The legendary Finnish bassist-composer Teppo Hauta-aho once said that a piece of music “doesn’t have to be virtuosic to be good” and there is so much scope to write and transcribe exciting and accessible music which remains in bass clef. The Bass Clef series, featuring books for one, two, three of four double basses, is ideal for bassists looking for interesting, Repertoire which is idiomatic and enjoyable, possibly also challenging, but is also well worth the effort.

All the works are composed, transcribed or edited by David Heyes

1. David Heyes (b.1960) – Sahara

Sahara is dedicated to Simón García and was composed as an imposed work for the 2015 Galicia Graves Double Bass Competition (Culleredo, Spain). It explores the many colours and timbres of the double bass, primarily in the lower register, and describes the ever-changing landscapes of the Sahara Desert, the extremes of temperature, alongside the travels of the nomadic people and their animals. It was composed to create an opportunity to develop an awareness of musical line and narrative, with the many sounds and effects available to the 21st-century bassist but always within a lyrical and musical framework. Sahara was premiered at St. Stephen’s Church, Bristol on Monday 23 February 2015 by David Heyes and received its US premiere on Sunday 21 June 2015 at the Museum of Making Music (Carlsbad, California) by Bertram Turetzky.

2. G.P. Telemann (1681-1767) – Fantasia No.1

Telemann was one of the leading German composers of the Baroque era and also one of the most prolific composers of his day. He worked in a number of German cities but in 1721 became Music Director of the five main churches in Hamburg. His 12 Fantasias for solo flute were published in Hamburg in 1732-33 and each is in a different key. Fantasia No.1 is originally in A major, transposed a tone lower in this arrangement, and is in two movements. It is a welcome addition to the transcription, Repertoire and is accessible and ideal for any occasion or audience.

3. David Heyes (b.1960) – A Glass Half Full

A Glass Half Full was composed as a fun 14th birthday present for James, a young student of the composer, who enjoys playing pizzicato pieces. There are two elements to the piece, a rhythmic two bar phrase and a series of strummed double stops, with repetition employed to create cohesion and unity. It is scale-based, primarily using first and fourth positions, and different pizzicato styles can be used to add variety and colour. The words to remember are ‘enjoy’ and ‘cool’.

4. David Heyes (b.1960) – Just Another Day

A year after composing A Glass Half Full, David Heyes wrote Just Another Day for 15 year-old James who had made good progress during the year. The use of repetition helps to make this a useful teaching piece, which is also scale based, and the use of open A string drones adds depth to the melodic phrases. The tempo is laid back and a simple drum accompaniment could easily be added to great effect.

5. Vojta Kuchynka (1871-1942) – Concert Study No.2

Kuchynka studied double bass and composition at Prague Conservatoire and was Principal Bass at the National Theatre in Prague from 1899-1933. He gave over 600 recitals during his career, was praised for his perfect technique and musical interpretations, and composed a wealth of music for double bass. Very little is known about his two Concert Studies for double bass, which could have been composed for a student, and Concert Study No.2 is full of rhythmic character and energy, useful as both a study piece or concert use.

6. Adolf Lotter (1871-1942) – Melody in B minor

Adolf Lotter studied double bass and composition at Prague Conservatoire and lived in London from 1894 until his death. He was a leading orchestral bassist of his day, becoming Principal Bass of the Queen’s Hall Orchestra in 1911, and worked with the most important composers and soloists of the day. He composed a wealth of orchestral music, primarily in a lighter style, and was an editor and music adviser for Hawkes & Son. Melody in B minor is taken from Lotter’s ‘Practical Tutor for the Double Bass’, originally in F# minor, and demonstrates the lyrical and cantabile qualities of the double bass in its orchestral register.

7. David Heyes (b.1960) – Berceuse

Berceuse is taken from ‘Scaling the Heights, a series of 24 melodic studies for the unaccompanied double bass in all major and minor keys. Commissioned by Susan Hagen (Berklee College of Music/ Principal Bass, Boston Pops Orchestra), each piece offers musical and technical challenges in equal measure and Berceuse is originally a 4th higher in G flat major. It was composed to demonstrate the lyrical and sonorous potential of the double bass, even in more challenging keys.

8. Domenico Dragonetti (1763-1846) – Waltz No.10

Domenico Dragonetti was born in Venice but lived in London from 1794 for over fifty years. He was the first double bassist to have an international reputation, was one of the leading musicians of his day, and it was said that no musical event was complete without his participation. The 12 Waltzes are probably the first examples of pieces for unaccompanied double bass and each offer musical and technical challenges. Waltz No.10 has a strong character and drive with a contrasting middle section which is rhythmically charged and energised.

9. Charles N. Weiss (1777-1845) – Bohemian Waltz No.2

Very little is known about Charles N. Weiss, other than his dates, and that he was probably a flautist. Three of his pieces for flute survive, one marked Op.96 so there must have been at least 95 others, and Bohemian Waltz No.2 is taken from Six Bohemian Waltzes for solo flute. The title page says they were arranged, rather than composed, by Weiss and were published in London by Mori & Lavenu in New Bond Street, and were also available in an edition for the pianoforte. Bohemian Waltz No.2 is full of old-fashioned charm and style with opportunities for the bassist to create long melodic lines and to explore a range of colours and timbres.

10. David Heyes (b.1960) – Self-Portrait I

“This short piece is based on four letters from my name – D-A-E-S (E flat) and the melodic line was influenced by the first few notes. Writing a ‘self-portrait’ is quite a challenge, deciding what to include, what to leave out, and how much to show to the world? I like my own company but I also enjoy relaxing and spending time with family and friends. I love performing as a soloist but also enjoy working with other musicians. I can be outgoing and funny, impulsive and madly enthusiastic, but also introspective and quiet. I am probably as complicated as the next musician and ‘Self-Portrait I’ hopefully reflects some of my personality – or as much as I want you to see. [David Heyes]

11. David Heyes (b.1960) – Portrait for a Friend

“When I asked my great friend Teppo Hauta-aho to be part of the Self-Portrait project in December 2020 he was interested but a little unsure and joked that it would be better if I wrote his piece for him. Although this was just a flippant remark I decided to take up the challenge and on Christmas Eve 2020 wrote ‘Portrait for a Friend’ which is influenced heavily by Teppo’s compositional style and music. Played pizzicato throughout, the piece includes many favourite Teppo chords, which was the starting point, alongside my own episodic and fragmented style, but it seemed to be quite a good likeness of my best friend. I am sure Teppo’s own self-portrait would be a totally different piece but he seemed to like what I had written and it does reflect our long friendship and was written with much love and respect.” [David Heyes]

12. J.S. Bach (1685-1750) – Menuets & Gigue (Suite No.1)

Bach’s six Cello Suites were most likely composed during the period 1717-1723 when he was Kapellmeister in Cöthen. Each suite has six movements, a Prelude followed by five dance movements. They were not so popular in the early 20th-century until Pablo Casals performed and recorded them but today are the pinnacle of cello and double bass playing. Bassists began to arrange them in the 1950s and standards have improved so much in recent years that many of them can now be performed at pitch. Suite No.1 is probably the most popular of the six and is available for bassists at pitch (G major) or in C major. The lower key allows younger bassists to tackle the suite and the two Menuets and Gigue are an ideal introduction to the music of J.S. Bach.

13. Domenico Dragonetti (1763-1846) – Waltz No.12

The manuscript of Dragonetti’s 12 Waltzes was discovered amongst his papers when he died and they were reputed to be particular favourites of the composer. There is no evidence that he never played them in public, although documentation suggests that he played them for his friends. Each waltz is in ternary form (ABA) and Waltz No.12 has a lyrical charm and elegance, exploiting the orchestral range of the instrument. There are few dynamic markings and bassists should feel free to add them to increase drama and contrast.

14. Giovanni Bottesini (1821-1889) – Andante Cantabile

Bottesini was the greatest double bass soloist of the 19th-century and was known as ‘the Paganini of the double bass’. He was also a composer and conductor and his virtuosic works for the double bass are still at the heart of the solo, Repertoire to the present day. Andante Cantabile is a study from part 1 of Bottesini’s ‘Method for Double Bass’, emphasising a singing approach in the lower register of the instrument, and combines technical and musical challenges in equal measure.

15. David Heyes (b.1960) – He la nani keia la (Today is a Beautiful Day)

This short piece, lasting around a minute, was composed in 2017 as an 85th birthday present for the American composer Armand Russell (b.1932). The title is Hawaiian reflecting, that for much of his teaching career, Armand was Professor of Music at the University of Hawaii, and, although nominally in the key of E minor, it has a lyrical and tonal ambiguity. The piece is expressive and colourful, demonstrating the sonorous and cantabile qualities of the solo double bass.

16. G.P. Telemann (1681-1767) – Presto (Fantasia No.7)

Telemann’s 12 Fantasias for solo flute were first published in Hamburg in 1732-33. Fantasia No.7 is originally in D major and has two movements. Presto is the second movement, transposed into C major in this transcription, and has a strong rhythmic character and momentum. It is stylish and elegant and will benefit from the addition of dynamic contrasts.

17. G.P. Telemann (1681-1767) – Allegro (Fantasia No.5)

Fantasia No.5 in C major is originally for solo flute and has three fast movements with slower episodes interspersed. Allegro is the final movement and has a lyrical dance-like lilt, reminiscent of a folk melody and transcribes well for the double bass.

18. J.S. Bach (1685-1750) – Gigue (Suite No.4)

Bach’s six Cello Suites were most likely composed during the period 1717-1723 when he was Kapellmeister in Cöthen. Suite No.4 is originally in E flat major, transposed into G major in this transcription, and is a wonderful technical workout in the orchestral register of the double bass. Bowings are subjective and can easily be changed if you prefer, and this offers many opportunities to play in higher positions on lower strings.

19. David Heyes (b.1960) – Nocturne No.2

Three Nocturnes were commissioned by P Kellach Waddle in Texas (USA) for a concert series in March/April 2019 with the commission stating that they should not be difficult and should last about aminute each. They were composed in November and December 2018 and revised and completed on 26/27 December. The overall mood is dark and evocative, exploring the lower register of the double bass primarily, with slow tempi and a generally expressive and legato feel throughout. Nocturne No.2 employs simple harmonics in lower positions with an open string drone played pizzicato.

[Play the harmonic on the note and string stated and allow the open string to ring as a drone]

20. Saverio Mercadente (1795-1870) – Caprice No.2

Director of the Naples Conservatoire and, unlike many other opera composers, also produced a wealth of instrumental music. He composed a number of works for flute and Caprice No.2 in A minor, originally for solo flute, is from ’20 Caprices (Etudes de Concert). It transcribes well for the double bass, almost like a song without words, and includes musical and technical challenges in equal measure. Mercadente is the dedicatee of Giovanni Bottesini’s String Quintet in C minor.

21. David Heyes (b.1960) – It is Finished (Seven Last Words from the Cross)

“The commission to write ‘Seven Last Words from the Cross’ came about during a conversation in March 2016. I was interested in the idea of creating a work for unaccompanied double bass on this theme and Nick Tall kindly commissioned the work for a performance at his church at Easter 2018. The double bass is a very colourful, evocative and descriptive instrument, able to portray many moods and emotions, which I wanted to utilise and I aimed to create a seven movement work which employed a range of performance techniques, alongside creating atmospheric mini soundscapes, with movements which could be performed individually or collectively. Each is influenced by its title and a generally low tessitura is used, although the higher solo register is also employed in some to demonstrate the many and varied facets of the solo double bass. It is Finished is the sixth piece of the suite and is dedicated to Canadian bassist, David Whitla, who has lived in Cork (Republic of Ireland) for many years. It is played pizzicato throughout and employs double stops, drone and chords, emphasising the sonorous and melodic qualities of the double bass.” [David Heyes]