Whilst having been adapted to be played within the confines of the bass guitar, these pieces make use of open strings, natural harmonics, and techniques such as tapping and double stopping in order to preserve the harmonies, texture and timbre of the original compositions.
This book has been divided into three sections: Beginner, Intermediate, and Advanced. The beginner section contains pieces with piano accompaniment or pieces which can be performed as a duet with another bass player. This allows the player the freedom to enjoy playing the works of Chopin, Tchaikovsky and Handel immediately. The intermediate section introduces a more polyphonic playing style with the use of pedal notes, open strings, double stopping and harmonics. Finally, the advanced section presents three challenging solo pieces adapted from the works of Debussy and Rachmaninov, providing the opportunity to apply advanced techniques to perform musically loyal representations of the original compositions.
Contents and Performance Notes:
Bourrée No. 1 (Chopin)
This spritely Bourrée has been arranged for bass guitar with piano accompaniment, providing an opportunity to play in upper and lower neck positions whilst also providing an introduction to double stopping.
Bourrée No. 2 (Chopin)
This stately Bourrée has been arranged for bass guitar with piano accompaniment, providing an opportunity to explore the lower neck position.
Old French Song (Tchaikovsky)
This version of Tchaikovskys "Old French Song" Op.39, no.16 for piano has been adapted and arranged to be performed by two bass guitarists. It is aimed at the beginner/intermediate level and allows two students the opportunity to duet. It can be used as a good exercise in practising the minor scale, double stopping, and collaborative listening.
Baroque Duets (Handel)
These spritely duets are both an exercise in accurate hand placement across the neck, and an exercise in careful aural skills when playing with other musicians.
Julens Vuggesang (Grieg)
The first piece in this book to introduce harmonics and open strings to create a truly polyphonic solo piece for the bass guitar.
Symphony No.7 in A major (Beethoven)
Taken from Ludwig van Beethoven's Symphony no.7 in A major (Opus 92, 2nd movement), this beautiful piece has been arranged and adapted from the orchestral score to be performed with piano accompaniment.
Children's Corner, mvt. VI (Debussy)
This lively piece, with its contrasting middle section, provides opportunity to practice moving between lower and upper register playing. It utilises double stopping and string harmonics to create a full and lustrous adaptation of this piano piece for the solo bassist.
Prelude in E minor (Chopin)
A fine recital piece in its own right, this piece also provides a good teaching aid for developing a strong left hand as it follows the finger/fret technique pattern, helping to build strength in all four fingers.
Sarabande (Debussy)
This magical piece from Debussy's 'Pour le Piano' keeps true to the harmonies, texture and timbre of the original piano composition. This piece makes use of open harmonics across the instrument, the highest and lowest ranges, and techniques including tapping and double stopping. Developing a well-formed left hand is fundamental in producing clear and accurate harmonies throughout this piece.
Prelude in C# Minor (Rachmaninoff)
The contrasting passages of this arrangement include the forceful opening utilising double stopping and open strings, with the use of the thumb and "hammer-ons" in the delicate and spritely middle section, building to the final Grande statement of the original opening melody.
Clair de Lune (Debussy)
This hauntingly beautiful piece by Debussy requires subtle tonal control, as rubato pianissimo p
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