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Also herein are scales, arpeggios and bowing variations which I use to prepare students for Nouvelle Technique de la Contrebasse, by François Rabbath.

The student must realize that responsible scale practice requires constant division of the attention between the functions of the left arm- movement, space, and time- and those of the bow arm- weight, speed, and placement.

                                                                   –George Vance

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Book Five

Gavotte

Tre Giorni

Wild Rider

The Elephant

Berceuse

La Cinquantaine

Gavotte

Minuet L’Antique

Russian Sailor’s Dance

Gavotte

Book Six

Adagio and Presto-Solo Part

Adagio and Presto-Continuo Part

Recitative and Chorale

Romance and Rhondo

Concerto

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Book Three

Sakura-3rd Position Pivot:1-2 4

Long, Long Ago-1st position pivot 1-2 4

Wiegenlied-3rd position pivot across strings

Hatikvah-Introduction to Half position

Song of the Volga Boatmen-The first finger in Half Position

Song of the Volga Boatmen-3rd position pivot:4-21

Long, Long Ago-Bowing Study

Moto Perpetuo-3rd position pivot: 1 4-3

The Happy Bass Player-Review piece with pivot fingering

The Happy Farmer-Review piece with pivot fingering

Old French Song-3rd position pivot:1 4-1 3, Duet

Rigaudon-3rd position pivot:1 2-4, Duet

Jesu, Joy of Man’s Desiring-from Cantata No. 147, 3rd position pivot: 1 4-2 3

Chorus-from Judas Maccabarus, 3rd position pivot: 4 1-2 1, duet

Book Four

Musette-2nd position pivot:4-2 1

Impertinence-1st & 3rd position pivots: 1 2-4, Duet

Flow Gently, Sweet Afton-Extending the range of stopped notes in 4th position.

Allegro-2nd position pivot: 4 1-1

Minuet in D-More 2nd position pivot, duet

Minuet in G-More 2nd position pivot, duet

Wiegenlied-duet

Bourree-More 2nd position pivot

Scherzo

Waltz-Op. 39, No. 15

March of the Kings-Duet

Contredanse

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