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Judith Bailey Scherzino is C11 on Grade 6 Syllabus

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Judith Bailey Scherzino is C11 on Grade 6 Syllabus

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Buy the book on the ABRSM Shop

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Sheet Music - £9.50 - Bailey, Judith - Five Minatures for Double Bass

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Articulation should be strong in A section, modify this in B section to a more cantabile sound.

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The mood is bright and celebratory.

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The idiom is fanfare-like.

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Important for the player to relish the last note which is alone, without piano.

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Certainly take time for the low G in bars 12 & 37: it’s harmonically important and it’s appropriate to take a little breath (or comma) before the high D that follows.

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The scales in bars 11, 25 & 36 : always crescendo. It can be useful to drop the dynamic a little at the start of such a crescendo, to increase the drama.

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The rit in b.31 includes dim. This is then a morendo (unlike b.6) and will require lengthening and lightening the bow stroke as the player approaches the fermata.

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Make dynamics dramatic, exaggerate them.

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Always aim for the accented notes.

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In the E minor B section: now a softer sound, enjoy smoother bowing a bit closer to the fingerboard.

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Bar 12 - save bow: a slow bow with an appropriate contact-point nearer the bridge is required.

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Bar 10 - enjoy longer bows

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Requires an emphatic, concentrated tone: short bows with good contact.

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It’s declamatory, heraldic music: imagine how trumpeters would deliver it!

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There is a mixture of 3/4 and 4/4 , but also 6/8 implied in bars 6-7 and 31-32.

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Maintain a steady speed, not fast but with vigour.

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Be aware of scales where the double bass is in parallel 3rds with piano (b.11&25) and enjoy the consonance!

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For pitch clarity, consider avoiding shifting within semiquaver pairs. For example in bar 9 the E and F# are most neatly executed with 1st & 4th fingers, then shifting for the G harmonic. And in bars 15 and 23 the semiquavers are best played with 1st & 2nd fingers.

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Practise finger substitution: swapping one finger for another on same note (eg bars 15 and 23 play first B on 4th finger , but second on 1st finger).

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The student should play scales of G major and E minor before embarking.

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This fun piece is primarily in a declamatory style, like a brassy fanfare, requiring a bow-stroke that is robust and concentrated with very positive contact. The B section (beginning in bar 14) is more lyrical and affords an opportunity to use a softer contact and a little swifter bow speed. The metre shifts effortlessly between 3/4 and 4/4, and in the suggested moderate tempo a very strong crotchet pulse should be felt and asserted. It might be useful for the student to listen to trumpets playing a fanfare.