Concerto in D Major (First Movement): Double Bass

McCashin's arrangement opens this Telemann concerto to the full string section while preserving the charm and clarity of the original. The slow introduction delivers real substance for intonation and tone work—not a throwaway warm-up—while the Allegro's imitative passages create genuine musical conversation that keeps every stand engaged and listening.

The slow introduction carries the grace and poise of the Baroque salon, with intimate exchanges between violin voices that feel like a private conversation. The Allegro bursts with energy and good humor, as different sections toss musical ideas back and forth in a kind of friendly debate that builds momentum and excitement.

String orchestras at the high elementary through early middle school level will find this arrangement accessible and musically rewarding. Directors seeking Baroque repertoire that teaches real conducting and musical concepts—not just notes—will appreciate how much pedagogical ground it covers without excessive technical difficulty.

• In the slow introduction, encourage long, sustained bow strokes that prioritize consistent tone production over vibrato. Students should hear the difference between a graceful, well-supported line and a thin or wavering one.
• Mark the entrance points for canonic imitation clearly during rehearsals. Have the first section play alone, then add the answering section to reinforce how the conversation unfolds before bringing everyone together.
• Balance the upper and lower string sections throughout the Allegro so that neither overwhelms the dialogue. Adjust seating or stand assignments if needed to ensure both parts project equally.
• Use the slow movement to address intonation habits that may have developed during fast playing. The exposed lines demand accuracy and will reveal problems that busier sections might mask.

This works beautifully as a complete concert piece or as the opening movement of a Baroque-themed program. It also serves as an excellent teaching recital selection for a middle school orchestra, since it demonstrates both technical control and ensemble maturity without overreaching.

• Sustained bow control and tone production in slow, exposed passages
• Intonation refinement through long, lyrical lines
• Recognition and execution of canonic imitation across instrumental sections
• Listening and balance skills in conversational musical exchanges
• Baroque style and articulation appropriate to the period