The Viol Habit: A Feature for Double Bass: String Orchestra Conductor Score

Jennifer Davenport's arrangement transforms a beloved bass solo into a genuine feature that lets your entire bass section shine while keeping the orchestral writing lean and manageable. The alternating themes (a bouncy D major opener and a singing G major waltz) give the basses room to breathe without asking your full string section to carry complex material. It's the rare Grade 2½ piece where the rhythm section earns its moment on stage.

Buoyant and tuneful. The first section bounces along with genuine personality in D major, then softens into a sweet waltz that feels almost like a respite. When the opening theme returns, you get a sense of completion and lightness rather than heaviness.

String orchestra directors working with Grade 2-2½ ensembles who want to give their bass section meaningful solo material without abandoning the rest of the orchestra. This works equally well for groups seeking a confident closer or for building ensemble literacy around supporting a featured section.

• Establish a steady pulse in rehearsal before layering the basses in. The light accompaniment depends on rock-solid counting from your viola and cello sections, so lock that down first.
• Shape the D major theme with a clear lift at phrase endings. The 2/4 meter and bouncy character invite a light, rhythmic touch rather than a sustained approach.
• Let the bass line lead into the G major waltz. Your basses will need time to find the lyrical quality of this section, so give them space to sing before blending the strings underneath.

This pairs naturally on a concert with other light feature pieces that showcase section work. Program it mid-set to showcase your bass section's rhythmic clarity and intonation before returning to full ensemble textures. It also works well as an educational tool within a rehearsal sequence focused on accompaniment balance and counting skills.

• Reading and maintaining steady pulse in 2/4 and 3/4 meters simultaneously
• Accompanying techniques with minimal written material (rests and counting discipline)
• Ensemble balance when featured players sit within the section
• Phrasing and lyrical playing in contrasting sections
• Intonation awareness in multiple keys (D major and G major)