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Sheet Music

SHEET MUSIC PDF’s for
DOUBLE BASS TRIO | VIOLIN/BASS DUO | MIXED LEVEL ENSEMBLES
Arrangements by Anna Doak
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DOUBLE BASS TRIOS

Annete’s Chatter
Brown Bass Blues
Eavesdropper
Drobnosti Miniatures
Poem
Take 5
Tavaszi Almon
Szep Rozmaring

VIOLIN/BASS DUOS

Annette’s Chatter
Csardas
Eavesdropper
Poem
Szep Rozmaring

MIXED LEVEL ENSEMBLES

I originally wrote these arrangements for my Suzuki bass group classes. They include a part for the most beginning level players using mostly open strings, middle parts for intermediate level players, and an optional treble clef part which can be played in thumb position by more advanced bass students or a violin playing friend.

Jingle Bell Blues ,The bass line made famous by Miles Davis combined with everyones favorite holiday song.
Old Joe Clark, Traditional fiddle tune
Rockin’ Robin, Michael Jackson made it famous, but on the bass it really rocks!
Rudolph, Traditional holiday favorite with a fiddle feel.
Spooky Bass Medley, Arranged for a Halloween recital,  medley includes Aadams Family theme &  Bach Toccata and Fugue in D minor

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MUSIC REVIEWS/DESCRIPTIONS

Annette’s Chatter, Traditional
Advanced level, available for Double Bass Trio or Violin/Bass Duo

A lively and rhythmic 6/8 jig full of character and charm.  Celtic drone effects set the mood and a rhythmic drone in 5th’s is passed from player to player as the music develops, adding a strong drive and momentum.  Much of the melody can be played in thumb position and is primarily in tenor clef.  A solo section for bass 3 pushes the tune forward, and it ends with a unison restatement of the theme, getting faster and faster.
Review from British International Bass Forum magazine, Autumn 2002 No. 33
Annette’s Chatter – see video
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Brown Bass Blues by Anna Doak
Advanced level, available for Double Bass Trio
This minor blues was written for bassist Ray Brown and includes a harmonized transcription of one of his solos.
A standard blues in B flat minor, the melody is presented in a modal two-beat feel with bass three laying down the groove and bass one and two harmonizing the melody.   Open space is left for solos with chord changes provided for all three parts.  A shout chorus follows the blowing with bass one and two playing intricate moving lines above bass three’s improvised walking line.  The piece ends with a final statement of the opening melody.
Review from International Society of Bassists magazine, volume 26 number 1
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Csárdás by Vitorio Monti
Perhaps Italian composer Vitorio Monti’s most famous composition, this arrangement offers the double bass and violin equal roles, opening with an extended cadenza for the double bass in the style of Eastern European Roma music.  The violin takes over at the Largo section with support from the tremolo bass part which emulates the role of a cimbalon in a traditional Roma band.  During the rest of the piece the melody is passed between the two instruments in a conversational manner, offering opportunities for whimsical dialogue, ending with the familiar break-neck rollicking conclusion.
Csardas – see video
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Eavesdropperr, traditional
In the safe key of G major, the melody sits well under the hand.   The introduction is an effective harmonic drone allowing the melody to be heard, eventually fading until a single melody continues.  The music builds little by little with each player having a chance to play the tune and continues growing in speed and dynamic.  Will get the audience’s toes a- tapping from beginning to end.
Review from British International Bass Forum magazine, Autumn 2002 No. 33
Eavesdropper – see video
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Drobnosti Miniatures Op. 75a by Antonín Dvorák
Three short works by Dvorak composed between the Four Romantic Pieces Op.75 and Symphony No. 3 in F Major Op. 76.
Cavatina is arranged as melody, accompaniment, and bass line for much of the piece and allows bass 1 to display the high lyrical register of the instrument.   Bass 2 has a repetitive accompaniment figure (in tenor clef throughout) needing a good flautando sound to avoid the ponderous quality of this register, and bass 3 has a slow and supportive bass line.
Capriccio is a lively 2/4 polka-like movement with plenty of interest for each bass.  A running semiquaver figure is passed from player to player will need some nifty fingers to keep it light and flowing.
Romanza follows the same format as Cavatina (melody, accompaniment, bass) with a beautiful legato melody for bass 1 against a slow and sustained bass line.  Bass 2 will have its work cut out for it with a piano-like triplet figure for 44 of the 46 bars, although much of it fits nicely under the hand.
These three short miniatures make a good addition to the bass trio repertoire and are well worth adding to your collection.
Review from British International Bass Forum magazine, Autumn 2002 No. 33
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Poem by Zdenek Fibich
Poem by Fibich is quite short and features a ponticello pizzicato introduction.  Here the texture of the 6/8 waltz is turned upside down, as the third part presents the melody in the low register while the upper parts provide the pizzicato accompaniment.  The character of Poem is light and tonal.
Review from International Society of Bassists magazine, volume 26 number 1
Fibich’s Poem is a beautiful violin melody which has probably been arranged for almost every instrument imaginable.  It transcribes well for bass trio and would make useful educational and well as recital music.  The middle section, usually in double stops, is divided between basses 1 and 2, and the dark key of D flat major will add to the passionate and soulful mood.
Review from British International Bass Forum magazine, Autumn 2002 No. 33
Poem – see video
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Take Five by Paul Desmond

The great Dave Brubeck hit, Take Five, complete with a harmonized version of Paul Desmond’s 1959 alto saxophone solo.   Clear indications are made where the 8th notes are to be played swing and where they are to be played straight.  All three parts offer a challenge, as the third bass part is not relegated to Senator Eugene Wright’s timeless bass line, but harmonizes Desmond’s solo with the first part.  Likewise, the second part harmonizes passages with both the first and the third.  This arrangement is a ball to play and will be a huge hit with audiences.
Review from International Society of Bassists magazine, volume 26 number 1
Paul Desmond’s ubiquitous Take Five is a great additional to the trio repertoire and transcribes well for the medium.  A healthy dose of tenor clef is included for basses 1 and 3, who also have much of the melodic material.  The music fairly swings along and will test not only technique and style, but also ensemble and swing.  A jazzy number definitely worth exploring.
Review from British International Bass Forum magazine, Autumn 2002 No. 3
Take Five – see video
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Tavaszi Álom (Dream of Spring) by Misi Lakatos
A gypsy feel throughout!  The melodic material is equally shared and this is the type of piece to fire the enthusiasm and excitement of even the most heard hearted audience.  Plenty of ledger line work here, but music to stir the spirit.
Review from British International Bass Forum magazine, Autumn 2002 No. 33
Tavaszi Álom is an ambitious piece to put together.  Although the work rarely ventures into the higher register, it features many abrupt tempo changes and numerous ritards and accelerandos.  This coupled with several passages of moving thirds between parts and then unisons at the beginning and end of the work require close attention to intonation.  After the fast opening run of moving triplets that hurtles towards a full stop, a waltz melody appears with a note in the accompaniment to play in a Viennese fashion, slightly anticipating the second beat.  The waltz is only stable for 4 measures however, as a two bar accelerando appears, leading into a sudden two bar ritard.   This pattern is repeated several times with different melodic material, sudden dynamic swells, and changes of meter from triple to duple and back again.  Running eighth note melodic lines appear first slurred as a solo passage, and then secco in unison between two parts.   The melody is tossed between the parts and presented at times in contrary motion as the piece builds momentum to the climactic Bartok pizzicatos at the end.
Review from International Society of Bassists magazine, volume 26 number 1
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Szép Roszmaring (Beautiful Rosemary) by Fritz Kreisler
Szép Roszmaring is a traditional waltz.  The first bass part has a repeated genteel 8 bar melody covering a two octave range in thumb position that is reminiscent of a stylized waltz from the 1930’s over a pizzicato um-pa pa accompaniment.  Ritards appear where expected at the end of 16 bar phrases and a counter melody is introduced in a slightly lower register in the second part.  The piece develops as the melody is passed between the parts.  Poco ritards lead into con motto sections with brief modulations and the piece ends as it began with the melody in the first part accompanied by pizzicato.   Szép Roszmaring has a sweet melodic character that is a step back in time.
Review from International Society of Bassists magazine, volume 26 number 1
Possibly better known as Schon Rosmarin and originally for violin and piano, this is cleverly arranged for bass trio.  The melodic material is equally shared and has much to keep all 3 players busy.  The melody is very violinistic but does work on the bass, using a wide range and needing some nifty fingers.  Style is everything here and this has much to commend it.
Review from British International Bass Forum magazine, Autumn 2002 No. 33
Szep Rosmaring – see video
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