String Masters, Book 2: Bass Cover Image

String Masters, Book 2: Bass: String Duo & Ensemble, Collections, DB

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String Masters, Book 2: Bass Cover Image

String Masters, Book 2: Bass: String Duo & Ensemble, Collections, DB

By Edmund M. Goehring

Grade: 2

Item: 36-10370132

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Description
The String Master collections are easy to intermediate, harmonized collections of classical themes and popular tunes for young string orchestras. They are presented in such a way as to be playable with any combination of strings (as the piano accompaniment can be used to fill in any missing parts, or to strengthen weak sections), with a variety of difficulty levels available in the violin parts, thus enhancing the value of this collection. The compositions in this volume have been selected for their programmatic and educational as well as developmental values. The material has also been compiled with the viewpoint of keeping it interesting from the melodic, rhythmic and harmonic outlook, and to instill well-balanced musicianship. Suitable for trios, quartets, and string orchestras. Included in Book 2: 1. Theme from "Symphonic Poem (Liszt); 2. German Dance (Schubert); 3. Shepherd's Dance (Schubert); 4. Theme from "Ruy Blas" Overture (Mendelssohn); 5. Gavotte (Rameau); 6. Two Irish Melodies (traditional, Balfe); 7. Gavotte (Boyce); 8. Minuetto (Handel); 9. Country Dance (Gretry); 10. Minuet from "The Sorcerer" (Sullivan); 11. Suite in Three Movements (Rebikov); 12. Italian Caprice (excerpt; Tchaikovsky); 13. Old English Air (anonymous); 14. Hymn Tune (Gottschalk); 15. Slavic Dances (Dobles); 16. Masters Suite (Mozart, Brahms, Gluck).

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Additional Details
Series: LudwigMasters String Series
Publisher: Keiser Productions, Inc.
ISBN10: 1-63361-262-7
ISBN13: 978-1-63361-262-4
UPC: 659859417110
SKU: 36-10370132
Instrumentation: Flexible String Ensemble: Double Bass

More about this title

Why we love this

Goehring understood what string teachers need: repertoire that works with incomplete instrumentation and mixed ability levels without sounding like a compromise. The fact that bass players get genuinely musical lines throughout rather than serving as rhythmic filler makes this collection genuinely worth rehearsing, and the flexibility to use piano as reinforcement means you're not stuck waiting for violins who haven't shown up.

What to expect

A tour through classical and folk-inspired themes that balance harmonic grounding with moments of actual melodic interest. The pieces range from spare dances to fuller arrangements, creating enough variety to keep players engaged while staying in a comfortable difficulty range.

Who it's for

Double bass players at the early-intermediate stage who are ready to move beyond unison lines and contribute harmonic texture to a small ensemble. This works for trios and quartets building toward larger orchestra sounds, or for young orchestras with developing bass sections that need material playable at mixed proficiency levels.

How to get the most out of it

  • Balance your part against the melodic voices. Bass often carries harmonic foundation here, so listen for when the line should project forward and when it should sit underneath.
  • If you're playing with piano accompaniment, coordinate entries carefully. The piano can mask intonation problems, so tune precisely with your stand partner before relying on that support.
  • Work through the rhythmic variety across these pieces. The Dances and Minuets have distinct character that changes how you articulate and phrase, so practice each style rather than applying the same weight to every piece.

How to use it

Build a concert around these collected classical excerpts when you need accessible, recognizable material that demonstrates solid musicianship without demanding advanced technique. They fit naturally into a pops concert or family audience program, and individual pieces work as rehearsal fillers between more demanding repertoire.

Skills your students will build

  • Reading bass clef with changing harmonic contexts
  • Supporting melodic lines with sensitive dynamic control
  • Coordinating part entries across flexible instrumentation
  • Responding to harmonic rhythm and voice leading
  • Intonation awareness across multiple articulation styles

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