ORCHESTRAL ETUDES: REPERTOIRE-SPECIFIC EXERCISES FOR DOUBLE BASS. Jack Andrew Unzicker, A.A.S., B.MUS., M.M. Dissertation Prepared for the Degree of

ORCHESTRAL ETUDES: REPERTOIRE-SPECIFIC EXERCISES FOR DOUBLE BASS Jack Andrew Unzicker, A.A.S., B.MUS., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2011 APPROVED: Jeff Bradetich, Major Professor Clay Couturiaux, Committee Memer Nikola Ruzevic, Committee Memer John Holt, Chair of the Division of Instrumental Studies Lynn Eustis, Director of Graduate Studies of the College of Music James Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School

Unzicker, Jack Andrew. Orchestral Etudes: Repertoire-Specific Exercises for Doule Bass. Doctor of Musical Arts (Performance), August 2011, 79 pp., 0 illustrations, 26 references, 4 titles. In this project, frequently required doule ass orchestral audition excerpts as well as their individual technical difficulties are identified. A survey of professional doule ass players and teachers currently and formerly employed y major orchestras, universities, and conservatories have participated to validate the importance of four of the most frequently required orchestral excerpts: Ludwig van Beethoven s Symphony No. 9, Mvt. 4, and Symphony No. 5, Mvt. ; Richard Strauss Ein Heldenleen; and Wolfgang Amadeus Mozart s Symphony No. 40, Mvt. 1. The survey respondents identified the primary and secondary technical concerns of each of the four excerpts. I have created technical studies, or etudes, that specifically address these difficulties and help fill a literary gap within the existing pedagogical resources for the doule ass.

Copyright 2011 y Jack Andrew Unzicker ii

TABLE OF CONTENTS Page Chapters 1. INTRODUCTION... 1 Purpose Thesis Method 2. SURVEY... 6 Survey Questions Survey Results. ETUDES, STUDIES, AND EXERCISES... 1 State of Research 4. CREATING REPERTOIRE-SPECIFIC TECHNICAL EXERCISES... 24 Beethoven Symphony No. 9, Fourth Movement Beethoven Symphony No. 5, Third Movement Strauss Ein Heldenleen Mozart Symphony No. 40, First Movement 5. CONCLUSION... 40 Appendices A. BEETHOVEN RECITATIVES ETUDE... 41 B. BEETHOVEN SYM. NO. 5 ETUDE... 47 C. EIN HELDENLEBEN ETUDE... 50 D. MOZART SYM. NO. 40 ETUDE... 66 BIBLIOGRAPHY... 77 iii

CHAPTER 1 INTRODUCTION Purpose A literary gap exists within the availale pedagogical resources for doule assists. Several important and frequently studied pieces of orchestral repertoire have yet to e incorporated into the collection of dedicated instructional resources, including exercises and etudes. A large and diverse collection of solo and ensemle repertoire, method ooks, technical studies, etudes, recordings, and videos are availale for doule ass students, teachers, and professionals, referenced in Murray Grodner s extensive Comprehensive Catalog of Music, Books, Recordings and Videos for the Doule Bass. 1 Existing within these resources are numerous collections of excerpts and complete doule ass parts of orchestral works, including many editions with suggested owings and fingerings, such as Fig. 1. Figure 1: Ludwig van Beethoven Symphony No. 5, Third Movement, Trio. Bowing and fingerings y Oscar Zimmerman. 2 The collections of complete doule ass parts, edited y Oscar Zimmerman, contain suggested owings and fingerings and are a helpful resource to egin prolem solving and confronting this repertoire (Fig. 1). However, they do not address the 1 Grodner, Murray, Comprehensive Catalog of Music, Books, Recordings and Videos for the Doule Bass, 4 th ed. (Littleton: Grodner Pulications, 2000). 2 Beethoven, Ludwig van, Symphony No. 5 Symphony No. 5, in The Complete Doule Bass Parts of the Beethoven Nine Symphonies and Leonore no. Overture, Edited y Oscar G. Zimmerman (Interlochen: Zimmerman Pulications, 1970), 55. Bach, J.S., et al., The Complete Doule Bass Parts, 10 Volumes, Edited y Oscar G. Zimmerman (Interlochen: Zimmerman Pulications, 1970). 1

technical difficulties that may result from the suggested fingerings, owings, string crossings, etc. Etudes and technical exercises are also availale, including some ased upon solo, and chamer music repertoire. However, there is a lack of orchestral etudes ased upon the excerpts most commonly required for orchestra auditions, which represent some of the most complex and challenging doule ass repertoire. A few exist, ut are not organized, the original works upon which they are ased are not identified, therefore the students that could enefit greatly from the etudes are largely unaware of their existence. Figures 1- are examples of the resources currently availale, and their limitations. Figures 1 and 2 are examples of standard orchestral repertoire, with fingerings and owings y Oscar Zimmerman. This Sturm study (Fig. ) contains two quotations of Beethoven Symphony No. 5, mm. 1-4 and mm. 1-18, ut does not contain any exercises to aid with these passages. The study is related to the orchestral work only thematically. The intent is to develop road technical facility on the ass, rather than repertoire-specific technique prolem solving. 2

Figure 2: Beethoven Symphony No. 5, Third Movement, Scherzo. Bowings and fingerings y Oscar Zimmerman.4 Figure : Sturm Study No. 78. Based on Beethoven Symphony No. 5, Third Movement, Scherzo.5 4 Beethoven, Ludwig van, Symphony No. 5, in The Complete Doule Bass Parts of the Beethoven Nine Symphonies and Leonore No. Overture, Edited y Oscar G. Zimmerman (Interlochen: Zimmerman Pulications, 1970), 54. 5 Sturm, Wilhelm, 110 Studies, Opus 20, Vol. 2, Edited y Frederick Zimmermann (New York: International Music Company, 196), 14.

Thesis In this project, frequently required doule ass orchestral audition excerpts, as well as their individual technical difficulties, are identified. Technical studies, or etudes are created that specifically address these difficulties and help fill a literary gap within the existing pedagogical resources for the doule ass. This project encourages continued scholarship and further creation of similarly designed technical studies ased upon other specific orchestral repertoire. Method The orchestral etudes of this project are ased upon the most commonly required repertoire for orchestral auditions, in order to e most useful. In the 1990 journal, International Society of Bassists, Vol. 16, No. 2, the International Society of Bassists (ISB) pulished a survey y David M. Sickle of the most frequently required solos and excerpts from the most recent auditions of fifty-three American orchestras. 6 In Sickle s survey, the four most requested works were Ludwig van Beethoven Symphony No. 9 and Symphony No. 5, Richard Strauss Ein Heldenleen, and Wolfgang Amadeus Mozart Symphony No. 40. These works were required thirty-six, thirty-two, twenty-six and twenty-one times, respectively. Due to the age of Sickle s survey, a new survey was conducted. Professional doule ass players and teachers currently and formerly employed y major orchestras, universities, and conservatories have participated in an on-line or electronic mail survey to validate the importance of the four previously mentioned works. They were also asked to identify any existing or commonly used etudes or technical studies ased upon 6 Sickle, David M., Orchestra Audition Report, International Society of Bassists, Vol. 16, No. 2 (International Society of Bassists, Winter 1990), 47-49. 4

these works, identify the primary and secondary technical concerns presented y each work, and identify other works to e the asis for possile future series of etudes. 5

CHAPTER 2 SURVEY This chapter discusses the intent of the survey, its questions, and the results of the survey. Specifically, the primary and secondary technical concerns of the orchestral excerpts are identified. These concerns represent the central focus of the technical studies and etudes introduced in Chapter. Survey Questions Introduction: The purpose of this survey and the resulting project is two-fold: 1) To document the existing importance of four orchestral excerpts, ranked highest y David M. Sickle s International Society of Bassists survey, from the orchestral literature that are frequently required for doule ass auditions, identifying their unique and most prolematic technical difficulties. 2) To design etudes to assist doule ass students to develop the technique used in this repertoire. It is understood that auditions require much more than technical aility alone, including musicality, phrasing, style, and elements that escape music notation, such as sound production, virato, and ruato. While these artistic attriutes are essential, they are eyond the scope of this project. The technical elements that are discussed and addressed within this project include intonation, rhythm, string crossings, shifting, ow strokes, and other fundamental techniques. Doule ass students, during their introduction to this specific repertoire and/or the technique that occurs within, are the intended eneficiaries of these etudes. 6

1) Please list your name, orchestral and teaching positions currently and previously held. 2) In how many doule ass orchestra auditions have you participated, as a performer and as a panel memer ) What percentages of the auditions in which you have participated, as either a performer or a panel memer, have included each of the following excerpts a. L.v. Beethoven Symphony No. 9, Recitatives in Mvt. IV. L.v. Beethoven Symphony No. 5, Trio in Mvt. III c. R. Strauss Ein Heldenleen, at Rehearsal No. 9 d. W.A. Mozart Symphony No. 40, Development Section in Mvt. I 4) Are there other excerpts that are more frequently required in auditions If so, please identify the composer, compositions, excerpt, and percentage of inclusion. 5) For each of the following excerpts, are you familiar with any etudes or technical studies that are ased directly upon this repertoire (For example: L.v. Beethoven Symphony No. 5, Scherzo in Mvt. III is the asis for Wilhelm Sturm s Study No. 78, in 110 Studies, Op. 20.) a. L.v. Beethoven Symphony No. 9, Recitatives in Mvt. IV. L.v. Beethoven Symphony No. 5, Trio in Mvt. III c. R. Strauss Ein Heldenleen, at Rehearsal No. 9 d. W.A. Mozart Symphony No. 40, Development Section in Mvt. I 6) Of the following excerpts, which technical difficulties would you first need to see addressed in a etude in order to e most helpful for doule ass students 7

a. L.v. Beethoven Symphony No. 9, Recitatives in Mvt. IV. L.v. Beethoven Symphony No. 5, Trio in Mvt. III c. R. Strauss Ein Heldenleen, at Rehearsal No. 9 d. W.A. Mozart Symphony No. 40, Development Section in Mvt. I 7) For the same excerpts, which technical difficulties would you need to see addressed second a. L.v. Beethoven Symphony No. 9, Recitatives in Mvt. IV. L.v. Beethoven Symphony No. 5, Trio in Mvt. III c. R. Strauss Ein Heldenleen, at Rehearsal No. 9 d. W.A. Mozart Symphony No. 40, Development Section in Mvt. I 8) Following the completion of etudes ased upon the four excerpts previously mentioned, which orchestral audition excerpts would you appreciate eing examined in future orchestral etudes Survey Results The survey questions and answers were completed either y electronic mail, or through an on-line survey service, SurveyMonkey. 7 The survey answers have een compiled to assess the relevance of the listed excerpts, identify existing technical studies related to each excerpt, and identify the primary and secondary technical concerns. Question 1: The surveyed professional doule assists and teachers currently and formerly perform and teach in major orchestras, universities, and conservatories, including the American Symphony, Columus Symphony Orchestra, Delaware Symphony, Fort Worth Symphony Orchestra, Los Angeles Philharmonic, Metropolitan 7 SurveyMonkey, 10 Fe. 2011, <https://www.surveymonkey.com/>. 8

Opera Orchestra, National Symphony Orchestra, New York Ballet Orchestra, New York Philharmonic, Oklahoma City Philharmonic, Orchestre Symphonique de Montréal, Pittsurgh Symphony Orchestra, San Francisco Symphony, Winnipeg Symphony Orchestra, Bowling Green State University, Brigham Young University, Carnegie Mellon University, Catholic University of America, Columia University, Duquesne University, Eastman School of Music, Indiana University, Manhattan School of Music, McGill University, Mills College, Peaody Conservatory, San Francisco Conservatory of Music, Stanford University, University of California Berkeley, University of California Santa Cruz, University of Manitoa, University of Maryland, University of North Texas, University of Oklahoma, and the University of Washington. Question 2: The survey respondents have collectively taken part in 02 auditions, either as candidates for positions or panel memers. Question : Of those 02 auditions, 91.7% have included Beethoven Symphony No. 9, 9.6% have included Beethoven Symphony No. 5, 87.7% have included Strauss Ein Heldenleen, and 70% have included Mozart Symphony No. 40. These figures parallel Sickle s findings, pulished twenty years ago; the same excerpts are still the most commonly requested. Question 4: The survey respondents also identified Mozart Symphony No. 5 as occurring in 60.8% of the auditions in which they have participated. Mozart Symphony No. 9 was required in 29.% of auditions, followed y Johannes Brahms Symphony No. 2 (22%), Brahms Symphony No. 1 (19%), Felix Mendelssohn Symphony No. 4 (1%), Mozart Symphony No. 41 (6%), Giuseppe Verdi Otello (6%), Franz Schuert Symphony No. 9, The Great (5%), and Richard Strauss Also Sprach Zarathustra (2%). 9

Question 5: Only one of the survey respondents was aware of the Sturm Study No. 78, ased on Beethoven Symphony No. 5, Third Movement. No additional etudes or technical studies were identified that were ased upon the four specific excerpts of this project. However, the respondents identified numerous etudes, technical studies, and methods that are eneficial to the development of techniques required in the four excerpts. Although the identified existing studies may aid with technical development, i.e. spiccato ow strokes, the studies vary dramatically from the excerpts. In these cases, the identified studies are written in different keys and meters than the specific excerpts. Question 6 & 7: The survey respondents were asked to identify the primary and secondary technical concerns for each etude. A simple tally of the responses identifies theses concerns as: Beethoven Symphony No. 9, Fourth Movement, Intonation and Legato Beethoven Symphony No. 5, Third Movement, Bow Strokes and Articulation Strauss Ein Heldenleen, Shifting and Bow Technique Mozart Symphony No. 40, Bow Strokes and String Crossings Further evaluation of results identified additional technical concerns. In Beethoven Symphony No. 9, right hand concerns were mentioned repeatedly, including, in order of rank, sound production, ow technique, smooth ow, and dynamics. Overall, right hand concerns surpassed left hand concerns slightly, totaling twenty-three and eighteen respectively. For Beethoven Symphony No. 5, ow strokes were identified as the primary technical concern, twice as often as the secondary technical concern, articulation. 10

Rhythm and string crossings were among the following concerns. Bow strokes, articulation, rhythm, and string crossings are all functions of the right hand. And, for this excerpt, right hand concerns surpassed left hand concerns greatly, totaling twenty-five and nine respectively. For Strauss Ein Heldenleen, left hand concerns surpassed right hand concerns slightly for this excerpt and only this excerpt, totaling twenty-four and twenty respectively. Shifting, intonation, and arpeggios were identified as the principal left hand concerns of this excerpt. Legato and sound production ranked slightly ehind the secondary technical concern of this excerpts, ow technique. For Mozart Symphony No. 40, ow strokes were identified as the primary technical concern, twice as often as the secondary technical concern, string crossings. The next two highest ranked concerns were coordination etween the two hands and sound production. For this excerpt, right hand technical concerns more than douled left hand concerns, totaling twenty-three and eleven respectively. For all four excerpts, right hand technical concerns surpassed left hand concerns y a ratio of approximately three to two, totaling ninety-one and sixty-two respectively. Question 8: Respondents identified thirteen excerpts from less commonly requested orchestral excerpts for possile future repertoire-specific etudes. The order of recommended excerpts does not parallel the frequency in which these excerpts are required for auditions, as outlined in Question 4 of the survey. Respondents identified Mendelssohn Symphony No. 4, Brahms Symphonies No. 1 and No. 2, Mozart Symphonies No. 5 and No. 40 (Fourth Movement), Beethoven Symphony No. 7, and 11

Gustav Mahler Symphony No. 2, in order from highest to lowest numer of recommendations. 12

CHAPTER ETUDES, STUDIES, AND EXERCISES State of Research The highly regarded work y Frederick Zimmermann, A Contemporary Concept of Bowing Technique for the Doule Bass, focuses on the duties of the ow arm and hand. 8 Zimmermann s concept of isolating the right arm, hand, and ow to facilitate focused practice and improvement is not unique to the doule ass, as practicing the part of each hand separately is a common practice method of pianists, for example. Zimmermann addresses complex string crossing and owing patterns y simplifying the left hand to play only the pitches E and A, in order to focus on owing precision. When applying this concept to specific passages, including excerpts, Zimmermann estalishes a fingering, then notates the string crossing and owing pattern, determined y that fingering. (Fig. 4) 8 Zimmermann, Frederick, A Contemporary Concept of Bowing Technique for the Doule Bass (New York: MCA Pulishing, 1966). 1

Figure 4: Beethoven Symphony No. passage with Frederick Zimmermann s exercise elow. Simplified left hand with two lowest open strings E and A, and A and E fingered on the D and G strings, respectively.9 Zimmermann s selection of pitches, E and A, simply designed not to detract from the focus of his exercises for the right hand, could certainly e improved. Exercises that focus on the right hand may e more effective y including the tonality, register, and the approximate string length of specific passages. Zimmermann s selection of the two open ottom strings, E and A represent the longest string length which is the most difficult to articulate and requires the shortest ow stroke. The octave higher A and E, played on the D and G strings, respectively, have shortened the string length y one third and two fifths, respectively, greatly reducing the resistance of the string, allowing for quicker articulation and demanding longer ow strokes. In the previous example (Fig. 4), Zimmermann has assigned only the pitches E and A to the left hand for an exercise ased upon a passage from Beethoven Symphony No.. The original 9 Beethoven, Ludwig van, Symphony No., in Zimmermann, Frederick, A Contemporary Concept of Bowing Technique for the Doule Bass (New York: MCA Pulishing, 1966) 41. 14

passage, with Zimmermann s fingering, remains in half-position until the end of the fifth measure. Zimmermann s exercise, written underneath the original passage, shortens the D and G strings lengths y thirty to forty percent. By altering the string length for the exercise, the resistance of the string and length of ow stroke differs from that of the original passage. This exercise would e more eneficial if the string lengths remained more closely related to that of the original passage, expanding the exercise to aid not only string crossing patterns, ut ow strokes as well. Furthermore, a left-hand fingering can e selected that requires no shifting, as not to detract from focus on the right hand, yet maintains the tonality of the original passage. This improvement would simultaneously aid the development and security of intonation in half position, without interfering with the primary focus of the exercise, right hand string crossings (Fig. 5). 15

Figure 5: Enhancements to Zimmermann s practice method. Reflecting upon his audition preparation after winning a Section Bass position with The Cleveland Orchestra, Scott Dixon remarks, Another helpful technique was to isolate each hand. Once I had solved the prolems of each hand separately, I was ale to put them together quite easily. 10 Similarly, after winning a Section Bass position with the Fort Worth Symphony, Brian Perry adds, y creating a daily regimen of technical exercises that focus on fundamentals, you will develop and solidify the necessary foundation for a successful audition. Things like Galamian scales, Zimmerman[n] owing etudes, Hal Roinson's Strokin' etudes, and some of Jeff Bradetich' s technical exercises are all great ways to uild this foundation. 11 Many professional assists attriute oth their audition successes and refinement of other difficult passages to Zimmermann s isolated right hand practicing concept. 10 Dixon, Scott, Hot Shots, edited y Jeffrey Turner, Bass World: The Magazine of the International Society of Bassists, Vol. 1, No. 1 (International Society of Bassists, 2007) 2. 11 Perry, Brian, Hot Shots, edited y Jeffrey Turner, Bass World: The Magazine of the International Society of Bassists, Vol. 28, No. (International Society of Bassists, 2005) 19. 16

Survey respondents recommended using Zimmermann s ook for Beethoven Symphony No. 9, Symphony, No. 5, and Mozart Symphony No. 40. Although Zimmermann focuses on string crossings with separate ows, his concept of right hand isolation is equally valuale when applied to string crossings with slurred owings, such as found in Strauss Ein Heldenleen. The survey responses indicated that right hand technical concerns surpassed left hand concerns y a factor of approximately three to two. The recommendation of Zimmermann s ook, y numerous survey respondents, further emphasizes the technical urden of the right hand in orchestral auditions. Other useful tools for improving passagework are the rhythm exercises derived from Ivan Galamian s pulication, Contemporary Violin Technique, of scale, doule stop, and arpeggio exercises, and owing and rhythm patterns. 12 A repetitive scale or arpeggio rhythm, all eighth notes for example, is altered into countless versions of cominations of slow and fast rhythms in an effort to gain control of mind over muscle. 1 Championing the validity of this method of practice, Galamian asserts, Any scale or passage that the player can perform with a great many different rhythms, accentuations and owings is one that has een completely assimilated y the mind and muscles. 14 (Fig. 6) 12 Galamian, Ivan and Neumann, Frederick, Contemporary Violin Technique, Vol. 1 (Parts 1 & 2), Scale and Arpeggio Exercises with Bowing and Rhythm Patterns, (New York: Galaxy Music Corp., 1966). 1 Iid. Part 1, Preface, ii. 14 Galamian, Ivan, Principles of Violin Playing & Teaching, rd Ed. (New Jersey: Prentice-Hall, 1985) 6. 17

Figure 6: Galamian rhythm patterns. 15 First, we encounter these motifs in less demanding forms and, later on, in various levels of difficulty. In the process, we shall discover a certain development has taken place. In the eyes (sight), then in the ears (hearing), and finally in the mind, the rhythmic motif can solve the almost endless challenges presented y this manner of practicing. 16 Essentially, cominations of slow and fast rhythms in two-note through sixteennote groupings provide moments for mental preparation during slower rhythms. Elizaeth Green descries the mental preparation enefits of rhythmic motive-ased practice, This type of practice focuses the attention ecause two notes must e prepared (read) ahead. This is the first step in what ecomes a lengthy period of mental development. 17 Simon Fischer has also integrated this practice method into his suggested training regime, Practicing in rhythms is a key practice method, and one of 15 Galamian, Ivan, Principles of Violin Playing & Teaching, rd Ed. (New Jersey: Prentice-Hall, 1985). Part 2, 24-25. 16 Green, Elizaeth, Practicing Successfully: A Masterclass in the Musical Art (Chicago: GIA, 2006) 20. 17 Iid. 2. 18

the fastest and easiest ways to improve many different types of medium-tempo to fast passage work. 18 The repetition of a passage with many different rhythmic cominations aids the construction of muscle memory, mental anticipation, and exposes technical issues in passagework. Again, Fischer explains, Rhythm practice works y setting the mind a series of timing and co-ordination prolems to solve. In solving them the mental picture of the passage ecomes clearer, and the physical response to each mental command ecomes quicker. Although Galamian s original implementation of these exercises was intended for scale and arpeggio studies, the exercises are very eneficial when applied to passagework, such as in Mozart Symphony No. 40, First Movement and Mozart Symphony No. 5, Fourth Movement. Jeff Bradetich identifies rhythmic motives as one of three major practice methods, along with multiple strokes and add-a-note, for improving fast passages. 19 Bradetich has demonstrated how different rhythms emphasize different technical issues, such as a string crossing or a shift. After winning a Section Bass position with the Nashville Symphony Orchestra, Ryan Kamm attriutes his success to this type of practice, It is also important to practice excerpts with different rhythms and accents to solidify the coordination. 20 18 Fischer, Simon, Practice (London: Peters, 2004) 6. 19 Bradetich, Jeff, Practice_Methods, We, 20 March 2011, <http://music.unt.edu/strings/mp/practice_methods.html>. 20 Kamm, Ryan, Hot Shots, edited y Jeffrey Turner, Bass World: The Magazine of the International Society of Bassists, Vol. 28, No. 2 (International Society of Bassists, 2004) 25. 19

Figure 7: Mozart Symphony No. 40, First Movement. Eighth-note passage eginning in the fifth measure of the excerpt elow.21 Figure 8: Applying four of Galamian s four-note rhythm patterns to an excerpt. Rhythms need not to change each measure. 21 Mozart, Wolfgang Amadeus, Symphony No. 40, in The Complete Doule Bass Parts: Selected Works of Mozart, Haydn and Weer, Edited y Oscar G. Zimmerman (Interlochen: Zimmerman Pulications, 1970), 46. 20

Wilhelm Sturm has composed several etudes ased upon orchestral repertoire, some implicitly, such as No. 2 (Fig. 9) eing closely related to Mendelssohn Symphony No. 4 and others overtly, such as No. 9 (Fig. 10) that even quotes the opening of Beethoven Symphony No. 5. Figure 9: Sturm Study No. 2, ased on Mendelssohn Symphony No. 4. 22 22 Sturm, Wilhelm, 110 Studies, Op. 20, Vol. 1, ed. Fred Zimmermann (New York: International Music Company, 196), 1-15. 21

Figure 10: Sturm Study No. 9, ased on Beethoven Symphony No. 5.2 Sturm s etudes are not identified as orchestral etudes and are thus likely to remain unknown to doule assists as they study the works upon which the etudes are ased. Furthermore, these etudes are at least as difficult as the excerpts upon which they were ased, yet do not offer sequential, focused, or varied practice methods to aid students. An excellent example of existing orchestral etudes is Karl Hinterichler s ook, 11 Orchestral Etudes for Bass Tromone.24 The purpose of Hinterichler s work is summarized in the Introduction and Practice Notes: These etudes are ased on some of the more challenging excerpts in the ass tromone orchestral repertoire. It is assumed that the player already has a asic familiarity with the original excerpts and the works they are drawn from. The etudes are for the most part more challenging than the excerpts. They offer different ways of approaching this music and adding variety to one s practice routine. It is hoped that y practicing and mastering these etudes, the excerpts themselves will ecome less daunting and easier to perform.25 2 Sturm, Wilhelm, 110 Studies, Op. 20, Vol. 1, ed. Fred Zimmermann (New York: International Music Company, 196), 0-1. 24 Hinterichler, Karl, 11 Orchestral Etudes for Bass Tromone (Vancouver: Cherry Classics Music, 2006). 25 Iid. Introduction and Practice Notes. 22

The ass tromone and doule ass often perform the same or similar parts in the orchestral repertoire from the nineteenth century through the present, causing even some of the excerpts chosen for orchestra auditions to overlap. Unfortunately, the technical prolems encountered in this common repertoire differ ecause the ass tromone and doule ass are physically such different instruments. Therefore, a simple transcription of Hinterichler s etudes for the doule ass would not e ideal. The concept and intent of Hinterichler s etudes parallels those of this project. Both the Hinterichler etudes and those of this project aim to aid the performer s technical security through exercises that mimic the excerpts upon which they are ased, rhythmically, melodically, stylistically, and dynamically. Where Hinterichler assumes that the player of his etudes has some experience with the original excerpts, the etudes in this project will e accessile for students approaching this repertoire for the first time and e eneficial to more experienced players. Furthermore, Hinterichler s etudes may e performed from eginning to end. That is not the design of the etudes in this project. Each etude is a comination of exercises that should e practiced and developed individually. 2

CHAPTER 4 CREATING REPERTOIRE-SPECIFIC TECHNICAL EXERCISES This chapter will discuss the creation of exercises for the technical concerns identified in the survey and apply and enhance the suggested practice methods of Zimmermann, Galamian, and Hinterichler for each specific excerpt. Etudes composed y the author (Appendix) are titled as follows: Beethoven Recitatives Etude. Based upon Beethoven Symphony No. 9, Fourth Movement Beethoven Sym. No. 5 Etude. Based upon Beethoven Symphony No. 5, Third Movement Ein Heldenleen Etude. Based upon Strauss Ein Heldenleen Mozart Sym. No. 40 Etude. Based upon Mozart Symphony No. 40 Beethoven Symphony No. 9, Fourth Movement Intonation and legato are the primary and secondary concerns of the survey respondents for Beethoven Symphony No. 9, Fourth Movement. The instrumental recitatives, featuring the cello and doule ass sections playing in octaves, are greatly exposed and prone to intonation prolems. The recitatives consist of six phrases separated y rief orchestral interludes, including quotations from the previous three movements. The tonality of each phrase varies and may modulate. The tonalities include D minor, G minor, B-flat major, A minor, G-flat major, C-sharp minor, and D major in less than one hundred measures. The vocal, singing style of these recitatives encourages legato slurs and dictated separate ows. Later in the fourth movement, a aritone soloist sings similar material to 24

the instrumental recitatives. The articulation of the cello and doule ass phrases should match those of the aritone soloist. Consistent legato slurred passages over string crossings are a major technical issue of the ow and right hand. In Beethoven Recitative Etude (Appendix A), consistent intonation is aided through first hearing the first three notes of the first phrase in harmonics. Then, the pitches are repeated stopped (fingered). A to E and A to D are oth perfect intervals which have little amiguity in perfect intonation. (Fig. 11) Fig. 11: Beethoven Recitative Etude, First Phrase Following the first fragment, the phrase is oriented around G1 and G2. Often, G2 is played first with the open G string, and then fingered on the D string. The add-a-note concept 26 has een applied to repeatedly sound oth the closed and open G2, and then gradually uild the remainder of the phrase fragment. Through add-a-note and repetition, the legato ow stroke across string crossings is also exposed. (Fig. 12) 26 Add-a-note is a practice method that egins y focusing on one note, two notes, or the transition from one note to the next. Then, another note from the original passage is added to the exercise, either efore or after the current notes eing practiced. This process is repeated to gradually reuild the original phrase. 25

Fig. 12: Beethoven Recitative Etude, First Phrase The second recitative phrase moves away from D minor toward G minor, then an F dominant seven passage resolves to B-flat major. In Beethoven Recitative Etude, the first measures are designed to isolate the movement from F-sharp to F-natural and to solidify the perfect fifth interval from C to F, as well as the minor thirds of the F dominant seven harmony, A C E-flat. (Fig. 1) Fig. 1: Beethoven Recitative Etude, Second Phrase Further into the second phrase, the fourth finger to fourth finger shifts etween C to E- flat, and E-flat to C have een isolated with a shifting drill that includes a perfect fifth interval, B-flat to E-flat, to secure intonation. The following B-flat and A finger 26

replacements and first finger to first finger shifts have also een isolated using a shifting drill. (Fig. 14) Fig. 14: Beethoven Recitative Etude, Second Phrase The remaining phrases of the recitatives receive similar treatment in the Beethoven Recitative Etude. Prolematic shifts and intonation concerns are exposed and exercised through shifting drills, repeating recurring pitches, and isolating perfect intervals. (Fig. 15-16) 27

Fig. 15: Beethoven Recitative Etude, Third Phrase. 28

Fig. 16: Beethoven Recitative Etude, Fifth Phrase. Beethoven Symphony No. 5, Third Movement Survey respondents identified ow strokes and articulation as technical concerns within Beethoven Symphony No. 5, Third Movement. The ow stroke alternates etween marcato eighth notes and staccato quarter notes. The eighth notes range etween G1 (written G2) and B-flat 2. (Fig. 17) 29

Fig. 17: Eighth note passages from Beethoven Symphony No. 5, Third Movement Playing low, fast, short, articulately, and loud, as required y this excerpt, is difficult and requires an advanced owing technique on the doule ass. The staccato quarter notes in this excerpt range etween C2 and F. Within the quarter note passages, the changing string length creates dramatic corresponding changes in the length of ow stroke. As the passage ascends, the ow stroke must lengthen consideraly to match the note length of the lower pitches. Exercises with a simplified left hand will allow one to maintain focus upon consistency of ow strokes, string crossings, and articulation. Both multiple strokes (Fig. 18) and Zimmermann (Fig. 19) concepts have een applied, in the Beethoven Trio Etude (Appendix B), to encourage maximum focus on the right hand. 0

Fig. 18: Beethoven Trio Etude. Exercise eighth note triplets are equal to the original quarter note. Likewise, the sixteenth note triplets are equal to the original eighth note. The exercise ow stroke and direction are the same as the original with three strokes per note. 1

Fig. 19: Beethoven Trio Etude. Zimmermann concept string crossing exercises. The Beethoven Trio Etude (Fig. 19) enhances Zimmermann s concept y retaining a simplified left-hand fingering yet also replicates the approximate string lengths, position, and tonality of the original passage. Strauss Ein Heldenleen Strauss Ein Heldenleen includes difficult arpeggio and shifting issues for the left hand. (Fig. 20) Each dash in the fingering elow, notated as 1-2, indicates a shift or pivot etween positions. 1-2 indicates a shift or pivot to second finger in another position. The first two measures elow contain four shifts and/or pivots to perform nine pitches. 2

Figure 20: Strauss Ein Heldenleen. The Ein Heldenleen Etude (Appendix C) of this project comines shifting exercises of shifting etween two pitches with Galamian s rhythmic patterns and the add-a-note concept of gradually adding the surrounding musical context to the exercise. The first two measures state the original passage with fingerings and string crossings that are to e maintained throughout the exercise. The exercises that follow are ased upon only the first two measures of the original passage. The maximum enefit of these exercises may e derived from repeating and improving each section, rather than performing from eginning to end. Each alteration of rhythm will expose and emphasize different technical issues. Although the original passage egins down ow, many of the exercises are indicated to egin up ow. In the original passage, the ascending shifts occur during an up ow. The exercises imitate this same relationship of ascending shifts and up ow. (Fig. 21)

Fig 21: Ein Heldenleen Etude The survey respondents also identified legato as one of the main technical concerns within Strauss Ein Heldenleen. The right hand is required to perform difficult slurred string crossings while compensating for drastic changes in string length. Applying Zimmermann s owing concept to this passage, using open strings, the odd rhythm of the string crossing is quickly apparent. (Fig. 22) 4

Fig. 22: Strauss Ein Heldenleen with Zimmermann concept, right hand isolation, and open strings. One of the limitations of Zimmermann s concept is the asence of string length consideration. The string length greatly influences the weight, placement, and speed of the ow. Changes in string length greatly affect the resulting distriution of the ow. Incorporating the left hand to replicate the string length will enhance these exercises y adding changes in ow weight, speed, and placement in addition to string crossings. Zimmermann s concept isolates the right hand y removing shifts and anything else that that requires focusing on the left hand. Understanding that poor intonation, shifting, and complex fingerings may detract from the right hand focus, the Ein Heldenleen Etude require shifting only to harmonics. Although the pitches vary from the original passage, the string crossings and very similar string lengths are maintained. (Fig. 2) 5

Fig. 2: Strauss Ein Heldenleen, Enhanced Zimmerman concept, isolating right hand, incorporates string length without creating distracting intonation prolems. The first note of the enhanced exercise may e played E-flat, if the doule assist has a C-extension with locking chromatic stops. Otherwise, the first note may e played E-natural. Mozart Symphony No. 40 The survey respondents identified ow strokes and string crossings as technical concerns found in Mozart Symphony No. 40, First Movement. Galamian s concept of applying various rhythmic patterns is useful for improving passagework. Often these rhythmic patterns dramatically alter the ow strokes of the original passage. Using multiple strokes in passagework, repeating each pitch two, three, or more times, allows increased attention to the right hand while essentially performing the left hand at halfspeed, or slower. In Mozart Sym. No. 40 Etude (Appendix D), Galamian-style rhythms 6

and multiple strokes are comined to receive the enefits of Galamian s concept while retaining the ow stroke from the original passage. (Fig. 24) Fig. 24: Mozart Sym. No. 40 Etude. Galamian rhythms comined with multiple strokes. Dotted quarter - eighth note rhythm, expanded with multiple strokes The string length and tuning of the doule ass generally requires more shifting and string crossings than the other memers of the string family. Arpeggio passages, as in this Mozart excerpt, require precise and agile technique to e performed quickly and articulately. Fig. 25 (elow) shows one such complicated measure, with Mozart s original passage on the top line, usually played in half position. The lower line illustrates the string-crossing pattern using open strings. 7

Fig. 25: Mozart Sym. No. 40 Etude. String-crossing pattern for open strings. Mozart Sym. No. 40 Etude comines Galamian, Zimmermann, and Add-a-note concepts in its progressive exercises. (Fig. 26) 8

Fig. 26: Mozart Sym. No. 40 Etude.

CHAPTER 5 CONCLUSION With these orchestral etudes and technical exercises, doule ass students and professionals have new tools at their disposal to learn and improve the technical requirements of the most commonly requested orchestral audition excerpts. By creatively applying appropriate and successful practice methods to this repertoire, students may progressively develop the necessary technique and advanced players may refine this repertoire with a fresh approach. These concepts may and should e applied to more of the doule ass repertoire, especially to our most popular and important works. 40

APPENDIX A BEETHOVEN RECITATIVES ETUDE 41

Beethoven Recitatives Etude Jack Unzicker Original Exercises 4 4 o. "o. # o o. Œ # o. ". # # # Œ Œ 7 # Œ J # Œ # # # Œ J " J " 0 Œ " # " J 4 1 # # " # J # " # " # # Œ Œ Œ. Œ Œ j 19. J Œ # # #. j #. j 2011 42

2 Beethoven Recitatives Etude 26. J Œ # J Œ 0 4 Œ. j. J Œ # J Œ Œ J Œ # J. Œ J J J. Œ " 4-4 -4 1 9. J J Œ Œ -4-1 4. Œ. J 1-2 -1-2 2 1 2-1 -1-1 45 # Œ Œ # -2 1-1 4 1 J Œ Œ " # # # # 51. Œ J # J Œ " # #.. J J # # Œ # 4

Beethoven Recitatives Etude 57. J # # Œ #. # J 6. j n n J J n.. j n. j n n J J 68 n Œ n n n. j n n J J n 4-1 7. n Œ. n Œ -4-1 4 n 0-4 -1 n. " 1-2 -4-2 -4-2 79. n Œ. 1-4 -1-4 n. n -2 1-4 Œ 44

4 Beethoven Recitatives Etude 86 ΠΠ# #. J ΠΠΠ9 # # # # # # #. # J # # # # ΠΠ#. J # # Π# ". # J 99 # # # # # # #. # J # # # # Π" # # # # # # # # # 104 # # # # # # # # # # # # # # ". J # # # # " # # 109 # ΠΠΠ#. J # # # # # # # # # # # ". # J " # # # 45

114 # # # #. Beethoven Recitatives Etude # J # # # # Π5 # # # #. # J #. # J #. # J # # # # 119. # #. # J # # # J # # # # Π# # Π46

APPENDIX B BEETHOVEN SYM. NO. 5 ETUDE 47

Beethoven Sym. No. 5 Etude Jack Unzicker Original 4 III - - - - - - - - IV III - - - - - - - - - II - - - - - - - - - - Π4 2 4 2 1 0 # n III - - - - - - - - - - - 2 1 0 2 1 0 IV III II III - - - Exercises 4 III - - - - - - - - IV III - - - - - - - - - II - - - - - - - - - - Π1 III - - - - - - - - - - - 2 1 0 1 IV III II III - - - 6 2 1 0 2 1 0 2 IV III II III - - - - IV 2 1 0 1 2 IV III II III - - - - IV ΠΠΠΠΠΠ4 1 1 4 0 1 2 1 2 4 1 0 1 0 1 2 1 2 4 ΠΠII - - - - - - - - - - - - - - - III - - - IV III - - - - - - - - - - - - - - 4 0 1 2 1 II - - - - - - - - - - - - - - - III - - - IV III - - - - - - - - - - - - - 12 1 0 1 0 1 2 4 III II - - - - - - - - - - - ΠΠΠ0 4 ΠΠΠIII II - - - - - - - - - - - 16 2011 48

2 Beethoven Sym. No. 5 Etude 20 # # 24 # # 28 # n # n 2 ΠΠΠΠ49

APPENDIX C EIN HELDENLEBEN ETUDE 50

Strauss Exercises 5 4 4 " o 1-2 2 1-4 - E - - - - - - A D - -G n " 4 1-2 1 -T E n 10 A - - -D - - - G " n -4 2 1 D - - - - - - - - ȯ D - - - - - - - - - n " n n w > -1 A nw n " -4 2 1 D - - - - - - - - 51 2011 " n " n no 0 2 2 1-4 -1 n " 4 1-2 1 T E A - - - D - - -G n no 0 2 2 1-4 -1 n Ein Heldenleen Etude A - - - E A D - - - - - n no 0 2 2 1 1 A - - - - - E A D - - - - - " n w 1 G w 1 G A - - - E A D - - - - - w 1 D w " n Jack Unzicker w 1 G w " o 1-2 2 1-4 - E - - - - - - A D - - G 4 1-2 1 -T E A - - - D - - - " o 0 1 1 4 - E - - - - - - A D - - G G no o o 4 1 -T T E - - - - A - D - - - G n w > -1 A nw > o T A

2 Ein Heldenleen Etude 15 19 4 1-2 1 T E A - - - D - - - G no o o 4 1 -T T E - - - - A - - D - - n n G w 1 D w o T D.. n n # # w w 25 28 w n n n n n n nw n 52

1 4 # n Ein Heldenleen Etude w n n. n n 8 42 n n w w. n n # n 46 w w 5

4 Ein Heldenleen Etude 49 52 55 n n n n n n nw 58.. n n w 54 # 6 # n n w w n n w n n

65. n Ein Heldenleen Etude w o -2 1 2 1-4 - E - - - - - - - - - - A D - - G 5. w. "... 70 w # # # -4 D................ 74 #... # ".... #.. " # " 78 # # # # sim. 55

6 Ein Heldenleen Etude 82 w 86 w sim. w 91 w " # sim. 95 56

100 Ein Heldenleen Etude w n n no 0 2 2 1-4 A E A D - - - - n.... -1 7 105 w 1 G. n.. n.. n.. n. n.. n.. 108. n. n.. n n.. n. n n.. n.. 111 n.. n n n n n n n n n 57

8 Ein Heldenleen Etude 115 n n n n n n n n n 118 n n n w n n n n 122 w n n n w n n n 126 w n n n n n n 129 n n n n n 58

Ein Heldenleen Etude 9 1 n n n n n n 17 n n n w 4 E 1 2 1 T A - - D - - G.... w n > 1 A.... 141............... n 145..... n. n n 59

10 Ein Heldenleen Etude 149 n n n n 15 nw nw 158 nw nw 162 n n 165 60

170 175 w 1 D.... n Ein Heldenleen Etude.... nw.... 4 E.. 1 2 1 T A - - D - - G.. 11.... 179......... 18 61

12 Ein Heldenleen Etude 187 w 191 w w 195 w 198 202 62

Ein Heldenleen Etude 1 207 211 n w 1-1 4 1 4 1-4.... Œ # o -1-2 4-1 2 -T.. - 2 1-4 2 1-4 1. -1 Ó 215 219.. #. 6

14 Ein Heldenleen Etude 22... # # 227 n 21 n n 25 Ó 64

Ein Heldenleen Etude 15 29 # n. Π65

APPENDIX D MOZART SYM. NO. 40 ETUDE 66

Mozart Sym. No. 40 Etude Original C Ó Œ n n n Œ # n n Exercises C Ó Œ n n n # n n 5 n n # n # n n # n n # n # n n # 9 n n # n # n Ó n 1 n # n # n # n n # 67

2 Mozart Sym. No. 40 Etude 17 n n # Ó n 21 n # n n # Œ n # n # n 25 n n # Ó n 29 n # n # n n # Œ n n # n n n # n 68

Mozart Sym. No. 40 Etude 7 n n # Ó 41 n n # n # n n # n n # n # 45 Ó n n n # Ó n 49 n # n # n n # Ó n # n # n 5 n n # # Ó n 69

4 Mozart Sym. No. 40 Etude 57 n n # n # n n # # Ó n # 61 n n # n # n Ó n n # 65 n # Ó n # n n # Ó 69 Ó Œ n Œ Ó Œ n 7 70

77 Mozart Sym. No. 40 Etude # n # n # 5 # n # n # 81 85 # n # n 89 # 9 # n # n 71

6 Mozart Sym. No. 40 Etude 97 # 101 # n 105 # n # 109 # n # n 11 # 72

117 Mozart Sym. No. 40 Etude # n 7 121 # n # 125 129 # n # 1 n # 7

8 Mozart Sym. No. 40 Etude 17 n # n Ó.... 141 Œ J Ó n # Ó Ó.... n.... # n........ 145.... 148 J n Œ Œ Œ n J n Œ J n Œ 152 n # Ó n. #... n. #... n # 74

Mozart Sym. No. 40 Etude 9 155 n # J Œ n # n # Œ Œ n # 158 n # 2 4 4 2 1 n 2 # 4 1 n # Œ n # Œ D - G D - - - - - G D n 2 4 4 2 1 2 4 1 D - G D - - - - - G D D - - G D - - - - - G D - - - 162 0 Œ J Ó 0 Œ J Ó D - G D A D G A D - G D A D G A........ 166 D - G D A D G A 169 j Œ 75

10 Mozart Sym. No. 40 Etude 17 j Œ 177 Œ J 182 j Œ Ó j Œ 76

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