway’s bass player Milt Hinton met music.14 He toured with Dinah, Earl Bostic, and Cannonball
him at the musicians’ entrance, told him the drummer was already Adderly intermittently between 1950 to 1956. When “Keter” and
gone, and offered to spring for a 35-cent lunch, talking up the “Pinky” started to raise a family, he decided to give the road a rest
virtues of the bass all the while. After years of hauling his Gene and settled back in the D.C. area.
Krupa drum set up four flights of stairs, Betts had had
enough, and was persuaded to switch to the bass in his
senior year of high school.6 Hinton recommended a
bass teacher in the city. However, the man was too busy
at the time, and he referred Keter to a bass player-
teacher in Brooklyn, Arthur Miller.7
Betts’s first big break came in 1947, just a year after
graduating from high school. Saxophonist Carmen
Leggio asked him to work with his band, and Betts
jumped at the chance to make $60 a week! Betts came
to Washington D.C. in 1949 to work at a supper club
on 7th & T Street. It just so happened that saxophonist
Earl Bostic was coming through town at the same time.
Bostic’s regular bass player was leaving the group, and
another band member who had heard Keter play told
Bostic to hire him, which Bostic did. What followed
was a two-year stint touring the country with Bostic.8
Betts made his recording debut with Bostic on the
recordings Bostic for You and Earl Bostic and his
Orchestra.9
In 1951, singer Dinah Washington persuaded him to “Keter” and” Pinky” being married by the Rev. Adam Clayton Powell with Ms. Dinah
join her for what turned out to be a five-year hitch that Washington in the doorway (Courtesy, Dr. Fred Irby III, Howard University Jazz archives)

Ella had been gone, then just three years.

“To me it was one of the most special of
all of Ella's performances I ever heard.”17
Ella often remarked to critics that Betts

seemed to have a “sixth sense” about
exactly what she needed, and that it was
the bassist, not a drummer, who drove her
music.18
Keter, equally effusive in his praise
said:
“Ella climbed the mountain and then

she became the mountain and the people
of the world came to the foot of the moun-
tain and paid homage to her. I was just
fortunate enough to be behind the moun-
tain.”19
Keter, Charles Covington, Dr. Fred Irby III, Junior Mance, Grady Tate
(Courtesy, Dr. Fred Irby III, Howard University Jazz archives) In between engagements with Ella, Betts’s
side work included playing in bands with
Around 1957, he began freelancing around the D.C. area, which Oscar Peterson, Woody Herman, Nat and Cannonball Adderley, Joe
led to playing with guitarist Charlie Byrd at a Sunday night jazz Pass, Clifford Brown, Hamiet Bluiet, Sam Jones, Clifford Brown,
jam, first at the Vineyard Restaurant, then at the Showboat Lounge. Kenny Burrell, Louie Bellson, Joe Williams, Vince Guaraldi, and
In 1959, Betts and Byrd raised their international profile while on a Roberta Flack, just to name a few.
State Department sponsored tour of Europe and South America. In his 60+ year career, Betts appeared on more than 100 record-
They brought back with them some of the new sounds from Brazil ings with Fitzgerald, Flanagan, Getz, Byrd, Dick Morgan, Dinah
that helped introduce Bossa Nova to American audiences. This led Washington, Clifford Brown, Count Basie, Bobby Timmons, Louie
to the recording of the historic Jazz Samba album with Stan Getz in Bellson, Sam Jones, Nat Adderly, Wes Montgomery, and many oth-
1962. Betts’s supple bass line was instrumental in propelling the ers.
Antonio Carlos Jobim hit “Desafinado” to the top of the Jazz and However, it wasn’t until 1998 that Betts, with the urging of his
Pop record charts. Throughout the 1960s, Betts would tour and daughter, finally recorded under his own leadership. The self-
record often with Byrd, Getz, and Jobim, as well as Dick Morgan, released Bass, Buddies, & Blues was followed a year later by Bass,
Sam Jones, Kenny Burrell, Herb Ellis and Barney Kessel.15 Buddies, Blues, & Beauty Too. His most poignant song, “Pinky’s
Another turning point took place when Betts joined the Tommy Waltz” was written after the death of his beloved wife Mildred in
Flanagan Trio. In 1964, the trio began to accompany singer Ella 2000, and recorded live at the Montpelier Mansion in Laurel,
Fitzgerald. He played in Ella’s band during the mid-1960s and
again from 1971 to 1993. Flanagan and Betts, alongside various
drummers (including Bobby Durham, Ed Thigpen, and Gus
Johnson) formed an infallible rhythm section: flexing, swinging,
playful, warm, and refined—all the qualities Fitzgerald herself per-
sonified. Betts played with Fitzgerald until her final performance in
1993.16
When asked what he considered to be Ella’s most memorable
performance, Keter told syndicated columnist Martin Schram this
especially poignant story:
Keter said Ella’s most memorable performance was in

National Airport in 1982, in the middle of a crowded terminal.
Fog had delayed things, and tempers were frazzled. “We were
waiting for our plane when a baby—no more than six months
old—began to cry. I mean that baby screamed and screamed!
And the mother was frantic because she couldn't get the baby
to stop. Ella, who was so sweet, was such a sucker for children.
And so she walked over and in the middle of a crowded airport
she began to sing a lullaby to that baby. Well, wouldn’t you
know it, the baby hushed immediately. And all through the air-
port, everyone stopped what they were doing and listened to
Ella's sweet, pure, crystal-clear voice singing that lullaby.” The original Charlie Byrd Trio: Keter Betts, Charlie Byrd, Bill
The gleam in Keter’s eye began to trickle down his cheek. Reichenbach (© 2008 Jennifer Betts, all rights reserved)

Washington Post obituary, August 8,

2005, Adam Bernstein, staff writer.
7
Cohodas, Nadine; Queen, the Life and
Music of Dinah Washington, Pantheon
Books, Random House, NYC, p. 115
8
Ibid, p. 116
9
Internet site: Earl Bostic Discography:
“Wrap Your Troubles in Dreams,” Bostic
for You, King Records, 1956, LP, #503
and “Always” and “The Moon is Low,”
Earl Bostic & His Orchestra, Vogue label,
7” EP, 1956, EPV 1111.
10
Cohodas, Nadine; Queen, the Life and
Music of Dinah Washington, Pantheon
Books, Random House, NYC, p. 241;
Jennifer Betts personal notes and inter-
views.
11
National Visionary Leadership videos.
Keter Betts at The White House with Nancy Reagan, Ella Fitzgerald, and Ronald Reagan (courtesy of 12
“Keter Betts: Reflecting on a Life in Jazz”
the Reagan Presidential Library) National Public Radio’s “In Their Own
Words,” Jim Inskeep, host, August 8,
Maryland.20 In 2004, the Keter Betts Trio lished at the Duke Ellington School for the 2005. Transcripts.
appeared in the Emmy Award winning Arts in Washington D.C. After being nomi- 13
Personal remembrance of author.
HBO movie “Something the Lord Made,” nated by “BET on Jazz,” Betts received the 14
Washington Post obituary, August 8,
performing an original composition for the Mid-Atlantic Arts Foundation Living 2005, Adam Bernstein, staff writer.
film.21 Legend Award in 2003. On September 11, 15
Jennifer Betts, personal notes and inter-
Betts maintained an impressive playing 2004, the city of Silver Spring, Maryland views; Riverside Records Discography,
schedule. Besides his concert performances officially assigned the date as Keter Betts 1960: Nat Adderly Sextet: Work Song
and club date work, Betts performed and Day, and in December of that same year he (RLP 12-318,) January 25, 1960; Sam
lectured at schools and music workshops received the 2004 National Academy of Jones Septet: The Soul Society (RLP 12-
within the D.C. Metro area and the neigh- Recording Arts and Sciences Award.23 324,) March 8, 1960; Dick Morgan Trio,
boring counties of Maryland and Virginia. Betts noted that he was influenced by the Dick Morgan at the Showboat (RLP 12-
He worked closely with The Wolf Trap playing of Ray Brown, Jimmy Blanton, 329,) May, 1960; See What I Mean?
Center for the Performing Arts “Head Oscar Pettiford, and Niels Pedersen, but (RLP 347) October 31, 1960; Charlie
Start” program, the Washington Performing many feel the influence was reciprocal. Byrd Trio, Jazz at the Showboat, Vol. 4:
Arts Society’s “Concerts in Schools,” and Widely considered the most respected Charlie’s Choice (Offbeat OLP 3007)
the Prince George’s and Montgomery journeyman bassist in jazz music, Betts December 1960.
County “Arts Alive” program. He also passed away at age 77 in his home in Silver 16
www.allmusic.com: Keter Betts.
served as musical coordinator for jazz pro- Spring, MD, in August of 2005. His funer- 17
By Martin Schram, Washington-based
gramming at Black Entertainment al was attended by over a thousand fans. columnist for the Scripps Howard News
Television and as instructor/lecturer at Remembrances came from many of Service, Op-Ed Column for August 8,
Howard University, both in the District of Washington DC’s finest musicians, as well 2005. Martin Schram’s weekly column is
Columbia. If that wasn’t enough, Betts was as such Jazz luminaries as Dr. Billy Taylor, distributed by the Scripps Howard News
a member of the Smithsonian Jazz Junior Mance, and Freddie Cole.24 Service to more than 400 newspapers.
Masterworks Big Band, and frequently per- 18
Washington Post Newspaper, Sunday,
formed with the Kennedy Center’s former June 23, 1996. Arts section, page G1.
Director of Jazz, Dr. Billy Taylor on his ENDNOTES 19
Ibid, page G5.
“Billy Squared” program. Betts performed 1
Personal remembrance of author. 20
Jennifer Betts, personal notes and inter-
annually at the All-Star Christmas Jazz Jam 2
Jennifer Betts, personal notes and interviews: Betts’s albums are copyrighted by
on the Millennium Stage of the John F. views. him at Keter Betts Music.
Kennedy Center for the Performing Arts 3
Washington Post Newspaper, Sunday, 21
Notes from Keter Betts Memorial pro-
from 2000 to 2004.22 June 23, 1996. Arts section, Keter Betts gram, August 9, 2005.
Betts was an inductee into the byline. 22
Ibid.
Washington Area Music Association’s Hall 4
Jazz Drummer Lenny Robinson, personal 23
Ibid.
of Fame, as well as the recipient of the remembrance. 24
Personal remembrance of author.
Linowes Leadership Award from the 5
Cohodas, Nadine. Queen, the Life and
Community Foundation for the National Music of Dinah Washington, Pantheon Dr. Paul Scimonelli is currently a mem-
Capitol Region. In honor of his 75th birth- Books, Random House, NYC, p. 115 ber of the Music Faculty at the Landon
day and his many contributions to jazz, the 6
National Visionary Leadership Videos: School for boys in Bethesda, Maryland. He
Keter Betts Endowment Fund was estab- www.visionaryproject.org/Keter Betts; graduated with a Doctoral degree in Music

Education from The Catholic University of Personal Remembrances and Quotes

America, where he was the Instructor of the
CUA Jazz Ensemble, as well as a member of In January of 2012, I asked current District of Columbia Federation of Musicians
the CUA Symphony Orchestra. Along with President Ed Malaga permission to send out a call for submissions through the
teaching, Paul has been an active profes- Federation web site, and my request was graciously granted. I was overwhelmed by
sional performer throughout the greater submissions. Below are just a few of the outpourings of love and affections from for-
Washington/Baltimore area. In the Classical mer students and fellow Washington DC musicians.
field, he has performed with Orchestras in
Richmond and Lynchburg Virginia, Tucson, “Paul, I thought for a long time about what to write. It seems that every time
Arizona, The Baltimore Chamber Orchestra I hung out with Keter, I would get a music lesson just by having a conversation
and, for 35 years, has been a guest per- with him.
former, composer, and conductor with The I do remember being over at his home once, when he gave me an exercise to
Thomas Jefferson University Choir and try when I got home. Keter told me to take my guitar into the darkest room in my
Orchestra in Philadelphia, Pennsylvania. In home and try playing, with my eyes open. ‘It is important to keep your eyes open,’
the world of Washington theater, Paul has Keter said, ‘in order to get the full effect of this exercise.’ Playing in the dark is
played for dozens of shows, including, Cats, obviously very disorienting and the idea was that after about 15 minutes, your
Starlight Express, Grease, and The Sound of ears and your hands would synchronize and you would be able to hear how far to
Music, to name but a few. Also a skilled move your hands in order to play a melody, or the chord changes to a tune, etc.
accompanist, Paul has played with luminar- I set the timer on my watch for 15 minutes and began. It was awkward and very
ies such as Sammy Davis Jr., Johnny Mathis, clumsy for about 12 or 13 minutes, then all of a sudden, I could hear where my
Ray Charles, Dizzy Gillespie, Jack Jones, fingers were in whatever position I played in, and songs were so easy to play with-
Toni Tenille, Lynn Anderson, Sam & Dave, out fumbling around. I felt totally at home. I ended up in that room for 45 min-
Aretha Franklin, The Four Tops and many utes playing with abandon and knowing exactly where my fingers needed to be
more. For three years, Paul wrote pop for any song. I then called Keter to tell what I had discovered. He said, ‘I didn't
music in Nashville, Tennessee for several hear from you......I thought it didn't work.’ I then told him it worked so well, I
major publishing houses and also performed couldn't stop. Keter was a marvelous teacher as well as musician and friend.”
as a cast member of “The Sensations” and – Steve Abshire, former guitarist with the
“At The Hop” in Opryland USA theme park. U. S. Navy “Commodores” Jazz Ensemble
During his years in The United States
Marine Band, he performed for many White “I had the pleasure of knowing Keter for the better part of three decades.
House and State Department functions. During that time, I was always struck by how generous his attitude was
During and after his tenure with The Marine toward novice players. I never once got the feeling that he was condescending
Band, he performed in Inaugural Galas for or belittling players less advanced or talented than he was. He always had that big
Presidents Nixon and Ford, Carter, Reagan, smile that lit up the room; how I miss him coming into the shop and chatting
Bush, and twice for President Clinton. with the Moms and little kids. Occasionally, a young bass player would come
in and see Keter standing there and freeze like a deer in the headlights.
They would either stammer or be speechless as he would catch their eye and
smile and say, ‘aw c'mon man, I'm just doin’ what I know how to do.’
He once told my then 12-year-old daughter (now a mezzo with the LA Opera)
‘You have to make the music your own; don't just borrow it. Steal it and
make it yours.’”
– Dalton Potter, owner, The Potter Violin Company,
Bethesda, Maryland
“I had the pleasure of playing piano in the Keter Betts trio for almost fifteen
years, and with that came many great experiences. It was such a joy playing with
Keter because of his musicianship and the experience he brought to the band-
stand. He had such a passion for music, not just playing but listening, too. He was
always listening to new recordings, whether up-and-coming artists or established
ones. He would wave me over to his car to get in and listen. Keter loved being
with musicians and sharing stories, though he never really talked much about the
music itself, like chords or harmony, the way a music teacher might. These
lessons were conveyed with his bass on the bandstand. If there was a chord he
wanted (that I wasn’t playing), he would turn, in a very subtle way, and give a
very certain look. When that part of the song came around again, hopefully I
would have it and not get that look! Those are valuable lessons I’ll always be
grateful for.”
– Pianist Robert Redd, composer, arranger, and DC based freelance artist

“I can say with some certainty that I was the first student Keter More Quotes:
ever taught bass to.
I was playing and teaching guitar at a [small] studio, which even- “I’m grateful to have been an inspiration to him, as he has been
tually became the Charlie Byrd Music Studio in Bethesda, MD. The an inspiration to countless others. He’s #1 in my book.”
manager's name was Richard Harrison, who wrote arrangements – “The Judge” – Milt Hinton
for Charlie Byrd. We knew each other quite well because I took gui-
tar lessons from him and eventually became a teacher there as well. “All I can say is thank God for Keter Betts.”
When I starting learning how to play the bass in high school I had – Clark Terry
a few teachers but none of them were what I was looking for. I
wanted to learn jazz! So I asked Richard [could he find me a bass “As far as bass players, he has no peers.”
teacher] and it turned out to be Keter, who had never taught before – Junior Mance
and was willing to give it a try. Keter was working with Charlie
Byrd often in those days. We are talking around 1968. “He is a superior support artist—he moves everything up a notch.”
According to Richard (Keter told him this) when I first met Keter – Joe Williams
I said to him ‘I want to be just like you....but even better!’
He was the first person to really teach me how to play the bass Also, below is a quote from Bass Player magazine. I can tell
properly. We used the Simandl book and he taught me the proper you this is an honest and redundant one from Keter’s lips:
way to play German style bow. Later on I went to Peabody
Conservatory but without his teaching me the basics, I never would “…a real turning point for me occurred one night in Boston back
have passed the audition. when I was working with Dinah [Washington]. After our gig, I went
For years after I had stopped taking lessons from him, I would to see Slam Stewart; the entire Boston Symphony bass section was
see him at his gigs and he would always ask me how my parents sitting up front trying to figure out how the hell the guy could take
were doing. [My parents] would always take me to the lessons with a Kay bass and a Kay bow and get that kind of sound! That’s when
him and [later] we all would go see him play when he was in town. I realized you have to hear the sound in your mind first, and only
He never forgot them and was always kind to ask.” then can you make it come out of your instrument. The great ones
– Jeff Cooper, Bassist, Warner and National Theaters, come through their instrument; they don’t play into it—they play
Wolf Trap Center for the Performing Arts out of it. I always tell my students that when you make yourself one
with the bass, you’re not playing the instrument—you’re playing
yourself.”
– Keter Betts
Announcing the Sixth Biennial

International Society of Bassists
Makers’ Competition for Double Basses
In conjunction with the 2013 ISB Convention & Exhibitors’ Fair
June 2-3, 2013, Eastman School of Music.
Over 1,000 convention attendees from 34 countries in 2011.
Competition guidelines posted at
www.isbworldoffice.com/competitions/luthier.html.

14070 Proton Rd., Suite 100 LB 9
Dallas, TX 75244
972/233-9107 ext. 204 • Fax 972/490-4219
info@ISBworldoffice.com
Application deadline is May 2, 2013

In Search of Nino Rota

and his Divertimento for
Double Bass of 1973
By Alexandre Ritter DIVERTIMENTO CONCERTANTE PER developing the technical concepts and
CONTRABBASSO E ORCHESTRA BY exercises that were essential to his peda-
PART I NINO ROTA: A SUCCESSFUL COL- gogy for the double bass. Some years
LABORATION BETWEEN COMPOSER later, in 1982, the results of the work were
AND PERFORMER. Here you will find published as a book, entitled Simplified
(Introduction - Purpose of the Study - Part I of a two-part article presenting some Higher Technique. In Part II of this article,
Historical Background - Simplified of the main findings of my research pro- it will be shown how Petracchi’s pedagogy
Higher Technique) ject. The reader will also find that my for bass (which was developed long before
entire dissertation is now presented at the the book was published) might have been
In February of 1994, during my bache- Online Journal of Bass Research-OJBR. an important specific influence on the
lor’s degree at the University of Georgia composition of the Divertimento.
(UGA-USA), I met for the first time the Introduction The next movement composed after the
double bass soloist, pedagogue and con- Marcia was the Aria, which was complet-
ductor Maestro Franco Petracchi. Since Between 1967 and 1971, Nino Rota ed in 1968. In this movement, Rota gives
that time, I had the opportunity to be in (1911 - 1979) composed the Divertimento the performer the opportunity to explore
contact with him in many instances. In Concertante per Contrabbasso e the lyrical phrasing possibilities that the
2001, I decided to bring him to Brazil to Orchestra in honor of the legendary dou- instrument offers. The next movement to
participate in a Double Bass symposium as ble bass soloist, pedagogue and conductor be composed was the Finale, an Allegro
the guest of honor. During his solo recital, Franco Petracchi (b. 1937). This marcato (1969), in which Rota explores
he asked me to translate to the public about Divertimento is a four-movement work virtuosity for the double bass, showcasing
this story on Nino Rota and his with the movement titles, I-Allegro, II- Petracchi’s particular technical abilities
Divertimento for double bass, which he Marcia, III-Aria and IV-Finale. The entire throughout. Last of all, a first-movement
was about to play. Petracchi explained to piece is approximately twenty-four min- Allegro was composed in 1971.
the public and gave unique details on how utes in length, and it holds an important According to Petracchi, Rota did not give
this piece was conceived and developed. position in the 20th-century solo repertoire the development of the first movement to
At the end of that recital I thought to for double bass. him until two days before the
myself “all this information is too impor- The Divertimento is a significant exam- Divertimento’s first performance with
tant—bass players should know these ple of effective collaboration between orchestra. The performer recalls: “In
unique and relevant historical facts.” composer and performer. From 1950 to 1971 there was the premiere in Napoli
Then, in 2006, during my Masters degree 1977 Rota was the director of the Bari with the Orchestra Scarlatti of the Rai,
at the University of British Columbia Conservatory in Italy. Within that same conducted by P.L. Urbini, and, as it was
(UBC-CANADA), I wrote a term paper for period, Petracchi also worked at the con- common, the Maestro gave me the devel-
a bibliography class I was taking, choosing servatory as the primary double bass pro- opment of the first movement two days
as the main subject the Rota story that fessor. The Marcia was the first move- before the concert.” Thereafter, in 1973,
Petracchi had exposed to the public on that ment to be composed; Rota began it during the Divertimento was published by Carisch
recital in Brazil. Consequently, right after the 1967 academic year. Petracchi recalls (now owned by Ricordi) as a four-move-
I finished that term paper, my “boiling the circumstances: “First, he [Rota] wrote ment work for double bass and orchestra,
brain” started wondering and questioning the Marcia thinking of it as a piece by together with a reduction for piano.
about many details that arose from that itself for double bass and piano. It was
research project. In addition, my great dedicated to the double bass class; in fact Purpose of the Study
love for the piece fiercely drove me to the piece had some elements of the instru-
work on the subject restlessly. Therefore, ment’s technique (scales, exercises, etc).” The unique circumstances of the collab-
I decided to dive into the subject, and in Over the next four years (from 1967 to oration between Petracchi and Rota
May of 2010 I finished my DMA degree at 1971), the composer decided to add three deserved a special study. Therefore, I
the UGA with a Dissertation entitled additional movements. decided to investigate the collaboration
FRANCO PETRACCHI AND THE During these same years, Petracchi was between composer and performer, giving

particular attention to how this collaboration affected the compo- 50 years. In his recollection, Petracchi claims that the music for
sitional history, the style, and the specific technical challenges the Aria owes its existence to Rota’s concurrent project of com-
that are found in the Divertimento. Two aspects of the collabora- posing music for the famous film Doctor Zhivago:
tion warranted particular attention. First, it was useful to investi-
gate how the technical demands of the piece compare with the It’s important to clarify that this music (Aria) was origi-
concepts and exercises found in Petracchi’s method for the double nally written as the motif of the film Doctor Zhivago. Due
bass, Higher Technique. Secondly, it was essential to investigate to disagreements with the production, he withdrew (the
a further collaboration between the composer and performer after beautiful score was then written by Lai with “Lara’s
the publication of the Divertimento in 1973, which resulted in a Theme”) and to our great satisfaction, Rota’s theme was
significantly different second version of the Divertimento. To “redirected” to the double bass.
date, this second version has not been published but it remains the
preferred version for Petracchi. In sum, the main research ques- In an early conversation about it, Rota revealed to Petracchi that
tions were these: 1) When, and in what circumstances did Rota he had already formed a clear idea of where the music of this Aria
write the Divertimento? 2) What are Petracchi’s musical and tech- would be used in the soundtrack for Doctor Zhivago. According
nical characteristics that might have influenced Rota’s to Petracchi, “For the interpretation, he told me that I should think
Divertimento? 3) What aspects of the book Higher Technique of a slow march of Russian exiles heading toward Siberia [at RN
might have influenced Rota’s Divertimento? 4) What are the 4] at night and then, bit by bit, lentamente and with ampiezza, at
changes made to the Divertimento after the publication in 1973, the unfolding of dawn (like Respighi’s I Pini di Roma).”
and in what circumstances were they made? The Finale was the third movement composed and dates from
1969. Inititally, Rota had thought of it as a galop with respect to
Historical Background its musical style. By the time the Divertimento was published in
1973, however, Rota had decided to call it Finale. When this
Much of the material presented here has been taken from the Finale and the earlier two movements had been scored for double
2008 interview between myself and the performer, which is a bass and piano, Petracchi asked Rota about another stage of work:
valuable source for the genesis of both the Divertimento and “After the finale (galoppo), he [Rota] had already thought about a
Higher Technique. Like the interview itself, the discussion will possible orchestration…when I proposed it to him, he told me that
proceed according to the chronology by which the four move- he had already planned it.”
ments of the work were composed, i.e., Marcia, Aria, Finale, and
Allegro respectively. An additional movement, entitled Allegro and intended to be
According to Petracchi, the Divertimento “was born” as a result played first was composed in 1971. Petracchi recalls several uni-
of his request to Rota to write a single piece for bass and piano in que factors that influenced the composition of this movement:
1967. At that point in time, Petracchi had just been invited to
teach at the Bari conservatory, while Rota was its director. The He explained to me that the theme is drawn from the
performer recalls: “I [Petracchi] accepted and could not miss the Concerto No. 1 of Paganini modified in the final note, the
opportunity to ask him to write some music for my instrument.” nightmare of a double bassist who imagines that a concerto
Petracchi explained that Rota had his office underneath his class- has been written for him, but that he is unable to get the final
room and that Rota could hear the content of Petracchi’s lessons. note right, played invariably one tone below the original. A
The Marcia was composed as an exercise for the double bass nightmare!
class, designed to challenge the student with specific techniques.
Petracchi stressed Rota’s intention with the Marcia: The composition of the first movement’s development became
a particular concern. Petracchi remembered that the orchestral
This Marcia contained numerous exercises that I used to introduction was longer than the entire section with bass,
give to my students, a kind of training music, realized in liv- Petracchi recalls his suggestion to Rota:
ing music to “make them [the exercises] more enjoyable,” as
he [Rota] said. In fact his studio and his sitting room were I pointed out that in the first movement, after the long
situated right below my classroom. It certainly was not introduction, the double bassist played a brief entrata and
enjoyable for the Maestro to rest at certain times with that then passed to rehearsal number 10 of the cadenza, practi-
“concert of scales.” cally missing the development. He said that I was right. “I’ll
take care of it. How demanding you are!” In fact, he took
The tempo marking assigned to the Marcia reflects the colla- care of it, but only two days before the first performance held
borative decision made between Petracchi and Rota. In the inter- in Napoli in 1971.
view, Petracchi recalled that “he [Rota] made a point of telling
me that the time must be allegramente, like when children leave Based on his interactions with the composer during and just
school, not when they enter. We estimated that a quarter-note at after the composition of the Allegro, Petracchi has argued against
132/138 could be optimal.” using the tempi that appear in the published edition:
In 1968, the Aria was composed. According to Petracchi, when
the prominent Italian critic and musicologist Fedele D’Amico I have had the chance to hear several recordings of this
heard the Aria performed in Rome, he declared after the concert divertimento, but not one renders the thought of the compos-
that this Aria was one of the best Italian pieces written in the last er, truly an interpretative loss…on my own score, which I
also distribute to my students, there are numerous expres-

sive, dynamic, and metronome markings that are fruit of my from other methods, borrowing examples from composers such as
time with Rota at the piano. Billé, Caimmi, Mortari, and Selmi. Furthermore, he applied his
technique to important examples from the bass repertoire, from
At the same time that Rota was composing the Divertimento, composers such as Henze, Hindemith, Koussevitsky, Mussorgsky,
Petracchi was introducing the ideas that he would later publish in Bottesini, and Fryba.
Simplified Higher Technique into his teaching at the Petracchi’s innovations are based on the establishment and
Conservatory. In the article “Left Hand High,” Peter Buckoke manipulation of three different left hand positions: chromatic
claimed that he had been exposed to the basic concepts of Higher (cr), semichromatic (s.cr), and diatonic (diat). All three different
Technique before 1973, even though the book was not published left hand positions make use of the thumb as the base for the hand
until 1982: position.
The chromatic position (cr) is built on three consecutive semi-
I was lucky to find my way onto Franco Petracchi’s sum- tones using the thumb for the first note, finger 1 (index finger) for
mer course in Vicenza, northern Italy. He introduced me the second note, finger 2 for the third note (middle finger), and
to his daily exercises, which were unpublished at the time, finger 3 (ring finger) for the fourth note (example 1). The semi-
but are now available from Yorke Edition. … I have worked chromatic position (s.cr) is built on the span of a whole tone and
with his exercises continuously over the last 30 years… two consecutive semitones. The whole tone is produced by the
use of the thumb and finger 1, while the other two consecutive
Petracchi was quite specific as to his purpose for transforming semitones are produced with fingers 2 and 3 (example 2). The
his pedagogy into a published method; he stressed the fact that he diatonic position (diat) is built on a whole tone between the thumb
took ideas from the technique of other instruments, such as the and the finger 1, another whole tone between the finger 1 and the
piano:
At the time, I suggested to my students exer-

cises to improve their performance to facilitate
their study; some I created, and others I took
from other instruments. In that period, the 1950s,
there was no school of thought regarding tech-
nique. I found inspiration in piano technique, the
same methodology, a double bass fingered hori- Example 1. Example of Petracchi’s chromatic fingering system (chapter 1, p.1).
zontally instead of vertically. My own students Courtesy of Yorke Edition/Rodney Slatford, http://www.yorkedition.co.uk/nav.htm
encouraged me to publish these “notes” in order
to avoid writing them with some occasional notes
[in class].
Simplified Higher Technique
Petracchi’s Simplified Higher Technique is a

method book comprised of twenty chapters, each of
which features some combination of one or more exer- Example 2. Example of Petracchi’s semi-chromatic fingering system (chapter 1, p.1).
Courtesy of Yorke Edition/Rodney Slatford, http://www.yorkedition.co.uk/nav.htm
cises, etudes, or excerpts from solo and orchestra
repertoire. For the most part, the exercises in the
method are Petracchi’s original compositions and
incorporate his innovative concepts of left hand tech-
nique. Petracchi achieves these innovations by using
the thumb position technique in unorthodox registers
and positions on the fingerboard. He also introduces
different pre-set left-hand positions, all of which use
the thumb as the base for the positions. Such positions
were remarkably innovative at the time due to the Example 3. Example of Petracchi’s diatonic fingering system (chapter 1, p.1). (Courtesy
unusual fingerboard placements. In most methods of Yorke Edition/Rodney Slatford, http://www.yorkedition.co.uk/nav.htm
published before Higher Technique, the thumb is only
used above the midpoint of the strings (e.g., beyond the g1 – mid- finger 2, and a semitone between fingers 2 and 3 (example 3).
point of the G string). Petracchi, however, uses different thumb
positions below the midpoint of the fingerboard. On the basis of the three basic positions presented in his
Petracchi also introduced the technique of using the thumb in method, Petracchi devised more extended positions, always using
order to play almost any note on the fingerboard, including such the thumb as the base for the left-hand positions. Such variations
unlikely ones as an e1 or a b1 on the first string. To supplement on the three basic positions are of great use in the realization of
the presentation of innovative ideas, he incorporated exercises various works in the double bass repertoire, especially for the exe-
cution of fast passages (example 4).

Example 4. Example of Petracchi’s fingering extensions (chapter 1, p.1). Courtesy of Yorke Edition/Rodney Slatford, http://www.yorkedition.co.uk/nav.htm
For a more in depth investigation on Brazilian born bassist Alexandre Ritter

Petracchi’s Simplified Higher Technique its has been on the faculty of the Universidade
structure and style, I suggest the reader to Federal do Rio Grande do Sul-UFRGS,
turn to my dissertation at the OJBR. Porto Alegre/Brazil since 2000. Alexandre
End of PART I received both a Doctor of Musical Arts and
Bachelor Degrees from the University of
PART II (Investigation of the Influences Georgia, studying with Milton Walter
on the Divertimento – Conclusion) will be Masciadri, and pursued Master’s studies at
presented in the next issue of Bass World. the University of British Columbia with
Kenneth Friedman.

J OHANN M ATTHIAS S PERGER

(1750–1812)
S ONATAS FOR C ONTRABASS AND P IANO
A DAPTATION AND P UBLICATION - K LAUS T RUMPF
by Miloslav Jelínek Brno, 2003 Let us now look, from several perspectives, at what the new
publication of Sperger’s sonatas offers, and what was necessary to
make possible the renewed performance of these pieces.
The sonatas of J. M. Sperger (introduction)
ADAPTATIOn OF THE PIAnO PArT
In this article I will not deal with the biographical details of J.
M. Sperger’s life, but I would like to draw attention to the pearls The treatment of the piano part is strictly in keeping with the
among his many works for contrabass, namely, his four newly original harmony, and its character reflects the compositional and
published sonatas for contrabass and piano. Many of us may ask pianistic techniques of Viennese Classicism. Piano technique is
the question: why should we concern ourselves with his sonatas? understandably different from string technique; therefore it was
The answer is very simple: they are the only original sonatas for necessary to adapt certain passages according to the given situation.
contrabass up until the origin of the sonata by Czech bassist and As we all know, repeated notes are much easier to perform on
composer Adolf Míška. Someone might object that the sonatas a string instrument than on a keyboard instrument. (See example
are written for the Viennese tuning of the contrabass (A D F# A) 1) For this reason, repeated notes on strong beats are replaced
with the accompaniment of the viola or violoncello, so why play with arpeggios, while weak beats are left unchanged, and the
them in a new adaptation? This objection, however, may not be overall character of this passage is neither compositionally nor
considered relevant for several reasons: harmonically disrupted.
a) the arrangement is made strictly according to the rules of
Viennese Classicism Example 1 - Sonata in b minor, T 36
b) the piano accompaniment and harmony is derived from the 1st movement, mm. 62-64
obbligato voices
c) the contrabass part is adapted such that it may be performed Original Sperger
using the contemporary solo tuning of the contrabass
d) it is better to accept a few minor compromises than abandon
these pieces to their fate in a museum
e) these pieces have become accessible to a wide spectrum of
performers
For those who are interested in the original performance of

Sperger’s pieces, or other pieces of Viennese Classicism for the
contrabass, there is nothing simpler than to retune the contra- Trumpf – T 36
bass according to the fourth-third tuning. Even works from the
Baroque period are played on both original as well as modern
instruments, and no one objects. It is indisputably to Prof.
Klaus Trumpf’s merit that he brought these sonatas to life,
thereby significantly enriching contrabass literature with pieces
which are a contribution not only for listeners but, above all, for
performers. (I would remind the reader of the fact that the
Sonata in E Major, in the adaptation by R. Malarice, does not
proceed from any of Sperger’s contrabass sonatas.) At this Notice that, in the latter example, the technical possibilities of
point I will permit myself a small comparison. If one were to the piano are exploited so that the piano part is as interesting as
discover and publish, for instance, sonatas for the violoncello possible. The piano becomes an equal partner to the solo instru-
by, say, L. Boccherini, they would create a worldwide sensa- ment, while the contrabass remains dominant. A basic contribu-
tion. We bassists, however, are probably too modest to exhibit tion is the expansion of the cooperation between these two instru-
greater enthusiasm in this direction. ments. (See example 2) Similar examples may be found in mea-

sures 53-56, 127-136 (Sonata T 36, first movement) or measures This includes, for instance, the working-out of themes. The tech-
57-61 (Sonata T 39, first movement). One might continue enu- nical possibilities of the piano make possible a thematic dialogue
merating several further examples. between the contrabass and piano and the mutual inspiration of
both performers, while maintaining the accompanying line of the
Example 2 - Sonata in b minor, T 36 obbligato instrument. Themes are, of course, worked out using
1st movement, mm. 27-30 compositional techniques in the style of the First Viennese
School. (See example 3)
Original Sperger
Example 3 - Sonata in D Major, T 38
1st movement, mm. 1-4 (solo part)
Let us compare this with the working-out of the theme in the

following phrase.
Original Sperger, measures 53–56
Trumpf – T 36
Trumpf - T 38, measures 53–56
As mentioned above, Trumpf’s treatment of these sonatas

brings new possibilities of cooperation which, given the accessi-
bility and playability of Classical literature written for the
Viennese tuning of the contrabass, were not possible until now.


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As we can see, a statement of the theme is heard in the right Trumpf - T 36

hand of the piano part, while the left hand takes over the function
of the original obbligato instrument which, in the case of this
sonata, is a viola. In the following example, the theme is worked
out in a different Classical manner - the theme is presented in con-
trary motion. (See example 4)
Example 4 - Sonata in D Major, T 38 In the following example, (see example 6), we can observe a
1st movement, mm. 67-70 different method of harmonic enrichment. The relatively simple
accompaniment of the obbligato instrument in the original allows
Original Sperger the double-stop passages in the solo voice to stand out which,
thanks to the chordal tuning of the Viennese contrabass, creates a
notable sonic effect. For harmonic enrichment, as well as for
enrichment of chamber-music-style cooperation, Trumpf uses
Sperger’s motive from measures 3 and 4 which is heard in the
right hand of the piano accompaniment. It is necessary at this
point to emphasize that this passage is also treated strictly on the
basis of Sperger’s musical thoughts.
Trumpf - T 38 Example 6 - Sonata in D Major, T 38

2nd movement, mm. 3-4 and 19-21
Original Sperger, measures 3–4
Of course it would be possible to present a much greater num-

ber of examples, though their presentation would exceed the lim-
its of this article. Original Sperger, measures 19–21
HArMOnIC AnD THEMATIC EnrICHMEnT
Another fundamental contribution of Trumpf’s adaptation of

these sonatas is their harmonic and thematic enrichment. This, of
course, means enrichment based on the given harmony and not
harmonic alteration, as one might perhaps erroneously surmise.
Similarly, thematic working-out always follows from Sperger’s
musical thoughts. One might ask the question: why should the Trumpf T 38, measures 19–21
harmony of the piano part be enriched? The answer is simple: the
Viennese tuning of the contrabass, though its tone was not as res-
onant as the soloistic fourth tuning which we now use, had one
fundamental advantage from the perspective of the sound of the
instrument. The instrument, thanks to its tuning, was richer in
overtones, thus the resulting sound was harmonically richer, one
might say “juicier.” If we compensate for this handicap of fourth
tuning by filling out the harmony in the piano, the resulting sound Trumpf uses Sperger’s thematic material in such a way that the
of contemporary tuning of the contrabass is more colorful and piano part is likewise enhanced, in the sense that a dialogue of
compact. (See example 5) ideas between the two participating instruments is made promi-
nent. (See example 7)
Example 5 - Sonata in b minor, T 36
3rd movement, mm. 77-82 Example 7 - Sonata in b minor, T 36
Original Sperger 1st movement, measures 88-89 and 66-69
Original Sperger, measures 88-89

Trumpf T 36, measures 66-69 Trumpf - T 36 (Solo part)
The melodic line is presented without double-stops, which are

easily playable using Viennese tuning. The simplification of the
contrabass part is a contribution in the sense that it enables the
performer to create good tone (vibrato, intonation, etc.) and also
to present the theme with precision. The lower voice of the
Further examples of a similar character may be found in the melodic line is given to the piano. (See example 9)
following sonatas:
Sonata in b minor, T 36, 1st movement: mm. 89-96, Example 9, Sonata in b minor, T 36, (piano part)
2nd movement, mm. 21-30 and mm. 41-50 2nd movement, theme
Sonata in D Major, T 38, 1st movement: mm. 140-145,
3rd movement: mm. 17-22
Sonata in D Major, T 39, 1st movement: mm. 140-145
3rd movement: mm. 17-22
ADAPTATIOn OF THE COnTrABASS PArT

The performance of Classical pieces using the modern tuning
of the contrabass presents well-known obstacles which are not,
however, insurmountable. The theme from the second movement In the following example one may compare the use of Viennese
of the Sonata in b minor is dealt with in the following manner. tuning of the contrabass with the use of modern tuning in techni-
(See example 8) cal passages. Both methods are perfectly natural for the instru-
ment. Sperger used third-fourth tuning very effectively in this vir-
Example 8, Sonata in b minor, T 36 tuoso passage. The same effect is achieved by Trumpf using
2nd movement, theme fourth tuning, while preserving the original character of the pas-
Original Sperger sage. Naturally the passage makes use of open strings, in this case
the sounding E string (that is, the harmonic e in the thumb regis-
ter). This facilitates not only a natural technical approach, but
also a rich palette of sound. (See example 10)


Example 10, Sonata in D Major, T 39 going public responds to these sonatas with sincere enthusiasm. It
1st movement, mm. 57-59 would be a great waste if these sonatas were to lie in a museum
Original Sperger archive, unnoticed, for another 200 years. For this reason, all
those who participated in their publication deserve sincerest
thanks.
Brno, 2003 Miloslav Jelínek
Trumpf - T 39
List of sonatas according to the new publication:
1985: Sonata in D Major for Contrabass and Piano, T 40

In all of the sonatas, Klaus Trumpf preserved both the virtuoso Original: Sonata, per il Contrabasso. /e Viola/
character and the rich tone colors of the contrabass part, which da Giovanni Sperger
are typical of Sperger’s works. All of this is achieved while max- Revision: David Walter, Klaus Trumpf - Contrabass
imizing use of the resonant registers of the instrument, including Ulrich Urban, Stefan Malzew – Piano
harmonics, in connection with the appropriate motive, phrase or Publisher: Fr. Hofmeister Musikverlag Leipzig / 7511
virtuoso passage. (See example 11) Here, regular rhythmic
motion in connection with harmonics creates the realistic effect 1997: Sonata in b minor for Contrabass and Piano, T 36
of a musical clock. Original: Sonata, per il Contrabasso. /et Violoncello/
da Giovanni Sperger, (1790)
Example 11, Sonata in D Major, T 39 Revision: Klaus Trumpf - Contrabass, Piano
3rd movement, Minuet, mm. 51-62, (solo part) Publisher: Fr. Hofmeister Musikverlag Leipzig / 2450

Original: Sonata, per il Contrabasso. /e Viola/
da Giovanni Sperger, (Triest // Driest // 1789)
Revision: Klaus Trumpf - Contrabass, Piano
Publisher: Fr. Hofmeister Musikverlag Leipzig / 2689

Original: Sonata, per il Contrabasso. /e Viola/
THE COnTrIBuTIOn OF SPErGEr’S SOnATAS FrOM THE Revision: Klaus Trumpf - Contrabass, Piano
PErSPECTIvE OF PErFOrMAnCE Publisher: Fr. Hofmeister Musikverlag Leipzig / 2739
Sperger’s sonatas contain everything we might expect from

sonatas of the Classical period. Their compositional technique is
purely Classical, not only in their original version but also in the
new publication with piano accompaniment, and their perfor-
mance requires the absolutely precise, clean technique of both
hands and the refinement of formal construction. In these works All musical examples are secured by international copyright, Fr.
of Sperger we encounter all types of technical challenges: arpeg- Hofmeister Musikverlag, Leipzig. Musical examples reprinted
gios, double-stops, harmonics, rapid scale passages, changes of with permission from Fr. Hofmeister Musikverlag. www.hofmeis-
register, various types of bowing, etc. Also, the range of these ter-musikverlag.com
works, over 41/2 octaves, indicates that their performance assumes
a considerable technical facility. On the musical side, all four of
Sperger’s sonatas require careful preparation on the part of both
performers. Chamber-music-style cooperation between the con-
trabass and piano is an absolutely crucial precondition to an effec-
tive performance of these works. I would like to remind the read-
er once more that we do not have any other literature for the con-
trabass of this type. For this reason I believe that Sperger’s
sonatas should be an integral component of the study material of
all musical institutes and, first and foremost, a part of every con-
cert artist’s repertoire, just as the Mozart sonatas are indispensable
to violinists. I consider all of this definitive not only because of
the unique position of these works in contrabass literature but,
above all, because of the beauty of the music itself and, last but
not least, for the evolution of the contrabass as a concert instru-
ment. From personal experience I can confirm that the concert-



Three Poems
by H. Stevens Brewster, former Principal Bass of the
National Symphony in Washington, DC
To a Student
As I, in my best judgment
Give to you of life
And beauty, glory, God,
So take it freely, and bruise
Not the tender chain
Which I have handed you
(As once was handed me)
But treasure it
And humbly turn to give
In future day to some
Bright, starry-eyed
Young person, who looks
At you and dreams, as you
Have come to me this day.
Swing, Baby!
Grab the pig!
He’s greasy, he’s quick,
And he’s yours, mister
If you can grab him, and
Hold him tight.
He’s yours, mister

If you can sling him down:
Lots of men have tried
And landed on their backs
Or heads, or gotten trampled.
Once in a while someone

Will grab him, so,
And really sling that pig around
And then you know you’ve
Met a real man!
It’s your turn now, mister

Go get him, if you’re willing
To pay the price
(‘Cause pork, like life
Comes high); he’s
Quick and mean and slick
But he’s all yours!
Violin
Box, wired
For sound, coming
From itself, me,
From the past, through
The time which is me,
Changing from wood
To lines of song.
Printed with permission from the Brewster family.

Special thanks to Andrew Kohn, Deborah Ben Yossef,
James Brewster, and Paul Scimonelli.

B O DY & BASS Linda Gilbert, D.M.A., R.Y.T., Editor
The Use of Ice and/or Heat

Responses to the 2009 Body and Bass survey showed that 19% PHYSIOLOGICAL RESULTS OF ICE AND HEAT
of bassists who participated are playing with diagnosed injuries.
77% of those playing with injuries described their conditions as When used correctly, ice helps to reduce pain and inflammation.
chronic, 23% as acute. A percentage of these players had injuries It does so by reducing swelling, slowing the response of the nerves
unrelated to playing the bass. Many bassists have asked when to in the area, and narrowing blood vessels. Heat, on the other hand,
use heat or ice for injuries and occasional mild aches. opens up blood vessels, increasing blood flow and circulation to an
Before addressing the situations in which to use heat or ice or area. It helps tight muscle fibers relax and can relieve joint pain.
both, it is important to identify what type of condition is present. Is
it acute? Is it chronic? Is it mild or severe? WHEN IS IT BEST TO USE ICE OR HEAT?
An acute condition occurs when there is a sudden injury. It usu-
ally causes pain, sometimes severe. Swelling is usually present. Depending on the cause or reason for pain, both ice and heat have
Acute injuries are likely to happen away from the bass, as a result the ability to reduce pain. In addition to knowing whether a condi-
of a sudden occurrence such as a sprain or a fall. tion is acute or chronic, it is important to know if the pain comes
A chronic condition takes time to develop. Sensations of pain are from inflammation or from other factors such as tight muscles, ten-
usually, though not always, less intense than in acute situations. dinitis, or nerve issues. Diagnosis from a medical professional can
One may experience more of a dull soreness that is not always pre- provide support and direction.
sent and manifests in different intensities. Chronic conditions are For acute conditions, ice is critical, especially immediately after
often associated with overuse. Chronic conditions may therefore an injury. This will help prevent inflammation. It is important to use
happen either with or away from the bass, or both. only ice for an acute injury, never heat. Heat will exacerbate the
In all situations, whether chronic or acute, mild or painful, it is inflammation. By using only ice for the first day or few days,
important to know whether ice or heat is appropriate to alleviate depending on the severity of the injury, one can help the injured area
symptoms. heal. Remember that acute conditions are usually obvious, such as

a fall or a sprain and rarely due to playing. If

you do feel a sudden, sharp pain while play-
ing, stop playing and ice the area. Maintain
body awareness when moving or lifting your
bass, as well. Good posture, along with sup-
port from your lower body and abdominal
muscles can help prevent sudden, sharp pain,
especially in your back and shoulders. If
you notice sudden, painful sensations as a
result of lifting your bass, ice the area as
soon as possible.
For chronic conditions, there are many
ways to approach the use of heat and/or ice.
By its nature, a chronic condition is one that
you are likely aware of. You may have been
diagnosed as having a chronic condition.
You may have a sense of the potential for
specific aches to flare up on occasion. You
may also experience symptoms of a chronic
injury by feeling a subtle dull soreness that
is present some or most of the time.
Chronic conditions often respond quite
well to rest. Be sure to give yourself time
away from your instrument, computer, text
messages, and other tasks that require use of
the hands and fingers. Taking time away
from just the instrument is often not enough
to affect a positive change; using a comput-

er still activates similar nerve and muscle pathways that need rest. ture of the body between icings. This will help prevent damage to
A minimum of 24 hours rest is crucial. the skin and soft tissue from overexposure to cold. Another thing
In addition to rest, chronic conditions can benefit from both ice that will help prevent damage to the skin and soft tissue is to wrap
and heat. Ice can be beneficial following a long rehearsal or prac- any ice pack or bag of ice in a towel before applying it to the skin.
tice session if an area feels swollen, warm or slightly painful. An Frostbite and damage are possible if these precautions are ignored.
area prone to chronic pain due to repetitive motion issues tends to There are a variety of beliefs and methods regarding how long
respond well to cooling down after playing or working out. Ice to apply ice. A moderate approach to the application of ice would
will help reduce the potential for inflammation. be to use ice for a maximum of 10 to 20 minutes at a time, keep-
Heat can be helpful before a long rehearsal or practice session ing the ice pack wrapped in a towel.
if muscles feel tight. Never ice before playing. This will only con- Gel ice packs are good because the intensity of the cold dimin-
tribute to the potential for aggravating or worsening a chronic con- ishes over time, minimizing the potential for overexposure to cold.
dition. Whether heat is used or not, be sure to employ gentle A package of frozen peas provides similar benefit. Other methods
stretches before playing to stay limber and mobile. of icing include submerging a hand or forearm in ice water for sev-
For some conditions, heat is effective both before and after eral seconds.
playing. Symptoms of arthritis can be reduced using heat: stiff Heat can also be used many times throughout the day. As with
joints can soften and become more mobile. Muscular aches and ice, certain precautions will prevent damage to the skin and tissue.
pains can also dissipate from the use of heat. If using a heating pad or microwave gel pack, always have a piece
If both swelling and muscle tightness are present after playing, of clothing and/or a towel between your skin and the heat source.
both ice and heat can be used. Start with ice to reduce any poten- This will prevent damage to the area.
tial inflammation; then follow with heat to relax the muscles and For joint pain or other muscular aches in the hands and/or wrists,
soft tissue in the area. Some people also find benefit from adding the use of a paraffin bath can be very soothing and beneficial. The
one more session of ice, following the sequence of ice ~ heat ~ ice. hands can be dipped in the hot wax; as the wax firms, it provides
This will depend on what feels right for your body. It may take deep heat to the hands. Paraffin baths are readily available. Be sure
some experimentation on your part to find out what works best for to follow all instructions on the packaging to prevent injury. The
you. paraffin can remain on your hands for up to 15 minutes.
Depending on the intensity and/or frequency of chronic condi- Running the hands under very warm water, and taking a hot
tions, you may utilize ice and heat in different ways. For mild or bath or shower are other ways of applying heat.
occasional conditions, the use of ice and/or heat may only be nec- When used safely, heat can be applied for 5 to 20 minutes at a
essary once in a while. For more intense conditions, a more con- time. Any longer creates the potential for damage to soft tissues.
sistent pattern of use may be effective. Be sure to check with a For this reason, do not sleep with a heating pad; a hot water bottle
medical professional, physical therapist or other bodywork profes- is a safe alternative. Be sure that the temperature of the heating
sional to answer any questions you may have about ice and heat. pad or water is very warm but not too hot. If too hot, the effects
may be counterproductive: inflammation may occur.
HOW OFTEN CAN ICE AND/OR HEAT BE USED? HOW In conclusion, seek guidance from a medical professional, phys-
LONG CAN THEY BE APPLIED? WHAT ARE THE BEST ical therapist or other bodywork specialist to know the best solu-
WAYS TO APPLY ICE AND/OR HEAT? tion for you. Ice and heat, when used correctly can provide relief
to symptoms of many conditions. Be safe, healthy and well!
Ice can be used many times throughout the day. It is important
to be sure that the area being iced returns to the natural tempera-


LUT HIE R ’S COR NE R David Gage, Editor
Ask the Luthiers

By David Gage, Arnold
Schnitzer, and Jim Ham
The three luthiers of this column encourage

the readers of Bass World to pose questions
regarding double bass set-up, repair, mainte-
nance, care, restoration, design, construction,
or whatever else is on your mind, from weath-
er to wolf tones and from scrolls to sad-
dles. Please send questions to
eppis@davidgage.com. Selected questions
will be answered by the luthiers of this column
in a future issue of Bass World. Also in this
issue’s column, the luthiers will be offering
quick luthier tips in the “New Thoughts From
the Glue Pot” section at the end of the column.
Currently, the luthiers of this column consist of
Jim Ham (JH), Arnold Schnitzer (AS), and A representation of the graduation of a bass top. This is not an actual graduation but a simplification
David Gage (DG) (Lead Columnist). to more clearly illustrate the concept of the top graduation: getting thinner toward the perimeter,
thickest in the middle where the bridge and sound post are located. There are many different theories
on specifics of top graduation. (Photo courtesy of David Gage)
What is meant by the term re-gradua-
tion? Is it a good or bad thing? not be symmetrical. Stradivari discovered out toward the edges. Some makers gradu-
long ago that desired plate flexibility can be ated their top plates to be nearly uniform,
DG: There are many different theories on better achieved through graduation asymme- but this is unusual in bass making. Every
top plate graduation and re-graduation. It is try. Through this premise came the bass bar on piece of wood is different, and several fac-
generally agreed that the middle of the top one side and the sound post on the other. The tors have to be taken into account when per-
plate, between the f-holes should be the thick- acoustical physicists realize that this asymme- forming a re-graduation: the density and
est section, with the graduation getting thinner try reinforces the primary motion of the strength of the wood, the existing thickness-
at the periphery, especially toward the top and bridge: rocking from side to side. es, the quality of the instrument, the condi-
bottom of the plate. (See a sample top plate Any re-graduation should be done as a last tion of the arching, and the likelihood of
graduation in the picture that accompanies this resort, after other, less invasive adjustments tonal improvement. Much care must be
article.) The difference in these thicknesses have been tried. In general, any re-graduation taken to make sure that the resulting thick-
many vary from 8 mm in a typical German bass that we have done at our shop has been the ness will not contribute to deformation of
to 2 mm in an American Prescott string bass subtraction of wood from an overbuilt “facto- the parts. Not all re-graduations involve
that has what we call a flat graduation. Carving ry” bass or adding wood to an older over- only removing wood; sometimes a top or
a successful graduation is, in my opinion, “repaired,” individually made bass. In this back plate needs to be made thicker. For
where the art of making should govern the tech- case we always use hide glue to glue in our example, a few years ago I added wood to
nician’s approach. There is more than one way new thicknessing wood patches. Done proper- the center of a bass top I had made about ten
to successfully graduate the top of a bass made ly, a re-graduation can produce great results. years previously. The owner of the bass
of exactly the same wood! Acoustical physi- Sometimes people practice the decep- wanted a more defined and even sound,
cists have done much research on what makes tive act of “hot wiring” or over-thinning a with less of a wolf tone presence. The
a fine instrument sound so good, and to this day top so that the instrument will be much spruce of the top plate was very soft and
no one has come up with a definitive answer— louder than before (easier to sell). In doing flexible, and I had originally graduated the
the reason: too many variables. That’s not to this, however, it will sag or collapse from top to normal specs. In retrospect, I should
say that these scientific efforts haven’t and the string pressure later on. have originally carved it thicker; adding
won’t give us hard evidence, inclinations, and strength to the center had the desired
properties that will help guide us. The art of AS: Re-graduation refers to changing the effect. When considering re-graduation,
plate graduation is still most successfully done thicknesses of a string instrument’s respect should be paid to the original maker
by experienced artists who are able to “sense” parts. Most commonly, the top plate is the if it is a handmade instrument. Re-graduat-
by tapping and feeling both the density and the object of re-graduation. Sometimes the ing a fine bass should be a last resort to be
flex of the wood. The arching of the top should back plate is also re-graduated, and occa- used only if it does not respond to less inva-
be taken into account when planning the top sionally the ribs and linings (the strips sive measures. But for many basses re-grad-
graduation. For example, the greater the arch, which run around the instrument’s perime- uation can be just what the doctor ordered.
the more energy it will take to vibrate it, so per- ter to help keep the plates attached to the rib
haps the maker will decide to have a thinner assembly). Some basses, especially those JH: This year (2012) marks my 40th
graduation to allow greater flexibility and more turned out quickly in a factory environment, year in the craft/business of stringed instru-
movement. were built with overly thick or haphazardly- ments, mostly of the violin family. That
Although the string bass is essentially sym- graduated vibrating plates. Ideally, the cen- doesn’t make me an expert, but by now I’ve
metrical in appearance, the graduation should ter is the thickest area, and the plate thins sure got some opinions!

If you look at the instruments played in a from the inside of the front, back or ribs to ommend Roger Hargrave’s article “Pry
top tier symphony orchestra, you’ll likely see reduce the thickness according to the acoustic Before You Buy” in the December 2011 issue
that most of the wind, brass and percussion concept of the person doing it (or the person of The Strad magazine. Well that’s my re-
instruments are new ones because they’re the paying for it). The result is that weight will be graduation rant; now I feel much better!
best and most of the stringed instruments are reduced and flexibility will be increased and
old because players think they’re the best. the player may like the resulting change of Thoughts from the glue pot:
Maybe they are, maybe not, but if there’s sound . . . . . or may not. Also, the structural AS: Bass players who fix their own open
something about old instruments that makes ability of the instrument to withstand the ten- seams can cause damage if they use glue
them superior, it seems like you would want to sion of the strings will be reduced. Obviously, that is overly strong. Basses are proportion-
conserve whatever that is. Wood certainly wood cannot be added by this process—only ally thin compared to the other instruments
changes as it ages, and if you like the sound of removed. If the player doesn’t like the result of the violin family, and there are great
old instruments, the old wood is probably vital or the instrument cracks or distorts because stresses on the vibrating plates and
to that sound. The stringed instrument family it’s now too thin, the only way to put wood ribs. Relatively weak glue should be used
is unique in that antique instruments are prized back in is by adding patches or braces. This in the seams, especially where the top meets
not only as art/historical objects but as tools for means you are replacing original old wood the ribs. This will usually allow the seam to
daily use by musicians. These two aspects of (and isn’t that the essence of what an old re-open if it is stressed; an open seam is
their value are often in conflict. Almost all instrument is?) with non-original new wood much less of a problem than a new crack.
antique instruments in use today have been plus glue. The working assumption of anyone
modified, both unintentionally by wear or who re-graduates an instrument must be that DG: Where is the rub? Sometimes we
damage and intentionally to suit conventions he knows more about how the instrument want things to slide with as little friction as
of the day or the needs or opinions of particu- should have been made than the person who possible, i.e. strings over the bridge and nut.
lar players or luthiers. These intentional modi- made it. If so, why doesn’t he just make a Other times we want things to stay put and
fications are not necessarily limited to fitting of new instrument? not slide around, i.e. bridge feet on the top of
modern necks, fingerboards, C extensions etc. Of course there’s more to the issue than the bass. Use a #2 pencil to apply graphite in
Wood is often added to the interior of the this; not all old instruments are works of art the notches of the bridge and nut to allow for
instrument in the form of patches or cleats for made by fine makers. Many are commercial longer string life and to minimize any pulling
reinforcement of repairs. More controversially, instruments made in factories with little con- forward of the bridge top while tuning up.
wood is sometimes removed from the inside in sideration given to the fine points of acoustics. Rub a little bit of very fine powdered rosin on
the belief that the tone will be improved; this It may be reasonable to modify these for cur- the bottom of the bridge feet to keep the feet
process is known as “re-graduation.” rent needs, but remember, if you don’t like the from sliding around on the top. Be sure that
When an old instrument is re-graduated, a change, you can’t put the old wood back. For there is no caking or buildup of this rosin, as
luthier planes, scrapes or sands wood away another perspective on this issue I would rec- that will change the fit of the feet on the top.

Why The International

Johann Matthias Sperger Society?
ADVERTISEMENT: May 13, 2012 is the 200th anniversary of the research has been done on the life of Sperger. Dr. Adolf Meier and Dr.
death of Johann Matthias Sperger, giving us an occasion to remember a Josef Focht are currently doing more extensive work. But now it is up
double bassist and composer who was so important to the history of our to us to draw attention to the music of this composer, who was the first
instrument. The International Johann Matthias Sperger Society was in a series of important figures in the history of the double bass.
founded in Germany in 2000 and now includes as its members many The diversity of his musical works bears witness to an exceptionally
internationally renowned bassists. In that same year we saw the estab- creative personality. In addition to many works for different instru-
lishment of the International Johann Matthias Sperger Double Bass mentations, there are 45 symphonies, many concertos for various
Competition, which is under the patronage of Zubin Mehta, Anne- instruments and a considerable number of chamber works. Among
Sophie Mutter, and Nikolaus Harnoncourt. The next competition will be these we find the “Arrival” Symphony, written as a conscious counter-
held September 16-23, 2012, the seventh meeting since its inauguration. part to Haydn’s “Farewell” Symphony, and the “Sinfonia Concertante
What do we know about Johann Matthias Sperger, undoubtedly the for Flute, Viola, solo Double Bass and Orchestra” dedicated to the King
greatest bassist of the 18th century and the acknowledged leading of Prussia (a musician himself), before whom Sperger performed many
bassist of the German school? What do we know about Sperger the times. His four sonatas for double bass are the earliest works in this
composer, or Sperger the man? What can we say about his historical genre and show an incredible wealth of musical ideas (Hofmeister
role in the development of the double bass and his place in the history Musikverlag). The discovery of his Concerto for Double Bass and
of music? For too long his double bass compositions were ignored in Orchestra, No. 15 gives us the most musically valuable concertos from
a library’s collection, yet in this collection was also found nearly the the Viennese Classical period.
entire concerto literature for the solo double bass from the Viennese As a virtuosic equal of Giovanni Bottesini and a composer superior
Classical period. to Domenico Dragonetti, Sperger comes to us as a German composer
With his virtuosic skills and extensive concertizing, what influence of the Viennese Classical period with the most extensive catalog of dou-
did he and his compositions have on his contemporaries? How do we ble bass works in history.
see these influences in the performing practices and compositions of On the occasion of his death, Mozart’s Requiem was performed in
today? Has he been duly recognized for his role in the development and his honor, an honor afforded only to a few musicians in history.
extensive use of the Viennese tuning of the double bass? The ISG (International Sperger Society) honors the life, work and
Sperger was born on March 23, 1750 in Feldberg, Lower Austria. total person of Johann Sperger (from his personal signature Johann
His work in Ludwigslust, for nearly 25 years until his death in 1812, Matthias Sperger to his compositional signature Giovanni Sperger).
brought him recognition as one of the most prominent and significant The ISG has presented the International Johann Matthias Sperger
musicians in northern Germany. Do we know that listeners were Double Bass Competition since 2000, which has provided a necessary
amazed at his virtuosity? Do we appreciate that his compositions are and important foundation as an incentive for our followers.
unique in setting the standards for our instrument?
Sperger’s life story is an interesting look into an 18th-century musi- An interesting life to explore, a valuable work waiting to be discovered!
cian’s career, which earned him recognition from his peers and the - Klaus Trumpf, Translation: Vincent Osborn
highest respect from his employers. Until recently only sporadic www.spergerwettbewerb.de

INT E R NAT IONAL BAS S CLUB DIR E CTORY

Felix Petit Sandra Grigorova-Bojkova Chang-ho Kim, President RICHARD DAVIS FOUNDATION
ACADEMIA NACIONAL DE BULGARIAN DOUBLE BASS KOREAN KONTRABASS FOR YOUNG BASSISTS, INC.
CONTRABAJISTAS ASSOCIATION ASSOCIATION 902 West Shore Dr.
Conservatorio de Musica Simon Bolivar 64 Rodopski Izvor Street, At. 22 P.O. Box 434, Madison, WI 53715
Sofia, Bulgaria 1618 Seocho-Gu,137-604 608/255-6666
El Paraiso, Caracas 1010
sandrabojkova@abv.bg Fax 608/255-5524
Venezuela Seoul, Korea
+82-16-726-3721 rdavis1@facstaff.wisc.edu
Tel/fax +212-481-1441 Wei Bao Zheng www.globaldialog.com/~rdavis
felix_petit@hotmail.com CHINESE SOCIETY OF BASSISTS kim5686@hanmail.net
Flat 504, No. 7 Fuxingmen South St. sohn0808@hotmail.com
Paul Erhard
Beijing 100045, China www.kontrabass.com
Esra Gul Atalay ROCKY MOUNTAIN BASS CLUB
ANADOLU BASS CLUB Tel/Fax +86 09 79 92 3655 Emerson Ave.
weibaozhcbso@sina.com Nobuaki Saikawa Boulder CO 80303
Anadolu University State Conservatory
KYUSHU BASS CLUB 303/492-4918
Eskisehir, Turkey 26470 Miloslav Jelinek 2-23-24 Tsutsumi Fax 303/492-5619
+222 335 05 80/ 6228 CZECH SOCIETY OF BASSISTS Jonan, Fukuoka
Fax +222 335 31 04 Komenskeho nam. 8 814-0151 Japan Ken Hustad
e-mail:egul@anadolu.edu.tr 602 00 Brno Tel/fax +81-92-873-7355 SAN LUIS OBISPO BASS CLUB
www.bassclub.anadolu.edu.tr Czech Republic
kyushu.bass.club@gmail.com 991 Ridgeway St.
+420 5 43 24 28 05
Morro Bay, CA 93442
spol-kontrabas@volny.cz
ARIZONA BASS PLAYERS, INC. Zoran Pavloski 805/772-1477
www.volny.cz/spol-kontrabas
5140 W. Trails End Rd. MACEDONIAN DOUBLE BASS www.bassist.com/bassi.htm
Tucson, AZ 85745 Ture Damhus ASSOCIATION
abp@arizonabassplayers.org Andreas Bennetzen, Chair ul. Naroden front 5-1-13 David Humphrey
www.arizonabassplayers.org DANISH DOUBLE BASS SOCIETY Skopje, 1000 SASKATCHEWAN BASS CLUB
Livjaegergade 43, st. tv. 418 Isabella Street East
Macedonia
Koebenhavn OE 2100 Saskatoon, SK S7J 0B7
Thierry Barbe tel +38 970 388 284
Denmark Canada
ASSOCIATION DES BASSISTS ET zoki@dr.com
+45 35 26 49 83
CONTREBASSISTE DE FRANCE Jennifer Sharp
Fax +45 44 42 42 33 Peter Tambroni
22 rue de Champagne turedamhus@tiscali.dk SCOTTISH BASS TRUST
94700 Maisons-Alfort, France THE MANNHEIM BASS CLUB 6 West Garleton
www.bass-society.dk
www.contrebasse.com Westdale Elementary School Haddington
David Murray Mannheim School District #83 EH41 3SL
INDIANA BASS CLUB 99 W. Diversey Ave Tele/fax +44 1620 82 25 32
ASSOCIATION OF RUSSIAN
Butler University - Music Dept. Northlake, IL 60164 mail@satv.co.uk
DOUBLEBASS PLAYERS
4600 Sunset tambroni@hotmail.com
http://contrabas.borda.ru/ Martin Simpson
Indianapolis, IN 46220
dmurray@butler.edu MID-ATLANTIC BASS ALLIANCE SOUTH AFRICAN BASS CLUB
Sonia Ray PO Box 785189
c/o Dr. Donovan Stokes
ASSOCIACAO BRASILEIRA DE Eila Saikkonen Shenandoah University - Conservatory Sandton, South Africa 2146
CONTRABAIXISTAS FINNISH SOCIETY OF BASSISTS 1460 University Drive msimpson@joy.co.za
Escola de Musica e Artes Cenicas da UFG Vanha Viertotie 21/219 www.Bassplayers.co.za
Winchester, VA 22601
Campus II - Samambaia - Sala 205 Helsinki, Finland 00350
540.869.3253
email: puheenjohtaja@kontrabassoklubi.fi Josep Quer Agusti, President
Gaiania, GO, Brazil 74.001-970 dstokes@su.edu
internet: www.kontrabassoklubi.fi Mrs. Matias Lopez, General Manager
+55-62-9249.0911 www.donovanstokes.com/bassalliance SPANISH DOUBLE BASS SOCIETY
soniaraybrasil@gmail.com John Davis TC/Montgò nº 1- 2º-3ª
www.soniaray.com THE GINORMOUS INSTRUMENT BASS CLUB Jim Ferguson Figueres, Spain 17600
2207 Village Ln. NASHVILLE BASS CLUB jose_quer@hotmail.com
Mark Bernat Salina, KS 67401 210 Mayfair Rd.
BASS CLUB OF GEORGIA jcda440@aol.com Nashville, TN 37205 Caroline Emery
P.O. Box 49045 615/297-7453 THE BASS CLUB
Stephen Yam, President Fax 615/463-8747 7 St Clair Drive, Worcester Park,
Atlanta, GA 30359
HONG KONG DOUBLE BASS SOCIETY jim@jimfergusonmusic.com Surrey, KT4 8UG, UK
mkbernat@yahoo.com 5/F, Grand Court +44 (0) 208-330-3188
43A Grampian Road bassclub@blueyonder.co.uk
Alana Dawes, President Kowloon City, Hong Kong Barry Green
NORTHERN CALIFORNIA www.bassclub.org.uk
Katie McLachlan, Contact/Secretary info.hkdbs@gmail.com
BASS CLUB
BASSLINK AUSTRALIA John & Marian Casey
Cheryl Ann Brent 430 Crestridge Pl.
PO Box 130 TWIN CITIES BASS CLUB
HOUSTON BASS CLUB Santa Rosa CA 95409
Belair, South Australia 5052 9211 45th Avenue North
c/o Rice University barry@innergameofmusic.com
+61 88278 2016 New Hope, MN 55428
Shepherd School of Music www.innergameofmusic.com
basslink@bassworks.com.au www.TwinCitiesBassclub.org
6100 S. Main St. MS 5321
Houston TX 77005-1892 Irena Olkiewicz
David Heyes Lynn Lovell, President
POLISH DOUBLE BASS SOCIETY WESTERN NEW ENGLAND
BRITISH & INTERNATIONAL Karoly Saru, President
Ul.Kard. St. Wyszynskiego nr 107 m. 4 DOUBLE BASS SOCIETY
DOUBLE BASS FORUM HUNGARIAN BASSISTS SOCIETY
50-307 Wroclaw, Poland c/o Downtown Sounds
P.O. Box 151 Koppány Márton u.42
Solymar, Hungary H-2083 Tele/fax +48 71 322 03 33 21 Pleasant St.
Aldershot, Hants GU12 7YQ Olkiew3@poczta.onet.pl Northampton, MA 01060
+36 26362664
United Kingdom enreiter@freemail.hu www.doublebass.vel.pl 413/247-0024
david.heyes@lineone.net lnluvl@crocker.com
Klaus Trumpf Florian Pertzborn www.wnedbs.org
Petya Bagovska INTERNATIONAL SPERGER PORTUGUESE DOUBLEBASS
BULGARIAN BASS CLUB SOCIETY SOCIETY If you have formed a new club or
Hipodroma Bl. 140, A, 12 Flat Meistersingerstr.7 Escola Superior de Musica e das Artes
Germany D-14471 Potsdam want to be included in our directory,
Sofia BUG-1612 Rua de Alegria 504
Tel./Fax.: +49-331-9512556 or Oporto 4000 send information to ISB, 14070
Bulgaria +49-171-9154-924
+359/88-753-358 Portugal Proton Road, Suite 100, Dallas, TX
info@klaus-trumpf-sperger.de
p_bagovska@hotmail.com +351 2 580774 75244 fax 972-490-4219,
www.spergerwettbewerb.de
www.bagovska.com/bass www.spergergesellschaft.de Fax +351 1 528513 info@ISBworldoffice.com.
florianpertzborn@esmae-ipp.pt

BASS CLUBS Jennifer Sharp, Editor
A Spontaneous Bass Club in Nebraska

Nebraska Bass Day was a master class by
Edgar Meyer. A variety of other bass-relat-
ed activities were offered all day including
additional master classes and concerts,
bass ensembles, and a showing of fine dou-
ble basses by luthier Anton Krutz of KC
Strings. Omaha Symphony bassists Will
Clifton, Bill Ritchie, James Giles, and
Mike Swartz and University of Nebraska
double bass professors Rusty White
(Lincoln) and Jeremy Baguyos (Omaha)
provided additional classes and direction
of bass ensembles. In the evening at the
Dave Anderson and Hans Sturm with some of the bassists who attended the Dave Anderson Day event Holland Performing Arts Center in down-
at the Strauss Performing Arts Center in Omaha, NE. (photo courtesy of Mike Swartz) town Omaha, Edgar Meyer performed two
concertos with the Omaha Symphony.
Isn’t it great that Nebraska has taken up and students. The first such event was the
In the Nebraska Bass Society’s most
the challenge and (sort of) called itself a Edgar Meyer Nebraska Bass Day held in
recent event, a similar spontaneous
bass club? It’s good to know that there are April of 2009. The Omaha Symphony
approach was used when Will Clifton, per-
lots of us out there, doing lots of interest- brought in Edgar Meyer to perform two
formed David Anderson’s Concerto for
ing things to keep the bass fire burning. concertos with the Omaha Symphony. Bill
Double Bass, Strings, and Harp in October
And when it happens, we should share it. Ritchie (Assistant Principal Bassist, Omaha
of 2011. Will Clifton’s performance with
Bass Gatherings are all about sharing, Symphony), Michael Swartz (Section
the Omaha Symphony Chamber Orchestra
partnerships, and of course, constantly Bassist, Omaha Symphony/Lincoln
was the centerpiece of the event and Dave
learning. Please send reports or informa- Symphony), Rusty White (Professor,
Anderson, present as a guest of honor, was
tion about events or happenings in your University of Nebraska Lincoln), and I
tapped to give a master class along with
area, whether spontaneous or planned. (Assistant Professor, University of
Hans Sturm, the new bass and jazz studies
Perhaps we should rename this column Nebraska Omaha), took it upon ourselves to
professor at the Lincoln campus of the
Bass Gatherings, thus removing the per- corral our students and our professional col-
University of Nebraska. In the evening,
ceived formality of a club, then more of us leagues (and their students) to committing a
Will Clifton performed the Anderson
might be encouraged to communicate. block of time on the Saturday afternoon of
Concerto at the Strauss Performing Arts
Your opinions are, as ever, most welcome. Edgar’s week in Omaha. Also, anyone that
Center on the campus of the University of
-----Jennifer Sharp had access to institutional resources set the
Nebraska Omaha. Again, it was the indi-
wheels in motion, as well, so the event gar-
vidual bassists themselves who live in
By Jeremy C. Baguyos nered institutional support from KC Strings,
Eastern Nebraska that drove the event by
Lincoln Public Schools, and the University
corralling their students and colleagues to
Bass clubs provide an enhanced envi- of Nebraska Omaha, along with the most
attend and whatever institutional support
ronment for bassists to perform and teach obvious sponsor, the Omaha Symphony.
they could muster so that the event may
their craft. As I have learned from my role With everyone pitching in, and with the
happen. It is also very easy to do when
as Editor of Bass World, the problem is organizational focal point centering on the
everybody knows each other, works
that bassists are necessarily busy folks. organizations that employed the bassists
together in various musical capacities, are
The idea of a formalized organizational organizing the event, this loose consortium
friends, and have a common goal in mind,
mechanism requiring administrative over- of bassists was able to leverage Edgar
bass! Things just worked out organically.
head like officers, by-laws, and regularly Meyer’s visit into a transformative and
The Nebraska Bass Society didn’t set
scheduled meetings and events does well-attended event with heightened press
out to discover this approach. It just kind
require time that many bassists may be coverage. The best part was things simply
of happened. . . . . spontaneously.
unable to commit. One solution is the fell into place without too much administra-
spontaneous bass club model. tive overhead, and the Edgar Meyer
Since 2009, a very loose and admittedly Nebraska Bass Day went on without a
disorganized consortium of bassists in hitch.
Eastern Nebraska, has been putting togeth- The Edgar Meyer Nebraska Bass Day
er well-attended bass-centered events by was held at the Strauss Performing Arts
pooling their access to institutional Center on the campus of University of
resources and their network of colleagues Nebraska Omaha. The main event of


HOT SHOTS Jeff Turner, Editor
University. anxiety of listening to all the other play-

My preparation for this audition was ers warming up (and sounding great!).
very unusual in that I’d been dealing with The biggest change in the way I prepared
tendonitis for a few months and was is that I stopped worrying what the com-
unable to play my instrument while mittee might think of me. I flipped the
recovering and going through physical focus to come from me, what phrasing
therapy. Once I’d gotten enough strength I’m using, what kind of stroke and sound,
back to practice up to forty minutes a day, etc. I still played for colleagues and lis-
I had to really focus on what I wanted to tened to their feedback, but I wasn’t seek-
accomplish in that short window of time. ing their approval. That mindset helped
I did a fair amount of mental practicing, to release a lot of anxiety and nervousness
and worked with the metronome, singing as I went to take the audition.
and mentally playing through my
excerpts. In the past, I’ve done a lot more
experimenting with sound, tempos, and
interpretation as I lead up to the audition.
But this time, with such limited practice,
Photographer: Michael Hanlon I had to commit to what I wanted to say as
a musician—about the excerpts, about my
Gaelen McCormick, instrument’s sound, about my interpreta-
Section Bass, Rochester tion. And I had to do it on the first try
Philharmonic Orchestra when I was practicing.
Ms. McCormick has been a B-contract I followed the advice so many other
member of the Rochester Philharmonic’s players have given here about taping
bass section since 1995. Before joining myself after practicing several excerpts,
the RPO, she held positions with the Erie then listening to those tapes the next day
(PA) Philharmonic, the Binghamton to define what needed work. I taped a
Philharmonic, and the Albany Symphony. mock round the morning of the finals and
Before moving to Rochester, she often listened to that as I waited to get to the
performed with the St.Cecilia Chamber on-deck room. I wanted to be in the
Orchestra (Albany, NY) as their sole frame of mind of presenting my ideas and
bassist. During her graduate study in my sound, and not get caught up in the
Pittsburgh, she was the founding bassist
of the Pittsburgh Live Music Chamber
Orchestra. In recent summers, she per-
formed with the Music in the Mountains
chamber orchestra, based in Durango,
CO. She is the founding bassist in Gibbs
& Main, a string quintet performing clas-
sical, Latin and jazz in unexpected
venues. Teaching the double bass to stu-
dents of all ages has become a significant
part of Gaelen’s life. She has been the
bass instructor for the Eastman
Community Music School since 2001, is a
member of the faculty of Roberts
Wesleyan College, and in 2010 was
appointed to the faculty of Nazareth
College. She holds degrees from the
Eastman School and Carnegie Mellon

T HE L AT E ST S COR E
Robert Black, Editor
Please submit music for
possible review in a future
issue of Bass World to ISB,
14070 Proton Rd., Suite 100 LB 9, haven't been looking after my bow correct- Härtel’s edition of Gregory Barrett’s septet
ly (I forgot the Vaseline on the screw). reconstruction of Sibelius’s En Saga for
Dallas, TX 75244, USA
There is a comprehensive bibliography for flute, clarinet, 2 violins, viola, cello, and
readers who want to go deeper into the contrabass. Anyone familiar with the
All about the Double Bass – subject of the bass, its history, construc- orchestral En Saga knows that it is a huge
A Player’s Guide tion, repairing, etc. But, as Peter says, work with big dynamic contrasts and
By Peter Tyler repairing basses yourself is fraught with changes in orchestral texture. But it
www.tylerbasses.co.uk potential problems, so the best advice is appears that this sonically massive work
always to go to a luthier as soon as possi- had its origins as a chamber work. In
There can be few bass players in the ble before damage spreads. 1891, Sibelius began to compose an Octet
United Kingdom whose lives have not All About the Double Bass is a large for- for flute, clarinet and strings. By 1892,
been touched by Peter Tyler. He has mat, sturdy paperback book with 125 this octet had become a septet, which
worked on and sold more than 2,000 bass- pages and 130 illustrations and diagrams. evolved into Ballet Scene No. 2. Shortly
es during the 20 years of his second career If you look hard, you will find three pic- thereafter, Sibelius completed En Saga,
following retirement. I have bought two tures of the author looking uncharacteristi- which Sibelius said was based on the
basses from him and have enjoyed many cally serious. It would have been nice to septet. Unfortunately the sketches for the
jovial visits to his studio (a house full of include a proper portrait of one who has Octet, Septet and Ballet No. 2 are lost.
basses and a very tolerant wife). In 2004 contributed so much. If you have just one In 1902 Sibelius revised En Saga, and it
Peter donated a mini-bass to Fausto book on the bass, this has to be it. is this 1902 version that is commonly per-
Borem’s university music department in – Review by Catherine Side formed. However, Gregory Barrett has
Brazil to help underprivileged kids get used the original 1892 score of the work as
started on the bass. Finding a mile of bub- the basis for his superb reconstruction of
ble wrap for its safe transportation is
En Saga - Septet (for flute, this Septet version. This is not merely a
another story! So Peter is already a hero clarinet, 2 violins, viola, reduction to smaller forces, but a rework-
and an all-around good guy. cello, and contrabass) ing into what might have been the original
Now he has written and self-published a By Jean Sibelius septet version. The themes are there, the
superb player’s guide to the double bass Reconstructed and edited by Gregory Barrett general structure is as we expect, and the
that should not only be on the shelves of Breitkopf and Härtel /Musica Rara MR impact is what we are used to. Although
all bass players and teachers, but would 2283 (score and parts) we may miss the vivid orchestral colors
also greatly assist parents of youngsters and sheer sonics, we are treated to a
learning our instrument. It’s a concise and What do Richard Strauss’s Till greater clarity and intimacy. The agile and
realistic guide to all aspects of choosing, Eulenspiegel einmal anders!, Gustav adept instrumental writing lend the septet
buying and taking care of the bass, with Mahler’s Symphony #4 and Jean Sibelius’s a distinct and attractive leanness. It would
descriptive chapter titles (Construction, En Saga all have in common? They are all be very effective in concert.
Care, Bowing, Amplification, Accessories, written by major Western, Classical com- Mr. Barrett is to be commended on his
Adjustment, Stringing, Plucking, Purchase, posers—true. They are all written for thoughtful, intelligent and well-done recon-
Repairs, Storage and Transportation). The large orchestral forces and are richly struction—truly a labor of love. Breitkopf
book should be read for leisure, and then orchestrated—true. They all exist in a and Härtel are to be commended for pub-
kept for easy reference when the time chamber music form—true. Really? lishing this work, which is produced to their
comes to obtain new strings, an amplifier, Many of us may be familiar with Franz to-be-expected high standard. Together
or some other product or service. A current Hasenoehrl’s 1954 arrangement of the they have given us a classy edition of a
price guide on basses available in the UK Strauss for violin, clarinet, horn, bassoon, wonderful new chamber work from a mas-
and how to make an investment in an and double bass (Edition Peters). There is ter composer. What could be better?
instrument will be particularly useful for also a septet version of the piece for clar- – Review by Robert Black
young players and their parents; with the inet, bassoon, trumpet, trombone, percus-
internet, this may serve the entire world of sion, violin and double bass by Rick
bass-playing. Robinson (Cut Time Productions) (Bass Suite of Folksongs and
While the text is down-to-earth, the World, Volume 32, Number One, 2008). Dances
illustrations are a mixture of the instructive Mahler’s Symphony #4 exists in a chamber By Béla Bartók
and the hilarious, with plenty of cartoons version for soprano, flute, oboe/english Transcribed by Tivadar Országh, Aladár
and fun. The photos have mainly been horn, clarinet, violins, viola, cello, bass, 2 Mózi and Ede Zathureczky
taken by Peter’s wife, Jean, a professional percussion, and 2 piano/harmonium in a Revised by Lucas Drew
photographer. I learned what a bass mouse brilliant arrangement by Irwin Stein. Masters Music Publications, Inc.
is (you don’t know? get the book and Add to this chamber-version-of-sym-
check it out!) and that for over 40 years I phonic-literature list, Breitkopf and

In this collection from Masters Music young musicians competition. A quick the Italian’s humor, bravura and effortless
Publications, Lucas Drew has adapted ten scan of the score will show a variety of fea- flair in accessible modern style. Cast in
pieces for Béla Bartók’s collection of tures one might expect from a typical three traditionally fashioned movements
eighty-five piano pieces For Children pre- young person’s piece: the accompaniment (Allegro deciso, Andante and Allegretto),
viously transcribed for violin and piano by is relatively uncomplicated and avoids any the composer himself describes the work
Hungarians Tivadar Országh and Ede thickly-voiced sonorities so as not to as “a delightful competition between two
Zathureczky and Slovak Aladár Mózi. obscure the solo line, the bass’s range bassists vying for the favour of the
Since Bartók never turned his attention to extends only into the highest registers via pianist.”
the double bass as a solo voice, our only natural harmonics and the harmonic lan- From a musical standpoint, Canzone
opportunity to pursue the performance of guage is accessibly triadic. Additionally, Dolorosa is straightforward, exciting and
his music outside the orchestra is necessar- Schäfer attempts to appeal to younger play- fun. Its brevity, liveliness and attractive
ily through transcriptions such as this. ers perhaps not completely sold on the idea harmonic language ask very little of the
In keeping with the intent of the source of studying “classical” music by affecting a listener, allowing both audience and per-
material, each of the ten pieces are brief, sort of pseudo-pop sound and feel. former to engage in a bit of humor and
generally diatonic or pentatonic and rhyth- Though not terribly advanced from a melodramatic theater. Regarding the tech-
mically uncomplicated. Additionally, the technical standpoint, Ladies’ Choice intro- nical, the work could be most accurately
range remains comfortably in the middle duces a small handful of concepts that may described as intermediate-to-advanced:
of the instrument, just barely extending prove challenging to the beginner, such as while each soloist has to contend with a
into thumb position. The use of double double-stop playing and polyrhythms. The handful of Bottesini-esque semiquaver
stops is limited and when used they are accompaniment is generously presented in runs and quick arpeggios, the technical dif-
written to include harmonics and open both D major and E major, so as to allow ficulties presented here do not equal those
strings. The accompaniment is sparse to the soloist to use either solo or orchestra in the older composer’s more challenging
allow the solo voice to be easily heard and tuning as they please. works. Having been written by a bassist,
Drew’s editorial suggestions are appropri- Canzone Dolorosa was conceived as a everything fits well under the hand. Both
ate when included. companion piece to Giovanni Bottesini’s bass parts are to be played in solo tuning.
Bartók is undoubtedly one of the most Passione Amorosa and contains, as one All in all, both works are welcome addi-
important composers of the 20th century might expect, Schäfer’s attempt to imitate tions to the double bass repertory: Ladies’
and any student of the double bass hoping
to pursue a career in orchestral performance
must necessarily be familiar with his music.
Since one can hardly expect a high school
(or young college) student to have the
opportunity to study and perform the
Concerto for Orchestra or Music for
Strings, Percussion and Celeste these sim-
ple pieces are a suitable place to begin a dis-
covery of Bartók’s compositional language.
– Review by Evan Runyon
Stefan Schäfer
Ladies’ Choice
Canzone Dolorosa
Friedrich Hofmeister Musikverlag
www.hofmeister-musicverlag.com
Stefan Schäfer has been principal bassist

of the Hamburg State Orchestra since 2003.
As a composer he has worked in a variety
of genres but, naturally, his oeuvre is com-
prised mostly of music for the double bass.
In these two handsome new publications
from Friedrich Hofmeister of Leipzig we
are given two distinct examples of
Schäfer’s body of work.
Ladies’ Choice was, as is stated in the
publisher’s notes, composed in 2003 for a

Primrose Lane Music Company and is and this is just gorgeous. The young lion, ):36AI, a medium Latin groove, featuring
Bass World V35 N3 Fixed_Bass
married to theWorld V34 N1
marvelous 4/26/12Becky
vocalist, 11:55 AM Page 50 J.D. Allen, is featured on
saxophonist the pianist and Reid, who plays another
Gonzales Hughes. Congratulations on the "AI7D GD7>>;3@ ;5K5>7 "AAB. He gets to superb solo. The bassist wrote 3@YF
latest edition of “The Project.” Here’s stretch out before a take by the pianist and a JB>3;@, a light waltz featuring Allee and
hoping for a fifth one! Six stars!
U (7H;7I 4K &3G> &73D57
Choice a modern choice alongside young
Hues traditional
players’ of a Different options ofBlue
Marcello,
Vivaldi,
Rufus Reidetc. and
andOut Canzone
Front Dolorosa an
attractive
Rufus Reid, programming
double bass option for two
bassists looking
Steve Allee, pianofor an alternative to
Bottesini’s
Duduka Damore well-known
Fonseca, duets. As is
percussion
typical
BobbyfromWatson,Hofmeister,
tenor Sax both scores are
printed on fine,
J.D. Allen, heavy
tenor sax paper, nicely spaced
and lacking
Freddie in sillytrumpet
Hendrix, page turns. Each con-
tains a biography
Toninho of the composer as well as
Horta, guitar
a www.rufusreid.com
brief program note describing the work
and its origins.
Rufus Reid –has Review
donebyitEvan Runyon
again! His
newest release, B3@ =4 7443?3<A :B3,
may be his best effort yet, and don’t we
think this every time. From the early days
with saxophonist Eddie Harris to his
Large selection of basses and bows

recordings as a leader and sideman, Reid
Restoration and repairs

has never stopped growing musically. This
project features several guest artists,
Good selection in all price ranges

including, on tenor saxophones, seasoned
Consignment and trades accepted

3016 Harrison Avenue
veteran Bobby Watson and young lion J.D. A NDREW STETSON
Basses handcrafted by Jakstadt,
Allen. Freddie Hendrix, a Reid favorite, is
Cincinnati, Ohio 45211

Stetson, Roberts, Lakeberg
on trumpet and Brazilian icon Toninho
513-661-6224
Horta joins the group on guitar and voice.
astetson@basscellar.com
Add his stellar Out Front trio mates Steve
www.basscellar.com
Allee (piano) and Duduka Da Fonseca
(percussion), and the stage is set for an
exciting and creative hour of great jazz.
FYE F:7 $;9:FE ";=7, by Rufus, is a trio
Volume 35, Number 2

Velkommen til København!
Nyhavn is a 17th-century waterfront, canal, and entertainment district in Copenhagen, Denmark. In the
By Kristin Korb summer, this is the place for everyone to hang out, enjoy some drinks or an old-fashioned ice cream.
kkorb@kristinkorb.com Germany in 1990, through Barre Phillips’ States. The performance list is expanding
1994 Avignon, France event, Thierry on a daily basis, so you are encouraged to
In a restaurant not too far from the Barbe’s BASS2008 convention in Paris, to check out the website for the latest updates,
Copenhagen central train station, Jimmi the recent BASS2012 festival in Berlin, www.bass2012.eu
Roger Pedersen and Ursula Dieterich- organized by Stephan Petzold and held at Exhibitions: There will also be opportu-
Pedersen wind their way through the tables the Berlin University of the Arts. As these nities for convention attendees to check out
to the back corner to meet with two other European bass club conferences have the latest products from Europe’s great bass
team members for BASS2012. They are gained momentum, a group of like-minded luthiers and bow makers. There will also be
late, but they are all smiles. “The meeting bassists has been working to create a for- displays for all kinds of bass gear, from
went great! It looks like we have more mally organized and independent European strings and sheet music to flight cases.
funding for the convention!” Ursula bass society, to be confirmed at the 2012 Young Bassists: Running concurrently
exclaims as she quickly removes her coat convention. with the convention is a bass camp for
and takes her seat at the table. It has been BASS2012 will have Danish flair and young bassists up to the age of 17. Young
months of meetings for them. As a labor of style. In addition to featuring Scandanavian bassists have the opportunity to meet other
bass love, Jimmi and Ursula are heading the bassists on Nordic Day, the beautiful city of young bassists from all over the world and
leadership team for the biennial gathering Copenhagen will be a part of the greater work with the world's best educators. They
of bassists from throughout Europe. This show. One of the goals of the convention is will also have the freedom to participate in
August 14th-19th, up to a thousand bassists to take the bass out of the conservatory and the convention's concerts and have their
from all over the world will be meeting at put it into the community. They’ve orga- own big performance at Tivoli Gardens.
the Royal Danish Academy of Music in nized a “Bass March” where at least 100 Competitions: For those bassists who are
Copenhagen, Denmark to share their music bassists will march with their instruments interested in competitions, there are a num-
and passion for this noble, yet often misun- (think creative bikes and wagons moving ber of competitions. See the BASS2012
derstood instrument. the masses) from the classical conservatory website, www.bass2012.eu, for details.
For well over 30 years, the International to Tivoli Gardens for a mass bass ensemble The theme of this convention is all about
Society of Bassists has hosted biennial con- concert. Jazzhouse Montmartre has also inspiration. Jimmi and Ursula are excited
ventions that attract bassists from dozens of agreed to host many of the jazz events hap- for this upcoming event because they know
countries. (Mark your calendar for the June pening during the week. how life-changing these bass gatherings can
2-8, 2013 at the Eastman School of Music BASS2012 is embracing even more of be. It is the opportunity for all lovers of the
in Rochester, New York!) In most alternate the variety of music expressed by bassists bass, not just players, to meet, talk, listen,
years since 1990, the ISB has provided pro- throughout Europe and the world. Some of and hang out together. This is what our
motional support for European bass club the world's best bassists are performing here instrument is all about. We bring people
organizers holding increasingly well attend- in all styles. Musicians are coming from as together, support the greater good, and cel-
ed conferences, beginning with Mittenwald, far away as China, Thailand, and the United ebrate like no one else. See you in August!

S OUNDING B OAR D
Please submit recordings for
Chris Kosky and Rob Nairn, Editors
possible review in a future issue
of Bass World to ISB, 14070
Noble campaign), and video games, and Never Home
Proton Rd., Suite 100 LB 9,
performed at Bonnaroo and several inter- Johnny Never Band
Dallas, TX 75244, USA
national music festivals, and has become Johnny Never, slide and standard guitars,
something of a meditation music guru vocals;
(playing for 3,000 yogis in front of the Parris Bradley, guitar, ukulele, tenor guitar;
Flying Eiffel tower in Paris and 13,000 in Central Alan Lewine, upright bass;
Garth Stevenson, double bass, piano, park). Paul Patchel, drums and percussion;
organ , percussion, electronics, cello, elec- This second recording was inspired by Dexter Gresh, harp;
tric bass, nature recordings and composed during a recent trip to www.johnnynever.com
Annie Lynch, vocals Antarctica while Stevenson was compos-
Rich Stein, additional percussion ing the soundtrack to a new Scott Cohen never Home is an exciting roots music
Ryan Ferreira, guitar film, in which he also acts. Aboard the ice- CD featuring the gutsy blues of Johnny
http://garthstevenson.com/ breaker they used for filming were the Never and the Solar Pimps (The Johnny
actors Juliette Binoche and Vincent Never Band). With Alan Lewine as its
This second solo CD by Canadian Kartheiser, author Cormack McCarthy, upright bassist, Johnny Never and the
bassist/composer Garth Stevenson is simply and Roger Payne, the famous whale Solar Pimps is an all-acoustic roots blues
one of the most hypnotic and beautiful researcher and the first to record the band performing authentic Delta,
recordings I have heard for some time. Humpback Whale songs in the 1960s. Piedmont, and Eastern Texas Blues in
Stevenson’s 2008 release Alpine brought Stevenson spent several weeks learning to addition to inspiring original Blues songs.
his unique music to the attention of a diverse adapt the whale calls to the bass from From the beginning of the CD, with the
audience and in many ways announced a Payne’s recordings. To quote from opening track World Won’t Spin, Bassist
major new and extraordinary talent. Stevenson’s website: Alan Lewine weaves and integrates his
Since then, Stevenson has composed for “One evening, in the middle of a four- instrumental and musical prowess tasteful-
independent films, commercials (Hourglass day open sea crossing between South ly into tunes that are not normally accus-
from this CD was used in a Barnes and Georgia and Antarctica, I gave a concert at tomed to an active texture in the lower
sunset on the bow of our ship. I was impro- ranges. Authentically supportive through-
vising and creating layers with my loop out the CD, Lewine holds down a solid
www.brucegertz.com pedal then started imitating whale calls on harmonic and rhythmic underpinning and
the bass. A few minutes later twelve sei allows the rest of the band to be freely
“Walkin”
Jazz Bass Lines/56 pages
whales came and swam next to our vessel!”
The music, all 75 minutes, is gorgeous.
Annie Lynch (from Boston’s “Annie and
expressive. When the moment is right,
Lewine adds a subtle virtuosic touch when
it is his turn to solo or to simply interject a
the Beekeepers”) adds some ambient tasty fill. Speaking of bass solos, check out
Now includes 2 play-along CDs™ with a great vocals to three tracks, and apart from addi- the second track They’re Red Hot. Lewine
rhythm section of Joe Hunt, Drums, Andy
tional percussion on one track and guitar plays a red hot bass solo that truly expands
LaVaerne, Piano and Bruce Gertz , Bass (one
side only) Enjoy hours of walking or soloing on another, all the instruments are played the meaning of the Robert Johnson tune in
on standards and blues! (slow, medium, fast) by Stevenson. The music is ambient, min- a way that I am sure Robert Johnson would
imalist, mesmeric and entrancing; he has enjoy if he were alive to hear it. Robert
Walkin Video/DVD includes
been compared to Brain Eno, David Johnson would probably also enjoy the
approaches, articulation, time and
Sylvian, Robert Fripp, Barre Phillips, and supportive arco bass stylings of guest
rhythm,acoustic and electric bass
others to which you could add Eberhard bassist James Walls on Me & The Devil.
Instruction by Bruce Gertz, Professor at Weber. The influences are perhaps all Another solo of note is in the last track
Berklee College of Music there, but his style is never-the-less quite Xmas Blues with its deep and thumpy tone
(Former students include Jeff Andrews, distinct and very much his own. that make the Blues come alive.
Victor Bailey, Alain Caron, Matt Garrison, Like Stevenson’s first CD, the disc cases The music on never Home evokes the
Peter Herbert and Skuli Sverrison) are all hand-made, in this instance in the heart and soul of an old southern blues
mountains of Nepal, using traditional band, but at the same time there is a fresh
Walkin book/CD set $22.00
Lokta paper, hand silk screened and tied and invigorating originality driven in part
Walkin video set $47.50
with thread and beads. The packaging is (literally and figuratively) by Alan
Overseas add $6.00
quite spectacular. It has to be seen to be Lewine’s creative bass playing.
believed, and in every way effectively cap- – Review by Jeremy C. Baguyos
Order online or tures the spirit of the recordings within. It
Send check or money order to: would make a perfect gift at anytime. Flipside
Bruce Gertz Music, P.O. Box 3004 – Review by Robert Nairn Dennis Durick, drums, percussion;
Wakefield, MA. 01880 USA Dave Monsch, Saxophones, bass clarinet,
flute, vocals, percussion;

enth edition) and his students can With much credit to the engineer
be
Paul found
Unger, working in an especially
bass, loops, effects; and hard,
slow, producer, the with
and dirty recording
some
wide
Jesse variety
Chandler, of musical settings.
Fender Rhodes, throughout isriffing
blues-based really first rate,they
before very
He has had more than 300 com-
Organ; clear, spacious,
surprise you with and detailed. This
experimental
positions written for him. The list
www.flipsidetheband.com CD willexplorations.
timbral reward many In listens
Bi-Polar as
of composers he has worked with the complexity
Bear, of the textures
the ensemble is at
playfully
is aEqually
veritable who’s
versed who:and
in jazz Donald
clas- times quitebetween
alternates remarkable for three
a hard-grind-
Erb,
sical styles, JohnFort WorthCage, Symphony Vincent musicians.
ing swing The
and first (?7/<5B:/A7=<
a spastic texture
Persichetti,
Orchestra bassist Pauline
Paul Unger, Oliveros,
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that came
sureout
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joltthe
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Witold
forms upbeatSalonek, and originalBarry jazz label in 1996.
Texican Let’s hope
Fat Pants, Ungerit’sper-
not
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with the band Paul Chihara,
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in demon- recordbass
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his jazz4K and
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facility because Ralph the Shapey, Eugene
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Kurtz,
sitions Michaeland the Finnissy.
instrumentation Brian Jean-Philippe
will not think about Viret: either style.
Ferneyhough
consisting of and sax,Iannis
bass,Xenakis.
drums, Lonely
Pour Hag is an ethereal, multi-
Add to that interspersed
and subtle his own compositions,keys and tracked work showcasing
Jean-Philippe Viret, double bass some
his Klezmer, demand
electronics Tango, Jazz, the Greekmost haunting arco
Édouard Ferlet, pianostylings juxtaposed
and
refined Polishlevelsmusic sojourns, not
of spontaneous to
cre- against equally drums
Fabrice Moreau, haunting flute
mention
ativity from his aearly recordings
bassist. Unger and and playing.
Mélisse Music (Atelier Sawano)
editions
the band deliver.of Dragonetti and you ASThroughout
102 the album, Unger’s
have a musician
Although the bass whose life and
playing is intonation
www.viret.com is precise and his tone
career
fantastic, have themore facets than
real strength the
of this is clear, even,
www.melisse.fr and full. He blends
Hope
CD lies Diamond. I, for one, amthem-
in the compositions very in nicely with the band with a
much
selves,looking severalforwardof which to reading
were sense
$=B?of time
is a that never album,
9AD97AGE drifts and go
his forthcoming
by Paul autobiography. takes To order send check or money order for $25.00. Include
written Unger. All of the get it! (Some reviews are soofeasy
on a unique identity its
tunesTheare last
very few years from
different have eachalso own in its support of the there’s
other $3.50 postage and handling. Canada and foreign $10.00.
to write.) But wait, Payable to Ped Xing Music,
seen
other, abutflurry of welcome
the eclectic set is uni- CD players.
more…
releases. This set was recorded in PO Box 628, Englewood, NJ 07631.
fied by the unique personal voices Flipside
Well, it isis gorgeous.
an enjoyable MuchCDlikeof
December
injected by each 2009 musician
at the Warrenas they well written and viable
2009’s Le Temps Qu’il Faut, this contem-
Music
pursue their Center in Los
singular Angeles.
collaborative porary jazz compositions,
album features the fantasticwhich
trio of
Turetzky
vision. and Golia have worked serve as a perfect
Viret, Ferlet and Moreau vehicle for the
playing
together
There is fornotovera dull twenty
moment years.in very creative improvisations
their own compositions with such exe-
Bert
the set sayslist.“I like
Thethe guys who
opening are
tracks, cuted flawlessly
strident freedombythat seasoned and
one can’t
always
Curse ofmoving the Lucky forward,
Man and always
Safe open-minded musicians
help but be moved. Pour, for our having
trying
at thesomething
Cheesecake new.” This CDare
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There French,
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what ease,
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fan orisany something
fan of musicfor everyone
that has
communication
are capable of doing and the fluidity
on the rest ofof on the recording.
something to say. With jazz as the
the
the textures
album. they In Waltercreate. Marches,
At times – Review
root genre, by thisJeremy C. Baguyos
trio strolls, shad-
it’s
Unger impossible
shows offtohis distinguish
arco facility, the owboxes and dances through eight
individual
round andinstruments, consistent tone, especially
and Handel and refusing
compositions, Haydn to be
in
great the intonation
really delicate in a moments,
well crafted of Society
restricted, which is why you’ll
which
and tonally there directed
are many of great
composition Harry
hear Christophers,
classical musicArtistic Director
influences,
beauty on this recording.
that functions as a prelude Golia to is Mozart:
swing as Requiem, K626; Ave
well as straight-eighth
clearly
Happy using a wide variety
Wanderer. Happy of verum corpus,
feels (rock K618 2.41;
and Latin), Per
composed
woodwind
Wanderer isinstruments,a very ambient although
layer questa
materialbella
andmano,
freeK612
improv, and
they are not listed
of sustained sound on that
the CD. They
supports Soloists:
though the Elizabeth Watts,
trio is tight, thePhyllis
music
are
veryused long,tolinear
great and effect, especially
heartfelt sax Pancella,
is all veryAndrew Kennedy, Eric
free-wheeling.
in the low
melodies registers.
before the tune The track
invokes Owens andisRobert
$AF /7F Nairn, colorful,
the splashy, double
Ballade
an American is especially
vernacular gorgeous.
language bass
poetry-inspiring opening track,
There arethe
illustrating alsomoodmomentsof thewhere
song COR16903
like dragonflies dancing atop a
ittitle
sounds
along like withthey are having
humorously hint-a dappled pond. Viret composed
ball,
ing atthe Oleo.energyUnger level getsinmuch
locks with Theone,
this Handel
so &he Haydn
can’t Society’s
complain
higher,
the drummer and you on can hear ainfec-
a burning huge latest
aboutrecording
the tricky,draws
rangyitsbass
program
line.
range
tious grooveof colors and influences.
on Flippity Floop, from
He justworks
plays composed during
it really well. The
The
whilefinal Dave track +B ;E soars
Monsch AI@ with 3@ Mozart’s
moody "7final(O year,D3H7juxtaposing
sounds of
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motivic ( figures. & is ethereal, perfer-
Afterwards, the imposing
classical musicRequiem
at times (as com-
thanks to
vid,
breakand out abeautifully
cigarette and produced.
chill in pleted by Franz
contrapuntal Xaver
lines, andSüssmayr)
while all
caricature while the band plays with the Corpus Christi motet Ave
Volume 35, Number 2
verum corpus and the concert aria sound. You miss him when he
for baritone and double bass drops out. The orchestral accom-
obbligato Per questa bella mano. paniment is transparent and flex-
This positioning offers useful per- ible.
spective on the final work, long The recording derives from two
cherished as the only extant com- live performances in Symphony
plete Classical work for solo dou- Hall in Boston. Handel &
ble bass by a “canonical” compos- Haydn’s Artistic Director Harry
er (Haydn’s orchestral solos Christophers writes in the liner
notwithstanding). notes that “we must cope with the
Mozart composed Per questa odd ‘rough edge’ but the excite-
bella mano in March, 1791 for the ment that is generated from per-
singer Franz Gerl and double forming live along with that natur-
bassist Friedrich Pischelberger; al uninterrupted progression of the
the work is a tender and capricious music itself is reward indeed!” He
love song, equally demanding for is quite right, and I found the live
both soloists. Gerl played the role recording to be an advantage on
of Sarastro in Die Zauberflöte at many counts. It isn’t perfect, but it
its first performance in Emanuel is a lot of fun to listen to.
Schikaneder’s Freyhaustheater Christophers’s tempi in all of the
outside Vienna. Pischelberger, an works are refreshingly unsenti-
important representative of the mental without being contrived or
Viennese double bass virtuosi, too fast. The choir sings with
played in the orchestra there. tremendous energy and not a trace
Handel & Haydn’s soloists are of fear, and I particularly enjoyed
no less impressive than Mozart’s. the orchestra’s punchy articula-
Bass-baritone Eric Owens, an tion.
established superstar in the opera The CD features a short com-
world, opened the 2010-11 season mentary, spoken by Nairn, about
at the Metropolitan Opera as the making of the recording and
Alberich in Das Rheingold. about Per Questa that those who
Former ISB president Robert download the tracks and don’t
Nairn needs no introduction here, have access to the liner notes will
but it is worth mentioning his appreciate. Neither the notes nor
recent appointment to the faculty the commentary mention that
of the Historical Performance pro- Nairn performs on a replica of a
gram at Juilliard and his extensive Viennese double bass (tuned F-A-
performance on period instru- D-F#-A) such as Pischelberger
ments with many ensembles might have played, making this
world-wide including the English one of the first such recordings
Baroque Soloists, Orchestre available.
Revolutionnaire et Romantique, While I do not believe that there
and the Orchestra of the Age of is such a thing as an unbiased
Enlightenment. Nairn has been review, in the interest of full dis-
Handel & Haydn’s principal dou- closure I feel I should mention
ble bassist since 2003. He is a dri- that I have known Owens since we
ving force with the institution and played together in the Philadelphia
serves as leader in a series of Youth Orchestra in the 1980s, and
Salon concerts that champion am a member of H&H (though I
Classical chamber music for dou- did not play in this performance).
ble bass. That said, I do recommend this
Owens and Nairn make a good disc highly both for its historical
match for Mozart’s aria; their per- perspective on several levels and
formance comes across as a duet because it is simply an excellent
for two basses, and each enhances and enjoyable performance.
the other’s sound. Owens’ voice – Review by Heather Miller
is huge, but he negotiates quick Lardin
runs and dramatic plunges with
grace. Nairn plays boldly when he
needs to, but never with a harsh

biographical data. This is not only a DVD constantly astounded by the virtuosity of
Two Sessions for bass players who avidly collect new the performance. Let us hope it also brings
Frank Proto, double bass recordings, but also a true gem for any and more bass players to the wonderful music
Tim Berens, guitar all music lovers who appreciate music of Pedro Valls.
Red Mark making at the highest level. – Review by Catherine Side
www.liben.com – Review by Catalin Rotaru
Winter Dream: Pieces for
It isn’t often enough that we get our Pedro Valls – Music for Strings
hands on a recording featuring the guitar Double Bass and Piano Elizabeth Stancliffe, violin
and double bass as a duo. The intertwining Leon Bosch, double bass Ted Smeltz, violin
of the timbre and color of each instrument Sung-Suk Kang, piano Tom Kreuder, viola
transports the listener. And because Two Meridian Records Peter Griesinger, double bass
Sessions is a DVD, the still images of www.meridian-records.co.uk. Brett Shurtliffe, double bass
famous paintings by Dali, Goya and Paul Ferrington, piano
Matres that pop up intermittently add to The legacy of Bottesini’s visit to www.prestostringquartet.com
the artistic experience and convey the emo- Barcelona left a big impression on the
tional message with maximum force. young bass player Pedro Valls, who was This CD features music by composer
The two protagonists of this marvelous just twenty when Bottesini died. Although and double bassist Peter Griesinger written
DVD, Frank Proto and Tim Berens, are Valls pays homage to the master in his between 2007 and 2011 in different cham-
world class artists and true masters of their music, he has created original and intrigu- ber settings: quintet, bass duo and bass
instruments. I have to confess that I only ing pieces with a distinctive Spanish fla- with piano, played by members of the
knew Frank through his extremely popular vor. These pieces are known to some bass Presto String Quartet and guest artists.
and inspired compositions for the double players, and some are performed, although A Wedding Symphony, dedicated to his
bass but in this DVD, Frank reveals himself rarely. Several works on this CD had never wife, has movements entitled Work Mode,
as a highly accomplished bassist who nego- been recorded before. The excellent sleeve Summer Evening/Play and War and
tiates the instrument with flair, accuracy notes describe the research that Leon Peace. Sounding a bit like Stravinsky in
and total control over the entire range of the Bosch undertook to obtain and edit the classical mode, this is very accessible and
bass. In Two Sessions, Frank and Tim material, as well as future projects. delightfully played by the string quartet
delight us with their music-making in two Your attention is immediately grabbed with bassist Brett Shurtliffe. The same
of the most popular genres, classical music by the opening Grand Introduction and ensemble delivers a convincing String
and jazz, one session dedicated to each. Tarantella. It is fiery and wonderfully Quintet in A, which I found racy and
For most of session one, we are tuneful. If you like Bottesini, you will love pugnacious. The CD concludes with String
immersed in the richness of Latin rhythm this! The following Fantasia (Homage to Quintet in D with more lyrical sections,
and harmony, with works written by Bottesini) is more introspective, even sensitive bass pizzicatos and excellent bal-
Manuel de Falla, Enrique Granados, plaintive in parts, and provides an excel- ance between the instruments.
Alberto Ginastera, Mario Castelnuovo- lent contrast. The first section of the CD Shurtliffe also plays a three movement
Tedesco and even the “Toreador Song” concludes with another Fantasia, whose Bass Sonata with Paul Ferrington accompa-
from Proto’s popular Carmen Fantasy variations tell the story of a bullfight. nying sensitively on piano. Alternating
arranged for guitar and bass. The two Next are Four Games where the virtu- between easily playable and totally virtuosic
musicians complement each other perfect- osic music is again studded with complex passages, the playing is immaculate and the
ly and their communication is flawless, harmonic passages. The contrasting sec- music itself captivating and enjoyable.
something we usually experience with tions of the Minuetto are particularly In between we have twelve short
string quartets that have performed togeth- arresting. Romança is a gentle introspec- vignettes for two double basses where the
er for years. Their masterful use of dynam- tive interlude before the concluding composer himself is double tracked. The
ics brings the colors in the still images to Andalucian Suite. Here the Serenata and vignettes come in every shade - chatty,
even more vivid life. In session two, Frank Saeta are lyrical, the Polo gitano breath- lyrical, pizzicato and jazzy, all very inven-
and Tim treat us to a variety of jazz stan- takingly fast and the concluding tive and fun to listen to. I was particularly
dards. The change of style and character of Zapateado racy and fun. impressed with how he managed the
the music from one session to the next is The quality of performance on this CD instrumental range without the grunting
seamless, proving once again the high cal- reflects the long working relationship that often characterizes bass duets.
iber of musicianship defining both artists. between Bosch and his pianist, Sung-Suk This is a superb project and should
They play with great swing and sense of Kang. The bass playing is absolutely top delight audiences of bass players and
rhythm, and their improvised solos are notch, with beautiful vibrato throughout many others. The sheet music for all the
enriched with true melodic lines and not sustained low phrases, lyrical passages in pieces will soon be available.
just typical jazz language patterns. the upper registers and perfection in the – Review by Catherine Side
There is a wealth of information in the virtuosic harmonic sections. The piano is
extras included with the DVD, where both always sympathetic and never too loud. It’s
Frank and Tim luxuriously provide details a CD you will come back to time and
regarding the works recorded as well as again, to enjoy the lovely music and to be

Bass World V35 N3 Fixed_Bass World V34 N1 4/26/12 3:03 PM Page 56
Inez Wyrick, Editor

YOUNG BAS S IST ’S PAGE
Bass Players Taking Over The World.

There are so many excited young school bassists who are starting to plan So, when prospective students ask me
bassists from all parts of the globe. right now. Our message is from Dr. about auditions, I usually make the follow-
Students are planning and practicing and Donovan Stokes, Professor of Double Bass ing suggestions.
participating. It’s the “3 P’s!” at Shenandoah Conservatory of Music in
Winchester, VA. He sent the following 1. Know the schools’ specific audition
1. Look ahead, set goals, and be persistent advice: requirements and meet them. For exam-
in inching forward every day! ple, if the school asks for a specific
2. Practice daily! It not only keeps the College Auditions orchestral excerpt and you don’t have it
music fresh in your mind, but it also By Dr. Donovan Stokes
ready, it can hurt your chances.
builds those much-needed muscles Requirements are usually available
needed for a good sound. online. Some schools are extremely spe-
It’s that time of year again, so I have
3. Participate! Always be looking for cific, while others are flexible. If there is
been hearing a lot of auditions lately.
ways to PLAY your bass with others. anything unclear, contact the bass pro-
Every year there are those auditions that
Whether it’s a school ensemble, church fessor with your questions. They should
stand out. Sometimes it’s for the right rea-
ensemble, or a duet! Take private be happy to answer.
sons and sometimes it’s for the wrong rea-
lessons! And always be on the look-out 2. Pick material you play well. While the
sons! If you are majoring in music, the
for Bass Conferences, Bass Bashes, audition committee will want you to
most important determining factor for
Bass Clubs! These events can open a accurately demonstrate your technical
music school admissions and talent schol-
new world of bass to you, in addition to and musical proficiency, there are no
arships at most institutions is your perfor-
finding new friends. “points for difficulty.” Whatever you
mance at your audition. Sure, you general-
play, you should be confident that you
ly need a minimum GPA and SAT or ACT
I would like to share some encouraging can play it well. Playing a Paganini
scores, but none of this matters if your
and interesting information with high Caprice only works to your advantage if
audition doesn’t go well.

Answers on Page 59

you do it at a high level. Your bass up in the city you are auditioning in.
teacher should help you put your pro- 5. Dress appropriately. Although across many
or justcom-
how differently things sound at a distance. Mock audi-
gram together, of course, but in general mittees are only interestedtions are they
in what alsohear,
an eye-opening experience, where I learn that some
it’s not what you play, but how you play some do make judgments things
basedI thought
on whatI had resolved in the practice room aren’t solid
it. I would rather hear a beautiful Eccles enough
they see as well. Fair or not, yourunder
attire pressure.
can
than an inaccurate Bottesini. hurt your chances during an For me, the My
audition. most reliable way to achieve this consistency in the
3. Be prepared early. If your audition is this heat ofthat
advice is to dress in a manner battle is to learn and memorize how each note feels physical-
indicates
weekend and you are still putting things to the committee that yourly.audition
I try toisbe as aware as I can of all the muscles I use (and the ones
impor-
together, then you are walking a tightrope. tant to you. You don’t needI don’t),
to wearand engrain this in my system. I pay particular attention to
a formal
Aim to be ready about one month before or a tuxedo, but don’t wearthejeans
beginning of each excerpt, since I need to be able to recall that
with holes
your first audition. One month before, per- “starting
in them either. Dress tastefully andfrom nowhere” feeling while under pressure. It’s so impor-
conserv-
form a “mock audition” in front of an audi- tant attire
atively. You don’t want your to start
to each
detractselection assertively and perfectly, not only for your
ence. This will give you an idea as to what own confidence, but also
from your lovely music making. Logan to Alexander
engage theHedgepath
listener. The task of focusing
needs solidifying. If music school is on my initial movements the “shy” one, butforget
also helps me aboutthis
attending myschool
nerves,has
and
important to you, you may want to think make them take a back seat to more important
Lastly, I would like to recognize one of helped me a lot. I am so happy that I was things. The same tech-
about simplifying your life in your senior our young bassists who nique has put works equally
a lot of wellableintoavoiding
overcome panic
thisinfear,
troublesome passages:
and it is prepar-
year as well. Playing in every musical, thought into the 3 P’s. His I try to identify some specific aspect of my
name is Logan ing me for my career as a Double Bassist!! playing that helps the dif-
wind ensemble and festival choir may be Hedgepath. Here are some ficultofpassage work better (using more
the things I WANT TO PLAY THE DOUBLE BASS hair, playing closer to the
fun and look good on paper, but if it draws he wants to pass along. bridge, you have moreFOR time THE
than you think, etc.).
REST OF MY LIFE!! At crunch time, just
time away from your audition practice focusing
I live in Natick, Massachusetts, USA. Ason one simple thing makes a world of difference. That one
time it can be detrimental in the long run. a learning high school musician, thing will likely
I have real-be perfect,
With warm and, ifwishes,
nothing else, that focus distracts
The audition is generally the major deter- ly fallen in love with the bass! me from panicking about a
It completes ~Logan Alexander million other things.
Hedgepath Finding these spe-
mining factor for entrance and non-academe, and wherever I go, thecific things to focus on
bass has to come *DOUBLE BASS* throughout the excerpts is absolutely crucial
!7H;@ 34>A@E=; B:AFA not
mic scholarships, 5AGDF7EK
the A8number
$3E:H;>>7of
)K?B:A@K for me
with me! After spending my freshman yearto stay on task with what I’m doing at that instant and not let
ensembles you have played in. nervousness
of high school at Walnut Hill School For or fear of failure take control.
Thank you Dr. Stokes and Logan! With
4. effective
Get yourin rest:
improving
Sleep my playing. The
deprivation and firstThe
twoArts,
I’m and
surebeing
you’ve
Principal MyDouble
motto whenBass preparing and playing an
these inspirational audition islettous
messages, becontin-
prepared
time in the car can keep you from perfor the New England Conservatory Youth ue our pursuits to take over the world, oneof
heard countless times: record yourself, and play for anyone who will for anything. Committees routinely ask for different tempi, lengths
listen.
forming These really
at peak force Sometimes
levels. me to be honest
it is withSymphony
how I sound. notes,really
On lis- I have
Orchestra, bowings,
“come etc., sogood
I make surenote
solid I knowat ahowtime!it feels to be flexible in
tening to a recording, I’m routinely surprised by what isn’t coming
unavoidable, but if at all possible wake out of my shell” with music! I used to bedifferent ways. For repertoire lists
Inez Wyrick that require entire works, be ready to


AD INDE X
ACOUSTIC IMAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 JEAN AURAY, LUTHIER . . . . . . . . . . . . . . . . . . . . . . . 31

AES FINE INSTRUMENTS . . . . . . . . . . . . . . . . . . . . . 10 JOHN DEWITT MUSIC . . . . . . . . . . . . . . . . . . . . . . . . 58
ATELIER CONSTANTIN POPESCU . . . . . . . . . . . . . . 42 JOHN MICHAEL SMITH . . . . . . . . . . . . . . . . . . . . . . . 30
BASS2012 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 KOLSTEIN MUSIC, INC.. . . . . . . . . . . . . . . . . 28, 36, 38
BASS GARDEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 LIBEN MUSIC PUBLISHERS . . . . . . . . . . . . . . . . . . . 27
BOB BEERMAN'S BASS VIOLIN SHOP . . . . . . . . . 59 LUDWIN MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
BOB'S HOUSE OF BASSES. . . . . . . . . . . . . . . . . . . . . 56 MICHAEL KLINGHOFFER . . . . . . . . . . . . . . . . . . . . . 11
BRUCE GERTZ MUSIC . . . . . . . . . . . . . . . . . . . . . . . . 52 MOORADIAN COVER COMPANY . . . . . . . . . . . . . . 12
CINCINNATI BASS CELLAR . . . . . . . . . . . . . . . . . . . 50 MYRIAD LIMITED . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
CLASSIC CONTRABASS, INC. . . . . . . . . . . . . . . . . . 54 NICK LLOYD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22, 50
CONCERT DESIGN INC. . . . . . . . . . . . . . . . . . . . . . . . 53 PEABODY CONSERVATORY OF MUSIC . . . . . . . . . 28
CONCORD INTERNATIONAL GROUP, INC. . . . . . IBC PED XING MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
CONNOLLY & CO. . . . . . . . . . . . . . . . . . . . . . . . . . . . BC ROBERTSON & SONS VIOL. SHOP INC. . . . . . . . . . 24
DAVID GAGE STRING INSTRUMENTS . . . . . . IFC, 23 RUBINO BOWS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
DEPAUL UNIVERSITY SCHOOL OF MUSIC. . . . . . . 6 SETH KIMMEL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
DOMAINE FORGET MUSIC ACADEMY . . . . . . . . . 26 SHANK STRING INSTRUMENTS . . . . . . . . . . . . . . . . 3
DOUGLAS MAPP MUSIC . . . . . . . . . . . . . . . . . . . . . . 50 SPERGER COMPETITION . . . . . . . . . . . . . . . . . . . . . 43
EASTMAN SCHOOL OF MUSIC . . . . . . . . . . . . . . . . 40 UNIVERSITY OF TEXAS AUSTIN BASSFEST . . . . 34
HACHEZ & LORGE LUTHIERS . . . . . . . . . . . . . . . . . 38 UNIVERSITY OF ILLINOIS . . . . . . . . . . . . . . . . . . . . 37
ISB MAKERS' COMPETITION . . . . . . . . . . . . . . . . . . 18 UPTON BASS STRING INSTRUMENT CO. . . . . . . . 35
JAMEY AEBERSOLD JAZZ AIDS . . . . . . . . . . . . . . . 22 VEKTOR GERMANY. . . . . . . . . . . . . . . . . . . . . . . . . . 59
JD HILL MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 YAMAHA CORPORATION OF AMERICA . . . . . . . . . 8
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Bass World V35 N3 Fixed_Bass World V34 N1 4/26/12 11:54 AM Page 100

ABOUT THE ARTIST

Volume 35, Number 3 1

By John Kennedy The International Society of Bassists publishes

2 International Society of Bassists

...making music a joyful experience!

Volume 35, Number 3 3

FROM THE EDITOR’S DESK

Joining The Professoriate

“limited term” or “renewable” appointments), mum paper qualifications, an application without a

4 International Society of Bassists

Volume 35, Number 3 5

6 International Society of Bassists

CHILD’S PLAY Virginia Dixon, Editor

Starting a Class of Young Bassists

Volume 35, Number 3 7

8 International Society of Bassists

Excellence in the Age of Ratings

Volume 35, Number 3 9

Volume 35, Number 3 11

The Premier Instrument Cover for the Premier Player

Available at many fine dealers, including:

12 International Society of Bassists

William “Keter” Betts:

I think the best way to introduce William

“Hi. This is Keter. Hey, do me a

That was Keter: a tremendous sense of

included concerts, club dates, radio broadcasts and recording ses-

“My concept is that a singer comes out there, is buck-naked

As he explained to this author many times during improvisation

14 International Society of Bassists

Ella had been gone, then just three years.

Ella often remarked to critics that Betts

“Ella climbed the mountain and then

Keter said Ella’s most memorable performance was in

Volume 35, Number 3 15

Washington Post obituary, August 8,

16 International Society of Bassists

Education from The Catholic University of Personal Remembrances and Quotes

Volume 35, Number 3 17

Announcing the Sixth Biennial

International Society of Bassists

Application deadline is May 2, 2013

18 International Society of Bassists

In Search of Nino Rota

Volume 35, Number 3 19

20 International Society of Bassists

At the time, I suggested to my students exer-

Simplified Higher Technique

Petracchi’s Simplified Higher Technique is a

Volume 35, Number 3 21

For a more in depth investigation on Brazilian born bassist Alexandre Ritter

22 International Society of Bassists

J OHANN M ATTHIAS S PERGER

For those who are interested in the original performance of

Volume 35, Number 3 25

Let us compare this with the working-out of the theme in the

Trumpf - T 38, measures 53–56

As mentioned above, Trumpf’s treatment of these sonatas

26 International Society of Bassists

Volume 35, Number 3 27

Joëlle has been

International Society of Bassists

28 International Society of Bassists