Welcome to the ABP Articles page, an online bibliography designed to collect articles on all subjects that cover double bass and other bass instruments. The number of indexed articles has proven rather large, thus the Main Index had to be organized in the system of area Sections and specialty Headings. For example, “History” is the first main section on the upper left side of the index, and within it you may locate the subject heading of “Bass History – Baroque Period.” This system was developed because a simple alphabetical index listing of all 103 headings has proven rather tedious to overview and use.

Furthermore, all articles within a single heading are organized alphabetically by the author and title hierarchy, except in few instances where the articles are organized chronologically. Otherwise, all other information on inclusion and cataloging criteria is presented at the Citation Criteria  and Citation Style sections, while the current list of indexed sources is located at the Page Development. This section presents also the list of all indexed journals at the Page Development – Journals heading.

In respect to custom searches of this database, the page design at this time does not allow comprehensive name, title and subject searches in the style of online library catalogs. However it is hoped that in the future exactly that type of multifaceted search may be offered here as well. For now, and should you wish to search for a particular name or a term, please use the old fashioned Find function (Ctrl-F) within your internet browser, and chances are that you will find your item quickly.

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• Citation Criteria

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• Citation Style

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• Page Development

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• Indexed Journals

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• Page Development Assistance

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History

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Bass History – General

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• Barket, James. “Music in the Vienna Double Bass Archive.” column edited by Jerry Fuller. Bass World, The Journal of International Society of Bassists. Vol. 24, No. 1, Fall 1999, p. 52-53.

Cited also in Bass Organizations

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• Bella, Tony. “Forgotten Perhaps, But Not Forsaken.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 14) Vol. 2, No. 4, August 1970, pp. 18-20.

Note: This article will not break any new grounds in bass scholarship, yet it is interesting from a perspective of what was known on bass history at 1970.

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• Borem, Fausto. “A Brief History of Double Bass Transcriptions.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, pp. 8-16.

• Brun, Paul. “Variations In Playing Standards, (Part 1), From the English Translation of Historie des Contrabasses.” International Society of Bassists Magazine. Vol. 16, No. 1, Fall 1989, pp. 45-48, continued on pp. 73-75.

• Brun, Paul. “Variations In Playing Standards, Part 2, From the English Translation of Historie des Contrabasses.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, pp. 65-71.

• Brun, Paul. “Variations In Playing Standards, From the English Translation of Historie des Contrabasses A Cordes, Conclusion.” (Part 3) International Society of Bassists Magazine. Vol. 16, No. 3, Spring 1990, pp. 67-71.

• Cerveny, Jan. “The Prague Conservatory, One Hundred and Fifty Years of History of Contrabass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 4) Vol. 6, (1968) pp. 4-8.

Note: An excellent article on the Prague Conservatory history, bass professors and famous students. The article presents a listing of all professors that had taught at the conservatory and also offers a small biographical section for each teacher. Likewise, every bass student entry will also present their birth date and a summary of their professional accomplishments.

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• Fink, Bernhard. “The History of Double Bass and its Separation from the ’Cello in the Orchestral Instrumentation.” Translated by Fritz Manczyk. International Society of Bassists Magazine. Vol. 2, No. 4, Spring 1976, pp. 201-206.

Note: This article has also elicited two responses from the readers in “Letters to the Editor.” International Society of Bassists Magazine. Vol. 3, No. 1, Fall 1976, p. 241.

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• Gándara, Xosé Crisanto. “De Arcu Contrabassi.” Revista de Musicología, Vol. 25, No. 1, 2002, pp. 157-173. JSTOR

• Godt, Irving. “The Double Bass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 6) (Vol. 6, No. 3) 1968, pp. 22-25.

Note: This article was reprinted from HiFi/ Stereo Review of 1966 and it represents a common knowledge on the instrument and its use in 1966.

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• Guy, Barry. “Double Bass”. The Musical Times. Vol. 120, No. 1634, April 1979, pp. 321-321.

Note: The content of this article unknown. The article may cover the general history and role of the double bass.

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• Halpfeny, Eric. “The Double Bass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 9) Vol. 9, No. 6, 1968-69, pp. 8-14.

Note: This is one of the first articles on general history of the double bass. As may be expected, some data presented may not stand in the light of the latest perceptions of historical bass development, yet this article is noteworthy as it predates the first edition of Planyavsky’s Geschichte Des Kontrabasses from 1970. Thus it certainly offers the original thoughts on the subject as available to Mr. Halpfeny at the time in 1968.

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• Hartmann, Erich. “Die Entwicklung des Kontrabasses und die Schule des Kontrabasses in Prag, Wien und  Leipzig : The Development of the Double Bass and The Schools of Double Bass in Prague, Vienna, and Leipzig.” Translated by Ruth Cantieny. International Society of Bassists Magazine. Vol. 9, No. 3, Spring 1983, pp. 9-13.

Note: This is a very valuable article in respect to the genealogies of Central European bass teachers and the development of the modern bass pedagogy in general. The article is printed with the original German text in the left column and the translated English text in the right column.

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• Hinderdael, Caesar. “De Contrabas.” Muziekwarande : tijdschrift voor muziekminnende Vlamingen. Brussels, Vol. 1, Nr. 5, 1922, pp. 112-113. KCA – Record Link

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• McClure, Theron. “Two Master Theses Completed.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 2) June 1967, p. 13.

Note: The subject of two recent master these may not sound as much of material for a Bass History – General heading, yet this article points to an interesting thesis:

Buttler, David.  An Investigation of the Musical Identity of the Double Bass. M.A. Thesis, Ohio State University, 1966. Download Page

The importance of this thesis lays in fact that it presents an overview of general double bass history as perceived in 1966 and also offers a survey of several contemporary American bass players, who have in turn offered their thoughts on pedagogy and repertoire. This thesis is also important as it predates Planyavsky’s First edition of Geschichte Des Kontrabasses (1970) by some four years, so it certainly could not offer any of the  Planyavsky research at the time. In that respect this scholarly work may even be considered  a small bass history printed in America. Possibly the first of its kind, if we exclude the encyclopedia articles.

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• Möchel, Kurt. “Der Kontrabaß im Orchester (Die Forderung nach größerer Tiefe).” Part 1. Der Kontrabass. Nr. 1, Leipzig, Marz 1929, pp. 7-9. IA – Download Link

Title in English: The Double Bass in the Orchestra (The Advancement in the Lower Register)

Note: This article covers the development of the instrument as perceived in 1929 and presents the period three and four string tunings. The article also features the ideas on how did these tunings evolve, and covers the orchestra technique and practice.

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• Möchel, Kurt. “Der Kontrabaß im Orchester (Die Forderung nach größerer Tiefe).” Part 2. Der Kontrabass. Nr. 2, Leipzig, Ende Juni, 1929, pp. 17-20. IA – Download Link

Title in English: The Double Bass in the Orchestra (The Advancement in the Lower Register)

Note: In the second part of this article the author covers the instrument construction, technical matters of performance and presents his ideas for orchestra tunings.

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• Möchel, Kurt. “Der Kontrabaß im Orchester (Die Forderung nach größerer Tiefe).” Part 3. Der Kontrabass.Nr. 3, Leipzig, November 1929, pp. 26-27. IA – Download Link  

Title in English:The Double Bass in the Orchestra (The Advancement in the Lower Register)

Note: The third part of the Möchel’s article offers five alternative tunings to the common orchestra tuning that are intended for the performance of solo bass music. In essence, he takes the Orchestra Tuning and start lifting it for a step up for every additional tuning, and in this way creates four cited tunings. Therefore the bottom strings start respectively on F#, G, A, B Natural. Yet for the last “fifth” tuning he starts on the low D and offers a combination of 5^th, 6^th and 3^rd, to approximate the D major convenience. The idea is to offer an option for solo bass to be notated “at pitch” and not as a transposing instrument.

However, it appears that there may be another idea beyond all these tunings, and that is, to enable some scordatura options for the performance of Mozart’s famous Per Questa Bella Mano. The title of the article’s last section reads “Mozarts Arie mit obligatem Kontrabaß,” and there Möchel describes the efforts of bassist Lebrecht Goedeke in arranging this piece for a “fifth up” performance. Yet, as this piece was originally written for the Viennese tuning, one may wonder if Prof. Möchel was even aware of the Viennese Tuning and its original notation system? The alternative tunings and solo part notation options for this piece are presented on the two page insert between printed p. 26 and 27, and may point that the transcription effort was attempted due to the unfamiliarity with the original Viennese Tuning notation.

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• Montag, Lajos. [Colloquium Closing Talk ] Bericht über das Sperger-Kolloquium anläslich seines 175. Todestages am 13 Mai 1987. Studien zür Afführungpraxis und Interpretation der Musik des 18. Jahrhunderts, Heft 36, Michaelstein/Blankenburg : Institut für Aufführungspraxis, 1988, p. 43. WorldCat – Book Record

Note: The official title for this closing talk was not cited, as the presentation was simply listed in the publication index under “Kurzbeiträge” (short contributions) p. 3. This talk has also served as a basis for an article printed in the conference proceedings. It is fascinating to note that Prof. Montag cites in this article a little know quote from Goethe that says:

Wenn das Gewölbe wiedershallt, Fühlt man erst recht des Basses Grundgewalt

[ When the space truly echoes, then the true power of the bass is felt ]

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• Planyavsky, Alfred. “Kontabas w Aspectie Historycznym. Rozvój Wspólczesnej Pedagogiki Kontrabasowje.” Musikuniversität Wroclow (Breslau), Nr. 12, 1977, pp. 32-52.

Note: These are Polish translations of Planyavsky’s two lectures “Der historische Kontrabass” (Historical Double Bass) and “Zur Didaktik des Kontrabasses” (Didactic of the Double Bass Instruction) presented on April 7, 1974 at the Complete Polish Double Bass Symposium, 1974 at the Academy of Music in Breslau (Wroclav). For lecture details please see lectures entries in ABP Lectures : Bass History – Genral and ABP Lectures : Pedagogy listings.

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• Planyavsky, Alfred. “Wozu ein Kontrabass-Archiv?” Mitteilungen der Österreichischen Gesellschaft
  für Musikwissenschaft. Nr. 11, März 1980, pp. 12-15.

Title in English: Why a double bass archive?

Cited also in Bass Organizations

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• Planyavsky, Alfred. “Zehn Jahre Wiener Kontrabaßarchiv” Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 7-16. Universität Wien – Article Record – WorldCat – Book Record

Cited also in Bass Organizations

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• Rakov, Lev. “Contrabass, Realities of Profession, Paradoxes of Practice.” (Part 1) International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, pp. 30-32.

Note: This article presents the historical information on the contrabass in respect to the present day use and perception, so technically the article belongs both in the Pedagogy and here in Bass History – General, listings.

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• Rakov, Lev. “Kontrabassforschung Heute, Zum 200. Todestag von Johann Matthias Sperger.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 31-33.

Note: This article presents a historical overview of bass research and cites all important works and authors.

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• Rakov, Lev. “Double Bass Research Today.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 34-35.

• Stoddard, Hope. “The Double Bass in Our Orchestras.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 5) (Vol. 6, No. 2) 1968, pp. 8-14.

Note: This article was created with the help of Philip Sclar (National Broadcasting Symphony) and Roger Scott (Philadlephia Orchestra) and was published originally in the International Musician in May of 1950. The text offers a general overview of bass function and its history, including jazz bass history as was known and accessible in 1950. Yet, it is still of interest as it offers some details on Sclar and Scott that may not be widely known today.

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• Warnecke, Friedrich. “Die Geschichte des Kontrabasses.” Der Kontrabass. Nr. 1, Leipzig, Marz 1929, pp. 5-7. IA – Download Link

Title in English: The History of Double Basses.

Note: This is the very first article on the history of double bass, written in world’s first double bass journal, and written by the author who actually wrote the very first dedicated double bass history book. It may be of interest to note that Warnceke perceives the history do Double Bass (in our modern sense) as only about 250 years old at the time of article printing in 1929. Yet, he also mentions few of the historical instances where the 16 foot register stringed basses are cited even prior to this time frame. This article also announces the new (second) edition of Warnecke’s history “Ad Infinitum” that had its first printing in 1909. Yet, apparently this second edition was never printed, or completed. However, if the second edition is preserved in manuscript at some place, it certainly would be of interest to find out what was presented there.

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• Wekerlin, J.B. “La Contrebasse.” La Chronique Musicale. Vol. 9, 1875, pp. 18-26. IA – Online View & Download

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Bass History – Romantic Period

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• Ferretti, Peter. ““All of This Over Three Cows’ Guts” An Exploration of the 19th-Century Orchestral Three-String Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 1, October – January 2023, pp. 57-61.

• Pinca, Massimo. “August Müller’s Contributions to the Neue Zeitschrift Für Musik (1848-1849): Evidence of Approaches to Orchestral Double Bass Playing in the Mid-19th Century.” Ad Parnassum. Vol. 12, No. 23, April 2013, pp. 15-59 Ad Parnasum Journal Link

• Nachtergaele, Shanti. “Examination of Mid-Nineteenth Century Double Bass Playing, Based on A. Müller and F.C. Franke’s Debate in the Neue Zeitschrift für Musik, 1848 – 1851.” Online Journal of Bass Research (OJBR). Vol. 6, August 2015. OJBR – Online View

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Bass History – Classical Period

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• Baines, Francis. “The Five String Fretted Double-Bass.” The Galpin Society Journal. Vol. 41, 1988, pp. 107-109. JSTOR

• Buckley, Stephen G. “Beethoven, the Viennese Violone, and the Problem of Lower Compass.” Online Journal of Bass Research (OJBR). Vol. 7, December 2015. OJBR – Online View

• Cyr, Mary. “Basses and Basse Continue in the Orchestra of the Paris Opera 1700-1764.” Early Music, April 1982, pp. 155-170. Early Music – Article Page

Note: This article presents the continuo practices and bass instruments use in Paris Opera during the late Baroque and early Classical periods. The article also features several examples of the double bass use in the opera ensemble.

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• Focht, Josef. “Historische Facetten der Wiener Kontrabasses” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 129-138. WorldCat – Book Record

Title in English: Historical Aspects of the Viennese Double Bass.

Cited also in Organology – Instruments

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• Focht, Josef. “Solo Music for the Viennese Double Bass and Mozart’s Compositions with Obbligato Passages for Double Bass.” International Society of Bassists Magazine. Vol. 18, No. 2, Fall 1992, pp. 45-52.

• Focht, Josef and Johannes Köppl. “Sperger, Vanhal, Dittersdorf, Rezeption, Spieltechnik, Bearbeitung.” ; “Sperger, Vanhal, Dittersdorf, Reception, Playing Technique, Arrangement(s).” Magazin der Sperger Gesellschaft. Nr. 4, August 2021, pp. 14-19, 21-23. IA – Download Page

Note: Article written in German and English in two parallel columns.

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• Gajdos, Miloslav. “Zum Vorkommen von Kontrabaß- Kompositionen aus der Zweiten Häfte des 18 Jahrhunderts in Schlosarchiv zu Kremsier” Bericht über das Sperger-Kolloquium anläslich seines 175. Todestages am 13 Mai 1987. Studien zür Afführungpraxis und Interpretation der Musik des 18. Jahrhunderts, Heft 36, Michaelstein/Blankenburg : Institut für Aufführungspraxis, 1988, pp. 32-36. WorldCat – Book Record

Title in English: Double Bass Compositions from the Second Half of the 18th Century in the Kremsier Castle Archives.

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• Gajdos, Miloslav. “Zeitgemäße und heutige Interpretation der Kontrabaß-Kompositionen aus den zweiten Häfte des 18 Jahrhunderts” Bericht über das Sperger-Kolloquium anläslich seines 175. Todestages am 13 Mai 1987. Studien zür Afführungpraxis und Interpretation der Musik des 18. Jahrhunderts, Heft 36, Michaelstein/Blankenburg : Institut für Aufführungspraxis, 1988, pp. 44-45. (section Kurzbeiträge) WorldCat – Book Record

Title in English: Period and Modern interpretation of the Double Bass Compositions from the Second Half of the 18^th Century.

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• Gajdos, Miloslav. “Kromeriz Castle Archives, The Existence of Double Bass Compositions from the Second Half of the 18th Century.” Translated by Miroslav Irein. Edited by Klaus Schruff. International Society of Bassists Magazine, Vol. 14, No. 1, Fall 1987, pp. 18-23.

• Glettler-Feiertag, Jasmin. “Reisebericht zur Studienreise (28.03.-31.03.2019), “Auf den Spuren des Wiener Kontrabasses” ; “Travelogue to the Study Trip “On the Trails of the Viennese Double Bass.”” Magazin der Sperger Gesellschaft. Nr. 2, Oktober 2019, pp. 35-37. IA – Download Page

Note: Article written in German and English in two paralel columns.

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• Greenberg, Michael. “The Double Bass Class at the Paris Conservatory, 1826-1832.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 17-19.

• Lardin, Heather Miller. “Mind the Gap: John Feeney Puts the Basso in Classical Music.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 59-60.

• Jacobson, Harry. “First Movement Form in Two Classical Bass Concerti.” International Society of Bassists Magazine. Vol. 5, No. 2, 1979, p. 482-483.

• Meier, Adolf. “Johannes Sperger (1750-1812) – Die führende Persönlichkeit der Wiener Kontrabaßschule in Zeitalter der Wiener Klassik” Bericht über das Sperger-Kolloquium anläslich seines 175. Todestages am 13 Mai 1987. Studien zür Afführungpraxis und Interpretation der Musik des 18. Jahrhunderts, Heft 36, Michaelstein/Blankenburg : Institut für Aufführungspraxis , 1988, pp. 7-20. WorldCat – Book Record

Cited also in Bass Players – Classical – Sperger, Johann Matthias  listing.

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• Meier, Adolf. “Der Wiener Kontrabaß und seine Spieltechnik in der Zeit der Wiener Hochklassik”  Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 97-108.

Title in English: The Viennese Double Bass and its Playing Technique in the time of High Viennese Classicism.

Cited also in Bass Technique – Period Music – Classical Period heading.

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• Meier, Adolf. “The Vienna Double Bass and its Technique during the Era of the Vienna Classic.” Translated by Klaus Schruff. International Society of Bassists Magazine, Vol. 13, No. 3, 1987, pp. 10-16.

Note: Pages 12-13 present bass solos from Haydn’s Symphonies No. 6, 7, and 8.

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• Morton, Joelle. “Haydn’s Missing Double Bass Concerto.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 3, (1998), pp. 26-38.

• Franenberg, Robert. “The Double Bass in the Divertimento Sextet” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, pp. 33-38.

• Pecevski, Igor. “The Double Bass Playing Technique of Johann Matthias Sperger” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 139-143. WorldCat  – Book Record

Cited also in Bass Technique – Period Music – Classical Period  and Bass Players – Classical – Sperger, Johann Matthias  listings.

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• Planyavsky, Alfred. “Mozart’s Aria With Contrabass Obligato.” Translated by Sharon Brown. International Society of Bassists Magazine. Vol. 2, No. 4, Spring 1976, pp. 187-192, continued on p 206.

Note: The pagination cited above applied to English translation of the article, while the original version in German is also presented on pp. 193-197.

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• Planyavsky, Alfred. “Mozarts Aria mit Obligatem Kontrabass.” International Society of Bassists Magazine. Vol. 2, No. 4, Spring 1976, pp. 193-197.

Note: The original version in German, the English translation available at the same ISB Magazine issue at pp. 187-192, continued on p 206.

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• Schultz, Michael J. “The Tuning of the Viennese Double Bass: An Indication of it’s Effect on the Articulation of Form in a Dittersdorf Concerto.” International Society of Bassists Magazine. Vol. 15, No. 3, Spring 1989, pp. 58-61.

• Seifert, Herbert. “Die Besondere Rolle Des Kontrabasses in Ungarischen Adelskapellen Der 2. Hälfte Des 18. Jahrhunderts.” Studia Musicologica Academiae Scientiarum Hungaricae, vol. 46, no. 1/2, 2005, pp. 99-105. JSTOR

• Herbert, Seifert. “Dittersdorfs Kontrabaßkonzert – der Beginn einer Gattung?” Sperger-Forum. Nr. 2/3, Part 1,  November 2004, pp. 39-41.

• Herbert, Seifert. “Dittersdorfs Kontrabaßkonzerte – der Beginn einer Gattung?” Sperger-Forum. Nr. 4/5, Part 2,  Oktober 2006, pp. 37-38.

• Siegmund-Schultze,  Walther. “Würdigung Johannes Spergers im Festkonzert am 13. Mai 1987” Bericht über das Sperger-Kolloquium anläslich seines 175. Todestages am 13 Mai 1987. Studien zür Afführungpraxis und Interpretation der Musik des 18. Jahrhunderts, Heft 36, Michaelstein/Blankenburg : Institut für Aufführungspraxis , 1988, p. 46. WorldCat – Book Record

Title in English: Appreciation of Johannes Sperger’s Accomplishments.

Note: This article is a reprint of a closing talk for the Sperger Colloquium. Cited also in Bass Players – Classical – Sperger, Johann Matthias  listing.

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• Trumpf, Klaus. “The First Double Bass Concertos.” Bass World : The Journal of International Society of Bassists. Vol. 47, No. 1, October – January 2024, pp. 19-21.

• Trumpf, Klaus. “Virtuosität in den Werken für Solo-Kontrabass von Johann Matthias Sperger” Bericht über das Sperger-Kolloquium anläslich seines 175. Todestages am 13 Mai 1987. Studien zür Afführungpraxis und Interpretation der Musik des 18. Jahrhunderts, Heft 36, Michaelstein/Blankenburg : Institut für Aufführungspraxis, 1988, pp. 21-31. WorldCat – Book Record

Title in English: Virtuosity in the Double Bass Works of J.M. Sperger.

Cited also in Bass Players – Classical – Sperger, Johann Matthias  listing.

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• Unverricht, Hubert. “Die Beteiligung des Kontrabasses in der Triosonate und Kammermusik von 1720 bis 1770” Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 109-116. Universität Wien – Article Record Citation — WorldCat – Book Record

Title in English: The Participation of the Double Bass in the Trio Sonata and Chamber Music from 1720 to 1770.

Note: Due to the time span covered, this article is cited in both here in Bass History – Classical Period and Bass History – Baroque Period .

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• Webster, James. “On the Absence of Keyboard Continuo in Haydn’s Symphonies.” Early Music, November 1990, pp. 599-608. Early Music – Article Page

• Webster, James. “The Bass Part in Haydn’s Early String Quartets.” The Musical Quarterly, vol. 63, no. 3, 1977, pp. 390-424. JSTOR

Note: In this article Webster presents the evidence that double bass may have been used occasionally in some early Haydn’s string quartets, however that cello was the instrument that most commonly played the basso part.

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• Webster, James. “Violoncello and Double Bass in the Chamber Music of Haydn and His Viennese Contemporaries, 1750-1780.” Journal of the American Musicological Society, Vol. 29, No. 3, 1976, pp. 413-38. JSTOR

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Bass History – Baroque Period

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• Bacciagaluppi, Claudio, ““Primo violoncello al cembalo”: L’accompagnamento del recitativo semplice nell’Ottocento”, Rivista italiana di musicologia: Periodico della Società Italiana di Musicologia. Vol. 41, No. 1, Firenze, Italy, 2006, pp. 101-134.

Note: This article also contain information on the use of period Violone and likewise the statistical data on period use of double bassi (contrabassi).

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• Chapman, David. “Tuning Variations as a Guide to Bass-Line Instrumentation in the Orchestral and Solo Literature for the Eighteenth-Century Contrabass “Violon”.” Ad Parnassum. Vol. 8, No. 16, October 2010, pp. ?? Ad Parnasum Journal Link

• Chapman, David. “The Sixteen-foot Violone in Concerted Music of the Seventeenth and Eighteenth Centuries: Issues of Terminology and Function.” Eighteenth Century Music, Vol.12(1), pp. 33-67. Cambridge.org – Article Synopsis

• Cyr, Mary. “Basses and Basse Continue in the Orchestra of the Paris Opera 1700-1764.” Early Music, April 1982, pp. 155-170. Early Music – Article Page

Note: This article presents a continuo practices and bass instruments use in Paris Opera during the late Baroque and early Classical periods and also offer the examples of the double bass use in the opera ensemble.

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• Greenberg, Michael. “Perfecting the Storm: The Rise of the Double Bass in France, 1701-1815” Online Journal of Bass Research (OJBR), Vol. 1, July 2003. OJBR – Online View

• Grünert, Horst. “Erfahrungen beim Kopieren alter Violoneinstrumente”  Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 67-70. Universität Wien – Article Record Citation  |  WorldCat – Book Record

Title in English: An Experience Gained by copying old Violone Instruments.

Cited also in Instruments – Violone  and Luthiere – Basses – Construction & Luthiere  

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• Halfpenny, Eric. “Talbot and the Double Bass.” The Galpin Society Journal, Vol. 5, March 1952, pp. 56-57. JSTOR

• McClure, Theron. “Bach’s Bass.” International Society of Bassists Magazine. Vol. 8, No. 1, Fall 1981, pp. 772-774.

Note: Regardless of the immense research in the instrumentation of Bach’s music during his Leipzig years, this article from 1981 offers a still-relevant summary on the types of stringed bass instruments Bach had used in his Thomaskirche orchestra and the registers they covered.

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• McClure, Theron. “High on the Bass.” International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, p. 82.

Note: This article addresses the issue of register use with the early stringed bass instruments and argues that the lower portion of available registers was not of much use due to the inadequate period string technology. In those days apparently the existing strings could not offer much volume / clarity in the lower registers.

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• Morton, Joëlle. “The English Great Double Basse, 1600s.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 3, June – September 2019, p. 31-35.

• Morton, Joëlle. “Soave Armonia or Brummende Violone? Let’s Talk bass . . . When is a Bass not a Double Bass?” Online Journal of Bass Research (OJBR). Vol. 12, July 2021. OJBR – Online View

• Planyavsky, Alfred. “The Contrabass at the Time of Handel and Bach” Translated by Sharon Brown, International Society of Bassists Magazine. Vol. 4, No. 2, 1977, pp. 372-378.

• Planyavsky, Alfred. “Violone und Violoncello im 17. Jahrhundert.” Musicologica Austriaca. Nr. 4, Förenau 1984, pp. 43-84.

• Planyavsky, Alfred. “Violone and Violoncello in the 17^th Century.” Translated by John Bailey. International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, pp. 12-18.

Note: This translation appears to come from Planyavsky’s “Violone und Violoncello im 17. Jahrhundert.” Musicologica Austriaca. Nr. 4, Förenau 1984, pp. 43-84.

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• Schmid, Manfred Hermann. “Instrumentennamen und Stimmlagenbezeichnungen vom 16. bis 18. Jahrhundert”  Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 17-32. Universität Wien – Record Citation  |  WorldCat Book Record

Title in English: Instrument Names and Tuning Characteristics from the 16th to 18th Centuries.

Cited also in Organology – Tunings

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• Segerman, Ephraim. “On Talbot’s ‘Usual’ Bass Violin.” The Galpin Society Journal, Vol. 52, April 1999, pp. 389-90. JSTOR

• Sehnal, Jiri. “Streicherstimmen in den Sonaten der Lichensteiner Musiksammlung Kremsier”  Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 71-76. Universität Wien – Article Record Citation  |   WorldCat – Book Record

Title in English: Stringed Instrument Parts in Sonatas housed by the Lichenstein Music Collection in Kremsier (Kromeirz, Czech Republic).

Note: The subject of bass legacies in Kromeriz has also been investigated and written about by Miloslav Gajdos. Please chek Gajdos articles on this page (Browser Ctrl+F “Gajdos”).

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• Seifert, Herbert. “Der Violone in Wien im 17. Jahrhundert” Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 87-96. Universität Wien – Article Record Citation  |  WorldCat – Book Record

Title in English: The Violone in Vienna in the 17^th Century

Cited also in Instruments – Violone 

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• Unverricht, Hubert. “Die Beteiligung des Kontrabasses in der Triosonate und Kammermusik von 1720 bis 1770” Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 109-116. Universität Wien – Article Record Citation  |  WorldCat Book Record

Title in English: The Participation of the Double Bass in the Trio Sonata and Chamber Music from 1720 to 1770.

Note: Due to the time span covered, this article is cited in both in Bass History – Classical Period  and here in Bass History – Baroque Period.

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• Zusman, Shanon P. “A Critical Review: Studies in Italian Sacred and Instrumental Music in the 17th Century. By Stephen Bonta.” Online Journal of Bass Research (OJBR). Vol. 2, August 2004. OJBR – Online View  |  OJBR – Pdf Download

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Bass History – National Schools

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Austria

• Gstrein, Rainer. “Die Bassgeige in der usuellen Musik Osterreichs  im 19. Jahrhundert” Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 189-202. Universität Wien – Record Citation  |  WorldCat –  Book Record

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Bulgaria

• Bagovska, Petya. “The Bulgarian School of Bass Playing.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 1, June – September 2005, pp. 29-30.

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Czech Republic

• Cerveny, Jan. “The Prague Conservatory, One Hundred and Fifty Years of History of Contrabass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 4) Vol. 6 (1968) pp. 4-8.

Note: An excellent article on the Prague Conservatory history, bass professors and famous students. The article presents a listing of all professors that had taught at the conservatory and also offers a small biographical section for each teacher. Likewise, every bass student entry will also indicate their birth date and a summary of their professional accomplishments.

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Czechoslovakia

• Slatford, Rodney. “Outside America: Rodney Slatford Visits Czechoslovakia.” International Society of Bassists Magazine. Vol. 4, No. 1, Fall 1977, pp. 355-357.

Note: This article presents the contemporary bassist of Czechoslovakia active in 1977, yet it also contains many historical references on the past Czech bassists and their accomplishments.

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China

• Sankey, Stuart. “Double Bass Playing in the People’s Republic of China.” International Society of Bassists Magazine. Vol. 11, No. 2, Winter 1985, pp. 4-5.

• Scelba, Anthony. “Raising the Bamboo Curtain.” International Society of Bassists Magazine. Vol. 10, No. 3, Spring 1984, pp. 27-29.

• Ziping, Chen. “History of Double Bass in China.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 3, February – May 2010, pp. 15-23.

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England

• (“Dragonetta”) “London is not the Only City in Britain – From Manchester.” International Society of Bassists Magazine. Vol. 3, No. 3, Spring 1977, p. 295.

Note: This article offers a comprehensive report on orchestras, conservatories and the variety of bass activities in Manchester of 1977, so in that respect it can be considered a little time capsule that illustrates English bass history for that city and period. The article was written by “Dragonetta” whose identity would be nice to discover one day.

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Finland

• Katrama, Jorma. “The Double Bass Breaks Ground in Finland.” International Society of Bassists Magazine, Vol. 13, No. 3, 1987, pp. 24-25.

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France

• Greenberg, Michael D. “Perfecting the Storm: The Rise of the Double Bass in France, 1701-1815.” Online Journal of Bass Research (OJBR). Vol. 1, July 2003. OJBR – Online View

• Greenberg, Michael. “The Double Bass Class at the Paris Conservatory, 1826-1832.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 17-19.

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Germany

• Stoll, Klaus. “Solo Bass Performances in Berlin.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 105 (title, also a photo of Willy Krause, Principal Bass of Berlin Philharmonic in 1882), continued on p. 107, (Chronological listing of performances), continued on p. 116 (Chronological listing of Solo Bass Performances in Berlin up to 1975).

Note: This feature actually presents a chronological listing of solo bass performances in Berlin, starting with 1788 J. M. Sperger concert and ending with 1974 Bertram Turetzky recital. A side bonus is a unique photo of Willy Krause, Principal Bass of Berlin Philharmonic, yet by chance his name is not mentioned in the listing among the soloists.

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Haiti

• Einhorn, David. “Despite Everything, Basses in Haiti.” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 3, June-September 2023, pp. 15-17.

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Poland

• Olkiewicz, Irena. “Zarys Historii Polskiego Kontrabasu” Kontrabasista: Magazyn Polskiego Stowarzyszenia Kontrabasistów. Nr. 8-9, Sierpien (August) 2008, pp. 74-77. Magazine Download

Note: This article in Polish contains two short biogrpahies of important Polish bassists Wincenty Sliwiñski and Adam Bronislaw Ciechañski on p. 75 and in addition a wonderful photo collage that presents all important colleagues, composers and students affiliated with Prof. Ciechañski on p. 76.

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• Olkiewicz, Irena. “A Brief History of Polish Double Bass” Kontrabasista: Magazyn Polskiego Stowarzyszenia Kontrabasistów. Nr. 8-9, Sierpien (August) 2008, pp. 80-81. Magazine Download

Note: This article is an English translation of the “Zarys Historii Polskiego Kontrabasu” presented above.

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Russia

• Lund, Jim. “Views of Music Life in the Soviet Union.” International Society of Bassists Magazine. Vol. 10, No. 3, Spring 1984, pp. 8-9.

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Spain

• Gandara, Xose Crisanto. “Origin and Development of the Double Bass in Spain” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 19-50. WorldCat – Book Record

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Sweden

• Petersen, Alf. “Der Kontrabaß  in der Königlich Schwedischen Hoffkapelle” Bericht über das Sperger-Kolloquium anläslich seines 175. Todestages am 13 Mai 1987. Studien zür Afführungpraxis und Interpretation der Musik des 18. Jahrhunderts, Heft 36, Michaelstein/Blankenburg : Institut für Aufführungspraxis, 1988, pp. 37-41. WorldCat – Book Record

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Switzerland

• Jakob, Friedrich. “Der Kontrabass in der Lokalmusikgeschichte Zürichs.” Publikationen der Schweizerischen Musikforschenden Gesellschaft. Serie 2 = Publications de la Société Suisse de Musicologie. Série 2, vol. 33, 1983, p. 53-60. E-Periodica – Online View & Download

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United States

• Bradetich, Jeff. “The Double Bass in USA” Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 141-150. Universität Wien – Record Citation  |  WorldCat Book Record

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Bass History – Jazz

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• Bany, John. “A Limited Survey of Jazz Bass on Record, The Talking Machine and The Walking Bull Fiddle.” International Society of Bassists Magazine. Vol. 11, No. 3, Spring 1985, pp. 14-19.

Note: As the title implies this article is about the history of jazz bass recordings, and along how the very first recordings of bass in general have originated.

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• Bany, John. “Double Double Bass.” International Society of Bassists Magazine. Vol. 13, No. 1, Fall 1986, pp. 24-27.

Note: This is a very interesting and well written article on a subject of how the two basses can play and record on the same tune or session. The subject was very well researched and many examples of such collaborations presented.

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• Bany, John. “The Bassists of Lady Day.” International Society of Bassists Magazine. Vol. 15, No. 1, Fall 1988, pp. 26-33.

Note: The article on bassists who played in the band of Billie Holiday.

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• Bany, John. “The Ellington Bassists, Part One.” International Society of Bassists Magazine. Vol. 12, No. 1, Fall 1985, pp. 30-32.

• Bany, John. “The Ellington Bassists, Part 2.” International Society of Bassists Magazine. Vol. 12, No. 2, Winter 1986, pp. 36-43.

• Bany, John. “The Ellington Bassists, Part 3.” International Society of Bassists Magazine. Vol. 12, No. 3, Spring 1986, pp. 28-37.

• Bany, John. “Round Midnight.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, pp. 20-24.

Note: This article reviews the film “Round Midnight” (1986) as “the only movie ever made about jazz or jazz musicians that gives a true and accurate portrayal of a jazz musician as a serious music artist.” The focus of the article is on jazz bassists presented in the movie, while it also covers the general representation of bassists in the other Hollywood feature films and cartoons. Page 23 also features the score of the “Round Midnight” tune.

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• Bany, John. “What’s New?” International Society of Bassists Magazine, Vol. 14, No. 1, Fall 1987, pp. 32-38.

Note: This is an exquisite article on free jazz and the bassists who contributed to this style, starting with Ornette Coleman and his ensemble that involved bassists Charlie Haden, Scott LaFaro, Jimmy Garrison and David Izenzon. The last section of the article is dedicated to Dave Holland as the one who continues the free jazz tradition. Page 38 also presents Dave Holland’s and Charlie Haden’s discographies.

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• Campbell, Jeff. “Developments in the Early Jazz Pizzicato.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, pp. 12-14.

• Campbell, Jeff. “Evolution in the Jazz Bass Sound.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, pp. 33-34.

• Campbell, Jeff. “Gentlemen, Take a Bow! Arco Pioneers of Jazz Bass.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 3, February – May 2007, pp. 41-43.

• Kaliss, Jeff. “The Place of Bass.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 35-37.

Note: This article reflects on the bassists who have played at Monterey Jazz Festival and or have been paid a tribute to at the same festival.

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• Pekar, Harvey. “Critic Harvey Pekar Discussed The Revolutionary Impact, The Means, and The Major Figures in The Development of Modern Bass.” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 3, June – September 2021, pp. 8-12.

Note: This article is a reprint of Pekar’s 1962 Down Beat article in which he presents the tenets and evolution of bass playing styles in chronological order by following the work of Jimmy Blanton, Oscar Pettiford, Ray Brown, Percy Heath, Charles Mingus, Paul Chambers, Red Mitchell, Wilbur Ware, Scott LaFaro and Charlie Haden.

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• Waters, Drew. “Electric Guitar, Electric Bass and the Predominance of the Acoustic Bass in Jazz.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 21-27.

Note: This is a very well written article on how the amplification of instruments started and how the electric bass has found its place in jazz and contemporary popular music. This article does not present only the chronology of amplified / electric instruments’ development, but also the aesthetic issues of sound perceptions, and along, the benefits that the new electric instruments have brought to the jazz field.

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Bass History – Electric Bass

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• Appleman, Rich. “Electric Bass, An Historical Perspective.” International Society of Bassists Magazine. Vol. 15, No. 1, Fall 1988, pp. 23-24.

• Plummer, Bill. “Rock Bass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, pp. 8-11.

Note: This article covers several subjects: the evolution of jazz bass playing from the tough days of no amplification to easier days when it became available, also the appearance of acoustic bass pick-ups, the appearance of electric bass (bass guitar). The rest of the article covers the role of bass guitar in the rock music. This article also features a list of rock bassist, who in Plummer’s opinion deserved further consideration in 1970, when the article was written.

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• Waters, Drew. “Electric Guitar, Electric Bass and the Predominance of the Acoustic Bass in Jazz.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 21-27.

Note: This is a very well written article on how the amplification of instruments started and how the electric bass has found its place in jazz and contemporary popular music. This article does not present only the chronology of amplified / electric instruments’ development, but also the aesthetic issues of sound perceptions, and along, the benefits that the new electric instruments have brought to the jazz field.

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Bass Players

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Please note that all composers who were also bass players will be listed here under “Bass Players” section, and will not be cited in Composers section. Therefore this is the section where you will find all the articles on Bottesini, Dragonetti, Koussevitzky, Sperger and other bassists who have composed. All the other composers non-bassists who have left works of importance to the bass field will be listed in the Composers section.

If you know the bassist’s name but do not wish to scroll through the listings, please use your browser’s Find function (Ctrl-F) and simply search for the name. Your browser will show the particular person name in every instance cited on this page, whether they are Bassist, Composer, an author of an article, or possibly someone mentioned in the Note’s section.

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Bass Players – Classical

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Bass Players – Classical – General Listing

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• Cerveny, Jan. “The Prague Conservatory, One Hundred and Fifty Years of History of Contrabass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 4) Vol. 6 (1968) pp. 4-8.

Note: An excellent article on the Prague Conservatory history, bass professors and famous students. The article presents a listing of all professors that had taught at the conservatory and also offers a small biographical section for each teacher. Likewise, every bass student entry will also present their birth date and a summary of their professional accomplishments.

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• Clam, Joseph. “Betrachtungen zu von führenden deutschen Kontrabassisten aufgestellten Problemen, Gedanken eines Orchestermusikers im 19. Jahrhundert” Das Orchester. No. 03, 1993, p. 244.

• Mann, Adrian. “Virtuosi of the Double Bass.” International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, pp. 80-81.

Note: This article represents an exceptional bibliographic project from 1975, where all the major dictionaries and encyclopedias were examined for the articles on bass players. The result is an alphabetically organized listing by a dictionary author, or an encyclopedia title, which then cites all the bassists mentioned in that work.  This is an excellent source of data on the bassists from the past.

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• Rives, James A. “Who’s Who of Bass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, p. 37.

Note: This feature is actually a copy of an interesting letter inquiry received and published by the Bass Sound Post from 1970. In this letter the author states the following:

“I believe that a collection of biographical information about outstanding bass players must be made available. Sometimes we read or hear of a player but have no idea who he was or what he did. I would like to compile and publish a collection under the auspices of the International Institute for the String Bass.”

Today, some 54 years later, we may try to use Google or Wikipedia to get information on various bass players from the past. However the one unified publication, or an online source, that would feature a complete directory of “Who is Who of Bass,” is still not available. One of the goals of the Academic Bass Portal would be to actually complete the project of cataloging all the bass players, while the list presented below may be perceived as a small contribution toward that goal.

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Bass Players – Classical – Alphabetical Listing

Please note that these listings are designed to commonly feature the articles about the featured bassists, and not the articles that they wrote themselves. However in few instances, and in order to offer better overview of someone’s opus, the articles written by bassists are presented as well.

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Aaron, Jeffrey

• Aaron, Jeffrey. “Seniors, Keep Playing!”  Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, pp. 60-63.

Note: Aaron’s autobiographical article on his life journey with bass.

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Abert, Johann Joseph (1832-1915)

• Morelli, Michael. “New Bass Concerto Debuts.” International Society of Bassists Magazine. Vol. 17, No. 2, Winter/Spring 1991, p. 69.

Note: A report on the modern day premiere of Abert’s concerto with orchestra accompaniment that was reconstructed from Abert’s piano score.

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Albach, Rudy

• Albach, Rudy. “2015 ISB Orchestra Competition Winner’s Week with the NSO.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, p. 24.

Note: In this article the 2015 ISB Orchestra Competition Winner Rudy Albach describes his experience in playing with the National Symphony Orchestra bass section.

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Amato, Salvador (1928-1994)

• Melchiori, Carolina. “Salvador Amato: Crossing Borders with the Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 1, June – September 2010, pp. 27-30.

Note: An article about Argentinean solo bass virtuoso, pedagogue and composer Salvador Amato.

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Anderson, Andrew

• Anderson, Andrew. “Andrew Anderson, Section Bass, Grant Park Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, p. 24.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Anderson, Carl

• Anderson, Carl. “Carl Anderson, Section Bass, Boston Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 2, February – May 2020, pp. 32-33.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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Anderson, Jordan

• Anderson, Jordan. “Seattle Symphony, Principal Bass: Jordan Anderson.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, p. 9.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Angell, Lawrence

• Angell, Lawrence. “A “New” Solo Instrument: The Double Bass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, pp. 18-20.

Note: The article covers several subjects: the premiere of Basspiece by Donald Erb, the range of double bass, the models of basses and the general solo bass repertoire.

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Arzolla, Antonio (1967-2021)

• (author not cited) “Antonio Arzolla (1967-2021)” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 3, June – September 2021, p. 7.

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Azarkhin, Rodion (1931-2007)

• Giambrone, Drew. “Recital Page.” International Society of Bassists Magazine. Vol. 10, No. 1, Fall 1983, p. 27.

Note: This citation does not present an article but rather a citation of Azarchin taken from The Way They Play Book 12, by Samuel Applebaum. Still, it points to a source of other information on Azarchin so it was thought prudent to cite it here.

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• Stokes, Donovan. “In Memory of Rodion Azarkhin.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, pp. 17-18.

• Stokes, Donovan. “The White Crow of Russia, An Interview with Rodion Azarkhin.” Translated by Elena Vitenberg. Bass World : The Journal of International Society of Bassists. Vol. 23, No. 3, Winter 2000, pp. 16-20.

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Badila, Ovidiu (1962-2001)

• Lieberman, Barry. “Memories of Ovidiu Badila.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 1, June – September 2001, pp. 16-18.

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Bao-Zheng, Wei

• (author not cited) “Wei Bao-Zheng.” International Society of Bassists Magazine. Vol. 17, No. 2, Winter/Spring 1991, p. 4.

Note: A small report on the China Broadcasting Symphony Bass Section and its principal Wei Bao-Zheng.

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Baines, Judson

• Baines, Judson. “Judson Baines, Assistant Principal Double Bass, Charlotte Symphony Orchestra” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 1, October – January 2021, pp. 63-64.

Note: The article written in autobiographical style. Column “In The Zone” editor Brian Perry.

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Balliett, Doug

• Balliett, Doug. “Doug Balliett, Assistant Principal Bass, San Antonio Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 2, October – January 2008, pp. 25, 27.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Banzhaf, Drew

• Banzhaf, Drew. “Drew Banzhaf, Co-Principal Double Bass, Malmö Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 3, June – September 2024, p. 23.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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Baltacigil, Fora

• Baltacigil, Fora. “Fora Baltacigil, Principal Bass, New York Philharmonic.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 3, February – May 2013, pp. 27, 29.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone: Orchestra Audition Winners,” editor Jeff Turner.

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Barr, Charles

• Barr, Charles. “Charles Barr, Section Bass, The Cleveland Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, p. 33.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

• (author not cited) “Charles Barr.” The Bass Line. [ Publication of the International Society of Bassists ] Winter  2006-2007, p. 3.

Note: A tribute article to Charles Barr, Cleveland Symphony bassists who died in a tragic bicycle accident at the age of 31.

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Batchelder, Fred (1914-1924)

• (author not cited) “In Memorium, Fred Batchelder.” International Society of Bassists Magazine. Vol. 1, No. 2, Winter 1974-1975, p. 37.

• Dougherty, Pat. “Orchestral Bass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 8) Vol. 7, No. 5, 1968-69, pp. 7-8.

Note: This article offers an overview of Bathelder’s orchestra sessions at the Second International Institute for the String Bass Conference, 1968. Batchelder led both lecture-discussions and a mass bass masterclas to some 25 bassists that were present at the event.

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Beckendorf, Andy

• Baguyos, Jeremy C. “Passing The Torch: An Interview with Andi Beckendorf and a Tribute to her Service to the ISB.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 1, June – September 2010, pp. 11-12.

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Beers, Adrian (1916-2004)

• Scelba, Anthony. “The Chamber Musicians.” International Society of Bassists Magazine. Vol. 7, No. 3-4, Spring and Summer 1981 (Double Issue), pp. 716-718.

Note: Although the title may not indicate it, this article presents the biographies of two bassists: Lucio Bucarella (pp. 716-717) and Adrian Beers (pp. 717-718). The picture of Adrian Beers may also be seen in: Bradetich, Jeff. “The ISB Salutes The English Chamber Orchestra Double Bass Section.” International Society of Bassists Magazine. Vol. 10, No. 2, Winter 1984, p. 5.

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Belcher, Aleck

• Belcher, Aleck. “Aleck Belcher, Associate Principal Double Bass, St. Louis Symphony Orchestra” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, p. 23.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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Benfield, Warren (1913-2001)

• (author not cited) “The 1606 Gio: Paolo Maggini Double Bass.” International Society of Bassists Magazine. Vol. 10, No. 1, Fall 1983, (centerfold section, 6 pages, no pagination, inserted between pages 20 and 21).

Note: This article presents a short biography of Warren Benfield, the owner of the featured instrument at the time of printing.

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• Benfield, Jim. “Warren A. Benfield Remebered.” The Bass Line. [ Publication of the International Society of Bassists ] Fall 2001, pp. 3-4.

Note: A tribute article by Benfield’s son Jim that offers loving memories of his dad and very interesting facts about the beloved Chicago professor, who just by chance had a documented 618 bass students in his life time. Featured are also memories of five other bassists who were Warren Benfield’s friends.

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• Benfield, Warren. “Practice Tips.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, pp. 74-75.

Note: This sub article was printed within the “Young Bassists Page” column dedicated to the juvenile bass audiences, yet it contains advice of service to collegiate and professional players as well.

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Bernat, Mark

• Stinson, Timothy. “Mark Bernat, An Interview.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 2, (1998), pp. 40-48.

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Black, Robert (1956-2023)

• (author not cited) “Across the Board.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 2, October – January 2001, pp. 28-29.

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Boersma, Kees

• Boersma, Kees. “Kees Boersma, Principal Bass, Sydney Symphony Orchestra, Lecturer in Bass, Sydney Conservatorium of Music.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 2, October – January 2008, p. 18.

Note: The article written in autobiographical style. Part of the “Won the Audition? Next, Win the Position!” group of articles. Column editor Steve Reeves.

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Borden, Jonathan

• Borden, Jonathan. “Jonathan Borden, Section Bass, Buffalo Philharmonic Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, p. 50.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Jeff Turner.

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Bosh, Leon

• (author not cited) “Leon Bosch Awarded 2024 Cobbett Medal for Service to Chamber Music.” Bass World : The Journal of International Society of Bassists. Vol. 47, No. 1, October – January 2024, pp. 13-14.

Note: Leon Bosh is the first double bass player to be honored by this medal in the 100-year long history of this award. The other recipients include Elizabeth Sprague Coolidge (1925), Sir Edward Elgar (1928), Ralph Vaughan Williams (1930), Myra Hess (1944), Sir Yehudi Menuhin (1959), and Julian Bream (2002).

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Botsford, Ted

• Botsford, Ted. “Ted Botsford, Assistant Principal Bass, Oregon Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, p. 65.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Bottesini, Giovanni (1821-1889)

• Brooks, Jeff. “Giovanni Bottesini’s First American Tour.” International Society of Bassists Magazine. Vol. 15, No. 2, Winter 1989, pp. 15-16, continued p. 19.

• C. P. S. “Giovanni Bottesini.” The Musical Times and Singing Class Circular. Vol. 30, No. 558, 1889, pp. 476-485. JSTOR

Note: A tribute article to Bottesini written by a contemporary that reflects strongly on the period leagacy of Bottesini in 1889.

• Gassiott, Kyle. “Requiem That is a Dream: Rediscovering Giovanni Bottesini’s Choral Masterpiece.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 3, February – May 2013, pp. 11-15.

• Jacobson, Harry P. “Toward a Performance Style in the Double Bass Works of Giovanni Bottesini.” International Society of Bassists Magazine. Vol. 3, No. 4, Spring 1977, pp. 305-307.

Note: Given that it was written in 1977 this is probably the first “performance practice” article that attempts to reconstruct the original Bottesini’s style of playing in the way that modern performing practice scholarship addresses the styles of Baroque and Classical periods. Jacobson clearly shows in this article how and in which areas the modern approach to Bottesini may accommodate the evidence of period style in the work of Bottesini.

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• Kowal, Karol. “Giovanni Bottesini” Kontrabasista: Magazyn Polskiego Stowarzyszenia Kontrabasistów. pp. 48-49. Nr. 6, Sierpien (August) 2006. Magazine Download

• Martin, Thomas. “Giovanni Bottesini und Ich.” ; “Giovanni Bottesini and I.” Magazin der Sperger Gesellschaft. Nr. 4, August 2021, pp. 10-12. IA – Download Page

Note: Article written in German and English in two parallel columns.

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• Martin, Thomas. “In Search of Bottesini, Part One.” International Society of Bassists Magazine. Vol. 10, No. 1, Fall 1983, pp. 6-12.

Note: Martin’s In Search of Bottesini series of three articles (Part 1-3) is probably and still the most comprehensive presentation of Bottesini’s accomplishment in the article format. For those who may wish to get a general overview of Bottesini’s life and career, these three articles should be the starting point. Also, for all collegiate bass students these articles may be considered a recommended reading.

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• Martin, Thomas. “In Search of Bottesini, Part Two.” International Society of Bassists Magazine. Vol. 10, No. 2, Winter 1984, pp. 6-12.

• Martin, Thomas. “In Search of Bottesini, Part Three.” International Society of Bassists Magazine. Vol. 11, No. 2, Winter 1985, pp. 24-39.

• Sankey, Stuart. “Different Strokes.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 3, Winter 2000, pp. 48-52.

Note: Featured Excerpt:
Bottesini, G. – Concerto No. 2 in B Minor, Movement 1 (with fingerings)

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• Slatford, Rodney. “Unearthing More Bottesini.” International Society of Bassists Magazine, Vol. 14, No. 1, Fall 1987, p. 46.

Note: This article offers more information on Bottesini’s guest appearances in London and also poses some questions on the origin and sequence of Bottesini concertos.

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• Walter, David. “The Giovanni Bottesini Centenary.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, pp. 14-15.

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Bradetich, Jeff (1957)

• Bradetich, Jeff. “Director’s Farewell, Eight Years and 28 Magazines Later ….” International Society of Bassists Magazine. Vol. 17, No. 1, Fall 1990, pp. 2-5.

Note: Bradetich offers in this article a summary of eight years of his leadership with the International Society of Bassist and a vision for the future development of the society.

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• White, Catherine B. “Bradetich Years: Presenting the Whole Picture.” International Society of Bassists Magazine. Vol. 17, No. 1, Fall 1990, p. 8.

Note: This is a small section-article addressing the Bradetich leadership principles during the time he directed International society of Bassists.

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Bradley, Marta

• Kosky, Chris. “So Low, Solo, & Sew and Sew! Marta Bradley: Bassist and Quilter” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 1, October – January 2021, pp. 58-61.

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Bransby, Bruce

• Kadish, Ron. “Interview with Bruce Bransby, Professor of Double Bass at Indiana University Jacobs School of Music.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 1, June – September 2010, pp. 31-35.

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Brodine, Russell (1912-2003)

• (author not cited) “Russell Brodine.” International Society of Bassists Magazine. Vol. 1, No. 1, Fall  1974, p. 12.

Note: A small tribute article in honor of Brodine’s retirement from the St. Louis Symphony.

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Brewster, Herbert Stevens Jr. (1936-1984)

• (author not cited) “In Memoriam H. Stevens Brewster.” International Society of Bassists Magazine. Vol. 10, No. 3, Spring 1984, pp. 30-31.

• Mixter, Jan T. “H. Stevens Brewster Memorial Concert Held.” International Society of Bassists Magazine. Vol. 11, No. 2, Winter 1985, p. 7.

Note: This article also presents the program for the memorial concert, and it appears that Prof. Brewster has left some compositions for bass of his own writing, while there were also the compositions that were written in honor of his memory.

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• Scimonelli, Paul. “H. Stevens Brewster Jr., A Teacher.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, pp. 13-15.

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Brown, Harold E. (1907-1983)

• (author not cited) “Harold E. Brown Memorial Fund Established.” International Society of Bassists Magazine. Vol. 11, No. 1, Fall 1984, p. 25.

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Brown, Kevin

• Brown, Kevin. “Kevin Brown, Principal Bass, Detroit Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 64, 66.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Jeff Turner.

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Browne, Nicholas

• Browne, Nicholas. “Nicholas Browne, Section Bass, San Antonio Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 1, February – May 2015, pp. 50-51.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Jeff Turner.

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Bruya, Kristen

• Bruya, Kristen. “Kristen Bruya, Section Bass, Nashville Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 2, October – January 2008, p. 25.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots” editor Jeff Turner.

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Buccarella, Lucio

• Scelba, Anthony. “The Chamber Musicians.” International Society of Bassists Magazine. Vol. 7, No. 3-4, Spring and Summer 1981 (Double Issue), pp. 716-718.

Note: Although the title may not indicate it, this article presents biographies of two bassists: Lucio Buccarella (pp. 716-717) and Adrian Beers (pp. 717-718).

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Burnstein, Jonathan

• Burnstein, Jonathan. “Jonathan Burnstein: Section Bass, Seattle Symphony (WA).” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, p. 33.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Bush, Audrey

• Karr, Gary. “Audrey Bush: Never One to Take the Back Seat.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 15-17.

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Cameron, Michael (1959-2022)

• (author not cited) “Michael Cameron, July 13, 1959 – July 13, 2022” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 1, October – January 2022, p. 7.

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Campagna, Joseph

• Campagna, Joseph. “Joseph Campagna, Section Bass, New Jersey Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 3, February – May 2013, pp. 29-30.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone: Orchestra Audition Winners,” editor Jeff Turner.

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Canonici, Corrado

• Welz, Katinka. “Corrado Canonici.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, pp. 12-13.

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Carleton, Charles

• Carleton, Charles. “Charles Carleton: Section Bass, The Cleveland Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 2, October – January 2001, p. 31.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Carson, Daniel

• Carson, Daniel. “Daniel Carson, Principal, Alabama Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 2, October – January 2013, pp. 64-65.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone: Orchestra Audition Winners,” editor Jeff Turner.

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Celis, Luis

• Celis, Luis. “Luis Celis, Cincinnati Symphony Orchestra” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, pp. 27-28.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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Cerny, Frantisek (1861-1940)

• Cerveny, Jan. “Bass Heritage.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 14) Vol. 2, No. 4, August 1970, pp. 8-10.

Note: Although the title does not indicate it, this is an article about Czech bass professor Frantisek Czerny. Beside the biographical and bass pedagogy details, this article also presents the list of Czerny’s compositions for bass.

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Cervera-Bret, Josep (1883-1969)

• Testi, James. “Catalonian Virtuoso Josep Cervera Bret.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 1, June – September 2013, pp. 9-15.

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Charlton, Frederick (1955- 2015)

• (author not cited). “Frederick, Charlton.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, p. 69.

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Cinque, P. J.

• Cinque, P. J. “P.J. Cinque, San Diego Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 59-60.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Jeff Turner.

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Cohen, Zachary A.

• Cohen, Zachary A. “Zachary A. Cohen, Principal Bass, Milwaukee Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 1, July – September 2006, p. 21.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Conrad, Brittany

• Conrad, Brittany. “Brittany Conrad, Milwaukee Symphony Orchestra” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, p. 28.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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Conyers, Joseph H.

• (author not cited) “Double Bassists Joseph H. Conyers and Rex Surany Join Juilliard Faculty” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, p. 51.

• Conyers, Joseph H.  “Joseph H. Conyers, Assistant Principal Bass, Philadelphia Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 45-46.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Conyers, Joseph H.  “Joseph H. Conyers, Principal Bass, Grand Rapids Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, p. 51.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Coplin, Walter

• Coplin, Walther and unknown author. “Problems of the Left Hand.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 2) June 1967, pp. 3-5.

Note: This article presents an extended fingering practice of West Virginia Professor Coplin based on Karl Franke system, in order to engage other bass players in discussing fingering issues and practices. The article is not signed, yet it was likely written by Gary Karr himself.

However, it is likely that the mentioned Franke method is in fact the one written by Friedrich Christoph Franke published as “Anleitung, den Contrabass zu Spielen” c. 1820, as indeed this method uses the 1-2-3-4 system. Franke method online – Download Gallica – Download MDZ

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Corner, Colin

• Corner, Colin. “Colin Corner, Principal Bass, Rochester Philharmonic Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 2, October – January 2012, p. 48.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Corner, Colin. “Colin Corner, First Prize Winner at the ISB Orchestral Competition in Richmond, 2003.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, pp. 24, 27.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots, editor Jeff Turner. This article also features Corner’s award residency with Detroit Symphony Orchestra and his cooperation with DSO bassists.

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• Corner, Colin. “Colin Corner, First Prize, 2003 ISB Orchestral Competition.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, p. 35.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Cross, Sam (1939-2018)

• (author not cited) “Sam Cross.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 1, October – January 2018, p. 47.

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Cruft, Eugene (1887-1976)

• Bacca, Mavis, “Eugene Cruft.” The Strad. No. 829, Vol. 70, May 1959, pp. 9-15.

• Cruft, Eugene. “1903 – Then and Now, Some Bass Reflections.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 17) Vol. 3, No. 1-6, 1971, pp. 8-12.

Note: This is a biographical article in which Cruft reflects on his life journey and experience as a bassist. The article is a reprint from The Journal of the British Institute of Recorded Sound. Nos. 42 – 43, April – July 1971.

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• Slatford, Rodney. “Eugene Cruft.” International Society of Bassists Magazine. Vol. 3, No. 1, Fall 1976, pp. 240-241.

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Curtis, William

• Macaro, Joe “A Great Teacher Makes All the Difference.” The Bass Line. [ Publication of the International Society of Bassists ] Fall 2007, pp. 1, 3.

Note: An article on William (Bill) Curtis a professor at Berklee College of Music, a jazz and classical bassist.

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Deak, Jon (1943)

• (author not cited) “Jon Deak.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, p. 6.

Note: A report on Jon Deak’s new bass concerto, Jack and the Beanstalk and his several other solo bass works.

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• Holmgren, Erik. “Jon Deak: From Bernstein to Maazel, Four Decades with the New York Philharmonic.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 2, October – January 2009, pp. 41-43.

• Merriam, Nancy. “The Adventures of Jon Deak.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, pp. 16-18.

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DeCesare, Nina

• DeCesare, Nina. “2005 ISB Double Bass Competition Winners, Nina DeCesare, (Ellicott City, MD), First Prize, ISB Age 14 and Under Division.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, p. 55.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner. DeCesare presently holds a position with Baltimore Symphony.

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DeNola, Paul

• DeNola, Paul. “Paul DeNola, Section Bass National Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 3, February – May 2009, pp. 23, 25.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• DeNola, Paul. “Paul DeNola, Section Bass, Oregon Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, pp. 34-35.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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DeRiso, David

• DeRiso, David  “David DeRiso, Section Bass, Saint Louis Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 51-52.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Diedrich, Wilhelm (1891- ?)

• Diedrich, Wilhelm. “Moderne Kompositionen für den Kontrabaß.” Der Kontrabass. Nr. 5, Leipzig, Anfang Februar 1931, pp. 48-49. IA – Download Link

Note: The article presents both the works of Wilhelm Diedrich and along his perceptions on the state of solo bass performance and music at the time the article was written.

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Dilenschneider, Tim

• Dilenschneider, Tim. “Tim Dilenschneider, Baltimore Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, p. 27.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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Dixon, Scott

• Dixon, Scott. “Scott Dixon, Section Bass, Cleveland Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, pp. 23-24.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Dobbeck, Nishana

• Dobbeck, Nishana. “This Music Librarian Knows the Score: Meet Nishana Dobbeck” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 1, October – January 2022, pp. 36-37.

Note: Bassist Nishana Dobbeck is featured here as a librarian of the Methorpolitan Opera Orchestra and the article offers a unique insight into how the music librarian operates at such a prestigious opera house.

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Dorin, Marc (1958)

• Dorin, Marc. “Prof. Dorin Marc Orchestermusiker und Lehrer, “Bass ist Faszination.”” Magazin der Sperger Gesellschaft. Nr. 2, Oktober 2019, pp. 20-22. IA – Download Page

Note: Article written in German and English in two parallel columns. An overview of Prof. Dorin’s music and teaching perspectives.

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Dragonetti, Domenico (1763-1846)

• (author not cited) “Dragonetti’s Life in Print.” International Society of Bassists Magazine. Vol. 17, No. 2, Winter/Spring 1991, p. 4.

Note: This is a small update on the activities of Roberto Bonati who compiled “Possibly the first Year-by-Year biography of Domenico Dragonetti.”

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• (author not cited) “Music and Musicians”. The Musical Times and Singing Class Circular. Vol. 2, No. 31, Dec. 1, 1846, pp. 49-50. JSTOR

• Bauman, Thomas. “Musicians in the Marketplace: The Venetian Guild of Instrumentalists in the Later 18^th Century.” Early Music. August 1991, pp. 345-355. JSTOR

Note: A section of this article addresses the activities of Dragonetti in Venice prior to his arrival in London in 1794 (p. 353). Another section presents his painting (p. 351).

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• Doernberg, Erwin. “Domenico Dragonetti: 1763-1846.” The Musical Times. Vol. 104, No. 1446, 1963, pp. 546-548. JSTOR

• Lister, Warwick. “Dragonetti, Viotti and Those Superb Sextets of Mozart.” The Musical Times. No. 157, 1937 (2016), pp 3-5. WorldCat – Article Link

• Montag, Lajos. “Dominico Dragonetti – 200^th Anniversary.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 3) November, 1967, pp. 4-6.

• O’Neal, Neal. “Domenico Dragonetti, Primo Basso: 1763- 1864.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 4) Vol. 6 (1968) pp. 9-15.

Note: A reprint from the “Double Bass Notes” of The American Guild of Double Bass Players.

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• Planyavsky, Alfred. “Der Patriarch der Kontrabassisten. Der italienische Kontrabassist und Komponist
  Domenico Dragonetti (1763-1846)” Das Orchester. No. 6, 1993, pp. 666-671.

• Sabuncu, Irmak. “A Technical Guidance for the Dragonetti Concerto In A Major by Édouard Nanny and Beyond.” Online Journal of Bass Research (OJBR). Vol. 16, October 2022 – OJBR – Online View

• Scelba, Anthony. “Dragonetti: The Man and His Music.” International Society of Bassists Magazine. Vol. 4, No. 2, 1977-78, pp. 361-371.

• Scott, Drew and Eelena Hubert. “Dragonetti Comes to Life in the 21st Century in New Online Exhibition.” Bass World : The Journal of International Society of Bassists. Vol. 47, No. 1, October – January 2024, pp. 35-36.

Note: This article presents a report on an online exhibition, “Digital Dragonetti: Exploring the Collections at Northwestern University.” The exhibition features a unique set of Dragonetti artifacts, letters and scores held by Northwestern University, and can be seen online at Digital Dragonetti. A sub section of this exhibition called The Music of Dragonetti presents also the actual performances of Dragonetti compositions, some of which are featured here for the first time since the time of Dragonetti.

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• Slatford, Rodney. “Domenico Dragonetti.” Proceedings of the Royal Musical Association. Vol. 97, 1970, pp. 21-28. JSTOR

• Slatford, Rodney. “Dragonetti and Beethoven’s Ninth.” International Society of Bassists Magazine, Vol. 14,  No. 1, Fall 1987, pp. 50-51.

• Slatford, Rodney. “Dragonetti Correspondence.” International Society of Bassists Magazine. Vol. 3, No. 2, Winter 1977, p. 245.

Note: This article reports on the sale of a collection that consisted of over 200 Dragonetti letters, and which took place at the auction in London on October 13, 1976. This collection resides now at the Northwestern University Library, and the details of this collection are summarized at ABP Bienen School of Music – Library – Legacies. Unfortunately, and to the extent that it is known to the author of this portal, the Northwestern online databases do not offer a single access point to the original collection list of those 200 plus letters sold in London in 1976. Instead, there are several finding aids and search engines that can bring out the records of these documents, of which some are scanned and available online.

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• Slatford, Rodney and Tony Scelba. “Dragonetti and Lindley (with the third cellist).” International Society of Bassists Magazine. Vol. 3, No. 2, Winter 1977, p. 243, 245.

Note: This feature presents the famous collotype photo of Dragonetti and Lindley kept at the National Galleries of Scotland. The Collotype was taken sometime within the first two weeks of October 1843 during the Edinburgh Music Festival when Dragonetti was 80 years old and less than three years before he died. According to Slatford this photo may represent Dragonetti in performance of Corelli’s Trio in version for two cellos and double bass, of which we have a record as being performed in concert in Edinburgh on October 13^th, 1843.

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• Slatford, Rodney. “A Lesson with Dragonetti.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 13) Vol. 2, No. 3, June 1970, pp. 22-24.

Note: This article presents a unique period description of the actual bass lesson with Dragonetti that an amateur bassist Mr. John Parry Senior (deduced) have had in London. This story was originally printed in the journal “The Cheltenham Looker On” in 1839, and was by chance rediscovered by Rodney Slatford for a reprint in the “Bass Sound Post.”

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• Stoll, Klaus. “Sig: Dragonetti (hand written), A Silouette of Domenico Dragonetti (from the Collection of Klaus Stoll).” International Society of Bassists Magazine. Vol. 2, No. 2, Winter 1976, p. 133.

Note: This feature presents only a silouette outline of Domenico Dragonetti from the collection of Klaus Stoll. Unfortunately, no other information on the date or creator of this image is presented. In this image Dragonetti has a small “pony tail” visible in his hairstyle, so this may indicate either a time period of early London years (post 1794), or even Venetian period (pre 1794).

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• Sykes, Claire. “Domenico Dragonetti: Into the Light.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 2, October – January 2010, pp. 47-49.

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Dubost, Yann

• Dubost, Yann. “2005 ISB Double Bass Competition Winners, Yann Dubost (Paris, France), First Prize, ISB Solo Division.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 52-53.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Dyke, Jon Van

• Dyke, Jon Van. “Jon Van Dyke: The Minnesota Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, p. 37.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Eddy, John

• (author not cited) “John Eddy.” (International Society of Bassists Magazine. Vol. 6, No. 3, Spring 1980, p. 619.

Note: A short tribute feature. Eddy was a graduate of Chicago Conservatory of Music where he studied with Warren Benfield.

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Elliott, Cathy

• Elliott, Cathy. “A New Initiative for Young Bassists.” International Society of Bassists Magazine. Vol. 19, No. 3, Fall 1994, pp. 38-40.

Note: The article includes biographical information on Cathy Elliott and her teaching approaches in work with young bassists.

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Engles, Gottfried

• (author not cited) “Gottfried Engels.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, pp. 4-5.

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Feeney, John (1956)

• Lardin, Heather Miller. “Mind the Gap: John Feeney Puts the Basso in Classical Music.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 59-60.

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Fenner, Karl

• Fenner, Karl. “Karl Fenner, Atlanta Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, pp. 28-29.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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Findeisen, Albin (1881-1936)

• Damhus, Ture and Preben Fahnoe. “Theodor Albin Findeisen (1881-1936).” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 1, June – September 2005, pp. 17-20.

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Foley, Xavier

• Isaak, Graham. “Xavier Foley: Redefining Diversity at Sphinx.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, pp. 43-45.

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Forad, Orin (1973-2020)

• (author not cited) “Orin Foard (1973 – 2020)” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, p. 7.

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Fosses, Marta

• Perry, Brian. “Marta Fosses, Orchestre Philharmonique de Radio France” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 2, February – May 2022, pp. 19-20.

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Francis-Smith, Edward

• Francis-Smith, Edward. “Edward Francis-Smith, Double Bass, Metropolitan Opera Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 1, October – January 2018, p. 37.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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Fryba, Hans (1899-1986)

• Siebach, Konrad. “Hans Fryba.” International Society of Bassists Magazine. Vol. 12, No. 2, Winter 1986, p. 3.

Note: A small tribute written by Konrad Siebach.

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Fuller, Jerry

• Duffie, Bruce. “Jerry Fuller, Performer and Scholar of the Double Bass and Violone, A Conversation with Bruce Duffie.” WNIB, Classical 97, 30 June 1997, BruceDufie.com/Fuller  |  IA – BruceDufie.com/Fuller

Note: Note: This article presents a transcript of an interview recorded on June 30, 1997 for a broadcast at WNIB, Classical 97 in Chicago. Jerry Fuller is cited both here in the Bass Players – Classical and Bass Players – Violone & Period Basses listings.

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Gajdos, Miloslav (1948)

• Sarchet, Greg. “Czeching Out America: An Interview with Miloslav Gajdos.” Translated by Helena Zaludova. Bass World : The Journal of International Society of Bassists. Vol. 22, No. 3, (1998), pp. 41-43.

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Gannett, Diana (1947)

• Aaron, Jeffrey and Diana Gannett. “Comprehensive Warm-Up Exercises for Bassists: A Key to Proficiency.” International Society of Bassists Magazine. Vol. 19, No. 3, Fall 1994, pp. 18-22.

Note: This article descirbes the Warm-Up Exercises for the Double Bass In Seven Phases by Diana Gannett, which themselves are derived, in part from (her) years of experience with Gary Karr’s bass class exercises. The article describes in detail all the exercises and the benefits they provide to the practitioners.

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Gilbert, Edaward J. (1913-1981)

• (author not cited) “Edward J. Gilbert.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, p. 30. (pages not numbered, page numbers counted)

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Giorgi, Massimo (1953-2020)

• Slavik, Jiri. “Massimo Giorgi (1953-2020)” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 1, October – January 2020, p. 53.

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Gladstone, Robert (1928-2002)

• Green, Barry. “Robert Gladstone.” The Bass Line. [ Publication of the International Society of Bassists ] Fall  2002, p. 2.

Note: A short tribute article.

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• (author not cited) “Robert Gladstone.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, p. 17. (pages not numbered, page numbers counted)

• Reiley, Steven. “The Basses of Robert Marsh Gladstone.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 39-41.

Note: This article features the basses from the former collection of Robert Gladstone.

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Gnekow, Edmond

• Gnekow, Edmond. “Edmond Gnekow: Section Bass, Buffalo Philharmonic.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, p. 20.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Goedecke, Lebrecht (1872-1947)

• (author not cited) “Der Kontrabaßmeister Lebrecht Goedecke.” Der Kontrabass. Nr. 4, Leipzig, Marz 1930, p. 39-42. IA – Download Link

Note: The author of this biographical article on Lebrecht Goedecke is not cited. Yet, it may be Joseph Clam, who wrote the preceding article in the same Der Kontrabass. Nr. 4, and who was also from Berlin. The article otherwise offers plenty of details on Goedecke’s schooling, career and later solo performances and repertoire. Also, it amy be of interest to note that Goedecke’s early solo repertoire features the transcriptions of Handel’s Oboe Concerto and Mozart’s bassoon concerto, the same pieces that by chance were also part of Koussevitzky’s repertoire. Since Goedecke and Koussevitzky are practically the same generation, it may be of interest to discover who in fact has introduced these arrangements on bass, and wheter one may have influenced the other?

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• (author not cited, possibly Klaus Stoll) “Lebercht Goedecke.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 110.

Note: This is a small report on Goedecke’s March 11, 1900 solo performance with Berlin Philharmonic. A photo of Goedecke is also featured.

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Goilav, Yoan (1933-2022)

• (author not cited). “Yoan Goilav” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 2, February – May 2022, p. 8.

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Gold, Ira J.

• Gold, Ira J. “Ira J. Gold, Section Bass, National Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 1, July – September 2006, p. 22.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Gouffe, Achille (1804-1874)

• Rosengard, Duane. “F. Plumerel 1843, Gouffe.” International Society of Bassists Magazine. Vol. 15, No. 3, Spring 1989, (article starts on page 32 and follows on centerfold section without pagination (pp. 1-6), inserted between pages 32 and 33 ; Gouffe paragraph is located at the centerfold section (unnumbered, please count pages by yourself) pp. 1-2, 6.)

Note: Although the focus of this article is the F. Plumerel 1843 bass, Rosengard also presents a nice historical background on the owner of this instrument Mr. Gouffe and his affiliation with the famous painter Edgar Degas, in whose drawings and paintings Gouffe is featured among the musicians of the Paris Opera orchestra.

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Grams, Anton (1752-1823)

• Albrecht, Theodore. “Anton Grams, Beethoven’s Preferred Double Bassist.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, pp. 19-23.

• Jonášová, Milada. ““Mozart Selbst Schenkte Ihm Seinen Beifall” Der Prager Kontrabassist und Musikverleger Anton Grams in Salzburg und Wien.” Mozart Studien Band 21, Edited by Manfred Hermann Schrnid, Vol. 21, Hollitzer Verlag, 2012, pp. 337-68. JSTOR

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Gravagno, Emilio “Lee” (1934-2016)

• (author not cited). “Emilio Gravagno.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 73-74.

Note: This is a tribute article dedicated to Emilio Gravagno.

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Green, Barry (1945)

• (auhor not cited) “Barry Green Completes Far East Tour.” International Society of Bassists Magazine. Vol. 10, No. 1, Fall 1983, p. 18.

• Ellison, Paul. “Barry – Summer Bass School.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, p. 5.

Note: An article about how Barry Green was involved in (ISB) Summer School organization and management.

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• Green, Barry. “Staying on the Path.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, p. 37.

• Grodner, Murray. “An Insatiable Appetite.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, p. 5.

Note: Murray Grodner’s recollection on Barry Green’s student years at Indiana University at the time Grodner was his professor.

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• Proto, Frank. “Barry Green, A Personal Note by Frank Proto.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, p. 5.

Note: This article presents a nice overview of Proto’s activities as a composer at the time he met Barry Green in Cincinnati and all the compositions on which they collaborated together, including the Proto’s Concerto for Double Bass written for Barry Green.

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• Tolo, Leland. “Spotlight on Bassists, Barry Green’s New York Debut.” International Society of Bassists Magazine. Vol. 2, No. 3, Spring 1976, p. 162.

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Gregora, Frantisek (1819-1887)

• Gajdos, Miloslav. “What Do We Owe Gregora?” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, pp. 56-57.

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Grodner, Murray (1922-2022)

• (author not cited) “Murray Grodner (1922-2022)” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, p. 9.

• Green, Barry. “Murray Grodner The Myth, the Legend, the Man.” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 3, June-September 2023, pp. 19-24.

• Grodner, Murray. “Give Your Shoulder a Break.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 1, June – September 2013, pp. 20-23.

• Siegel, Ray. “Interview with Murray Grodner.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 110.

Note: This interview took place during the California State University Lon Beach Campus Bass Workshop in 1975.

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Grossman, David J.

• Budrow, Jack. “Different Strokes.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 3, February – May 2007, pp. 37-40.

Note: This article offers a brief biography of David Grossman and also cites his compositions. Pages 38-40 offer the samples of his solo writing in “Excerpt from Meditation from Thais” arrangement and “Excerpt from “Mood Swings” for Trombone and Double Bass,” which is the original composition for bass.

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• Grossman, David J. “New York Philharmonic Orchestra, Section Bass: David J. Grossman.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, p. 6.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Gustafeste, Joseph (1930-1923)

• (author not cited) “Basshenge.” The Bass Line. [ Publication of the International Society of Bassists ] Fall 2001, p. 11.

Note: An article about Prof. Guastafeste’s grounds called “Basshenge” since it features a colossal set of steel bass sculptures set on columns so that they resemble the English Stonehenge. In that respect this entire ground may be perceived as a unified “bass” theme sculpture park.

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• Tuck, John. “A Celebration of the Career of Joseph Guastafeste, Principal Bassist of the Chicago Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 23-29.

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Guettler, Knut

• Altena, Quirijn van Regteren. “Interview with Knut Guettler.” International Society of Bassists Magazine. Vol. 14, No. 2, Winter 1988, pp. 42-46.

• (author not cited) “Knut Guettler.” International Society of Bassists Magazine. Vol. 5, No. 4, Spring 1979, p. 517.

Note: This is just a short, one paragraph biography.

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• Guettler, Knut. “The Open Minded Bassist.” International Society of Bassists Magazine. Vol. 9, No. 2, Winter 1983, p. 28.

Note: This article presents some three profiles of stereotypical inflexible dogmatic teachers that Guetler believes should be offered a chance to “open their minds.” The topics of this article was also covered by Knut Guettler as an introduction to the panel discussion at the Isle of Man, 1982.

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• Guettler, Knut. “Visiting the United States in 1968.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 16) Vol. 2, No. 6, December 1970, pp. 10-16.

Note: In this “Letter to the Editor” Guettler explains his teaching philosophy and his four-finger left hand fingering approach.

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• Slatford, Rodney. “Outside of America with Rodney Slatford, Knut Guettler in Norway.” International Society of Bassists Magazine. Vol. 3, No. 2, Winter 1977, p. 251.

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Guldemond, Henk

• Harte, Carol. “An Interview with Henk Guldemond, Solo Double Bassist of the Concertgebouw Orkest in Amsterdam, The Netherlands.” International Society of Bassists Magazine. Vol. 16, No. 3, Spring 1990, pp. 54-55.

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Güttler, Wolfgang (1945-2022)

• (author not cited) “Wolfgang Güttler (1945-2022)” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, p. 9.

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Haapala, Tuomo

• Haapala, Tuomo. “The Love for Johanna, Reflections from a Bass Fiddler.” International Society of Bassists Magazine. Vol. 19, No. 3, Fall 1994, p. 12.

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Haigh, Scott

• Haigh, Scott. “A View from the Bass Section: On the Road.” International Society of Bassists Magazine. Vol. 19, No. 3, Fall 1994, pp. 14-17.

Note: Reflections of Scott Haigh on the life and work in Cleveland Orchestra Bass Section, and particulalry on the orchestra international tours.

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Halloin, Evan

• Halloin, Evan. “Evan Halloin, Section Bass, Kansas City Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, p. 51.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Jeff Turner.

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Hamlen, Christopher

• Hamlen, Christopher. “Christopher Hamlen, Section Bass, Syracuse Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, pp. 51-52.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Hanna, Alexander

• Hanna, Alexander. “Alexander Hanna, Principal Bass, Detroit Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 1, July – September 2009, pp. 23-25.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner. At the present Principal Bass of the Chicago Symphony Orchestra.

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Harrison, Travis

• Kosky, Chris. “Technology Helping to Inspire, Educate and Connect Musicians: Travis Harrison” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 2, February – May 2022, pp. 30-33.

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Hartmann, Erich (1920–2020)

• (author not cited) “Erich Hartmann (1920–2020)” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 1, October – January 2020, p. 54.

• Stert, Wolfgang. “Erich Hartmann.” International Society of Bassists Magazine. Vol. 3, No. 2, Winter 1977, p. 269.

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Hauta-aho, Teppo (1941-2021)

• (author not cited) “Teppo Hauta-Aho” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 1, October – January 2021, p. 7.

• Sonata, Hauta-aho. “Teppo Hauta-Aho 1941-2021.” Magazin der Sperger Gesellschaft. Nr. 5, März 2022, pp. 51-52. IA – Download Page

Note: A tribute written in German and English in two parallel columns.

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Hegner, Ludvig (1851-1923)

• Knudsen, Per Dalsgaard, Arne Moller and Jasper Caprani. “Danish Double Bassist: Ludvig Hegner (1851-1923).” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, pp. 19-22.

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Heath, Jason

• Kosky, Chris. “Interviewing the Interviewer: Jason Heath!” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, pp. 39-40.

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Herman, Jory

• Herman, Jory. “Jory Herman, Section Double Bass, San Diego Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 44-45.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Hermann, Hans (1870-1931)

• Hermann, Hans. “Aus meiner Kontrabassitenzeit.” Der Kontrabass. Nr. 2, Leipzig, Ende Juni, 1929, pp. 14-15. IA – Download Link

Title in English: On my experience (time) as a bassist

Note: This is a biographical sketch of a double bassist who worked at the turn of 19^th to 20^th centuries in several European orchestras including Berlin, Genf, Kassel, London, St. Petersburg, Vienna and Berlin. The first part of this article vividly describes the author’s bass education routine in the late 19^th century, while the second part covers the author’s orchestra experience.

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Hermann, Holger

• Walter, David. “Nova.” International Society of Bassists Magazine. Vol. 11, No. 1, Fall 1984, p. 37.

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Hertl, Frantisek (1906-1973)

• Baclar, Jan. “Frantisek Hertl, Pedagogue, Composer and Conductor.” International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, pp. 100-101.

• Hertl, Frantisek. “[ Letter to Gary Karr – no title ].” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 1) February 1967, p. 7.

Note: This is a reply letter to Gary Karr after he contacted Frantisek Hertl with the news on the foundation of the International Institute for String Bass. In the letter Hertl also presents a short overview of the Prague Conservatory, which was the first music conservatory in Europe. In addition, the article presents some of the school famous bass students, and some of whom have later established their own bass schools.

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Heyes, David

• Kosky, Chris. “More Bass (Music)!!” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, pp. 49-51.

Note: This article presents an interview with David Heyes, bassist, composer and a founder of Recital Music publishing company.

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Hoag, Charles

• Obrecht, Eldon. “The Double Bass Music of Charles Hoag.” International Society of Bassists Magazine. Vol. 9, No. 3, Spring 1983, p. 37.

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Hoffmann, Klaus

• Neubert, David. “Spannungen, Triolett and… alias Samuel Beckett.” International Society of Bassists Magazine. Vol. 14, No. 2, Winter 1988, p. 30.

Note: An overview of avantgarde contemporary compositions for bass by Klaus Hoffmann.

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Hogan, Sarah

• Hogan, Sarah. “Sarah Hogan, Section Bass, Saint Louis Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 50-51.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Hoock, Christine

• Hoock, Christine. “The Sound of Bass.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, pp. 59-64.

Note: This article was written in autobiographical style yet it also describes the cooperation between Hoock and composer Rabbih Abouh-Khalil on a new composition for bass.

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Hood, John

• (author not cited) “Hood, John A.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, p. 24.

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Horton, Alex

• Horton, Alex. “Alex Horton, Assistant Principal Bass, Chicago Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 3, June – September 2024, p. 24.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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Hrdlik, Miroslav

• Molina, Steve. “Mirolsav Hrdlik.” International Society of Bassists Magazine. Vol. 2, No. 3, Spring 1976, p. 164.

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Huang, Mark

• Huang, Mark. “Mark Huang, Section Bass, Baltimore Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, p. 34.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Huebner, Jena

• Huebner, Jena. “Jena Huebner: Section Bass, Columbus Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, p. 20.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Hurst, Lawrence

• Bhillips, Bob. “An Interview with Bassist Larry Hurst.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 1, June – September 2012, pp. 15-19.

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Hutchinson, Larry

• (author not cited) “Music Educator Wins ‘In Time’ In Detroit.” International Society of Bassists Magazine. Vol. 9, No. 3, Spring 1983, p. 31.

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Ibragimov, Rinat (1960-2020)

• (author not cited) “Rinat Ibragimov (1960–2020)” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 1, October – January 2020, p. 54.

• Visotsky, Dmitry. “Rinat Ibragimov – Entdeckung des Kontrabasses.” ; “Rinat Ibragimov – Finding the Bass.” Magazin der Sperger Gesellschaft. Nr. 4, August 2021, pp. 43-45. IA – Download Page

Note: Article Interview written in German and English in two parallel columns.

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Ivelja, Mario

• (author not cited) “Mario Ivelja.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, p. 9.

• (author not cited) “Mario Ivelja.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, p. 24.

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Jablonski, Kevin

• Jablonski, Kevin. “Kevin Jablonski, The Nashville Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, pp. 65-67.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

• Jablonski, Kevin. “2005 ISB Double Bass Competition Winners, Kevin Jablonski (Columbus, OH) First Prize, IS8 Age 15-18 Division.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, p. 54-55.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Jacobsen, Alexander (1989)

• Jacobsen, Alexander. “Alexander Jacobsen, Section Bass, National Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 2, October – January 2013, pp. 63-64.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone: Orchestra Audition Winners,” editor Jeff Turner.

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Javian, Mary

• Kosky, Chris. “Music for Good! Let’s Meet Mary Javian.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 3, June – September 2024, pp. 38-39.

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Johnson, Brian

• Johnson, Brian. “Brian Johnson, Section Bass, Kansas City Symphony..” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, p. 43.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Johnson, Christopher

• Turner, Jeff. “Christopher Johnson, Winner, 2013 ISB Orchestra Competition.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, p. 47.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Jeff Turner.

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Jones, Nicholas

• Jones, Nicholas. “Nicholas Jones, Buffalo Philharmonic.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 3, February – May 2018, pp. 33, 35.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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Jung, Ha Young

• Jung, Ha Young. “Ha Young Jung, Principal Double Bass New Jersey Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 3, June-September 2023, pp. 35-36.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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Kakarigi, Frano

• (author not cited) “23rd Festival of Yugoslavian Contemporary Music.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, p. 9.

Note: A report from The 23rd Festival of Yugoslavian Contemporary Music held in Opatija where Frano Kakarigi performed Sonata for bass and piano by Senad Gačević.

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Kamm, Ryan

• Kamm, Ryan. “Ryan Kamm, Section Bass, Nashville Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 2, October – January 2004, p. 25.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Kämpfer, Joseph (1734 – post 1796)

• Térey-Smith, Mary. “Joseph Kämpfer, a Contrabass Virtuoso from Pozsony (Bratislava).” Studia Musicologica Academiae Scientiarum Hungaricae, Vol. 25, No. 1/4, 1983, pp. 183-189. JSTOR

• Térey-Smith, Mary. “Joseph Kämpfer, a Contrabass Virtuoso from Pozsony, Bratislava.” International Society of Bassists Magazine. Vol. 11, No. 3, Spring 1985, pp. 6-13.

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Karr, Gary (1941)

• In this section you will find four types of articles about Garry Karr and written by Gary Karr. Those are Interviews & Biographical Features, Activities Articles, Pedagogy Articles written by Karr himself, in which he explains his technique, and offer advice on the study and performance of bass; and lastly the Repertoire Articles. The Karr Pedagogy articles are also cited in the Pedagogy heading on this page.

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Gary Karr – Interviews & Biographical Features

• (author – interviewer not cited)  “A 50th Anniversary Interview with ISB Founder Gary Karr.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 19-22.

• (author not cited) “Gary Karr.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 9) Vol. 9, No. 6, 1968-69, p. 5.

• Haapala, Tuomo. “Karr Talk, A Personal Voice: An Interview with Gary Karr.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 3, 1997, pp. 26-30.

• Ritchie, Bill. “An Interview with ISB Founder Gary Karr, The Future is Coming up Roses.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 1, June – September 2001, pp. 12-15.

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Gary Karr – Activities

• (author not cited). “Gary Karr Endowing ISB with Assets of the Karr Doublebass Foundation” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, p. 53.

• Karr, Gary. “Karr on Time.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 4) Vol. 6 (1968) p. 16.

Note: In this article Karr explains his statements and thoughts that were presented in his interview for the Time magazine (July 5, 1968), and which apparently have stirred some emotions in the orchestra bass circles.

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• Karr, Garry. “What Would You Call It?” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 2, (1998), pp. 50-53.

Note: In this article Gary Karr describes how the very name of the instrument “double bass” got his appearance at the Johny Carson show cancelled! The article also presents various names the bass is called and how did the ISB Bass World, the ISB Bass Sound Post and the ISB Probass get their names at the end.

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• Isacoff, Stuart. “Gary Karr, Master of the Orchestra’s “Bullfrog.”” Virtuoso. March-April 1981, pp. 4-7.

Note: On page 6 of this article one may see a unique photo of four members of the Karr family with their basses, including the boy Gary Karr with his own small instrument.

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• Reinfranck, Stephen. “Gary Karr Helping Kids.” International Society of Bassists Magazine. Vol. 19, No. 2, Spring 1994, pp. 22-24.

Note: A report on a benefit performance of Gary Karr in Evanston (Chicago area) in order to fundraise funds for the repair of the basses in local junior high and high schools. The concerto took place at the First United Methodist Church of Evanston in front of the audience of some 400 people.

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Gary Karr – Pedagogy

• Karr, Gary. “Are Your Vibes Working?” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 15) Vol. 2, No. 5, October 1970, pp. 9-11.

Note: Gary Karr’s approach to vibrato. Recommended.

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• Karr, Gary. “Bass-ic Material.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, p. 31-32.

Note: This feature presents a letter of a student to Garry Karr with inquiries on Karr’s bass string height, his shifting technique and the question on Magic Flute excerpt fingering. Although the questions are eclectic, the replies are well worth noting as they present Karr’s approach to these specific topics.

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• Karr, Gary. “Bridge Playing.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, p. 22.

Note: Here is the recipe for the great “inimitable” tone from the great master himself. How does Garry Karr produce such a fantastic tone and what this has to do with the string bow placement? As you will see, it is essentially a principle and a process, rather then a straight out physical placement rule. This short article is highly recommended to every student and professional, as it addresses the most fundamental issue of how a solo playing (or actually any other type of playing) may do a justice to an image of a double bass and a bass profession in general.

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• Karr, Gary. “The Entire Fingerboard in One Easy Lesson.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 15) Vol. 2, No. 5, October 1970, pp. 18-27.

Note: In this article Karr presents harmonics as a tool that can help beginning students get familiar with higher positions on fingerboard through harmonics, and by which they can also get a reference for intonation and be able to tune the bass relatively early instruction phase. This system is apparently designed to bypass the common methodology of progress from lower to higher positions, by offering instead the student the chance to get acquainted with harmonics right from the beginning of the instruction. The article cited also in Pedagogy – Juvenile section.

Cited also in Pedagogy – Juvenile heading.

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• Karr, Gary. “Extension Fingering.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, pp. 26-27.

Note: The author of this site was not aware that Prof. Karr has used or advocated extension fingerings, yet in this article he offers several simple and practical exercises on how to start employing these fingerings.

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• Karr, Gary. “Good Sound – Good Bowing.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, pp. 14-15.

Note: This article presents the tone production ideas of Prof. Karr, it also offers the most standard “professorial” description of what the term staccato means, and how it should performed. So, if this standard concept of staccato was by chance not familiar, please do revisit it, as this was a common scholarship at the time of printing, as it certainly predates 1970 by decades, if not centuries.

This article precedes and complements the following article:
Karr, Garry. “Bridge Playing.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, p. 22.

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• Karr, Gary. “Karr Talk, Rosin – A Sticky Subject.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, p. 18.

Note: Prof. Karr presents his views on past and present rosins he had used, and how he approaches rosin use for his solo playing.

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• Karr, Gary. “Karr Talk, Simandlites, Beware.” International Society of Bassists Magazine. Vol. 20, No. 2, Spring/Summer 1995, p. 54-57.

Note: The article about Prof. Karr’s experience with Simandl’s bass pedagogy opus.

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• Karr, Gary. “Karr Talk, Straight Shooting about Bows.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 1, 1997, pp. 4-11.

Note: In this article Karr presents his views on bows and the need bows should fulfill for solo and orchestra performance. Prof. Karr has owned in vicinity of 80 (eighty) bows during his career and he indeed has much valuable advice to offer on the subject.

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• Karr, Gary. “Letters to the Editor.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 17) Vol. 3, No. 1-6, 1971, pp. 3-5.

Note: Although this feature presents only the questions directed to, and answered by Gary Karr, the majority of questions concern the bass technique. This feature also reflects well on Karr’s own thoughts on bass pedagogy and performance.

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• Karr, Gary. “More on the Bow.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 6) (Vol. 6, No. 3) 1968, pp. 26-28.

Note: Prof. Karr’s thoughts on bow use.

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• Karr, Gary. “On Bornoff.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 14) Vol. 2, No. 4, August 1970, pp. 14-15.

Note: In this article Karr offers an homage to philosopher Dr. George Bornoff, and presents how Bornoff’s thoughts have influenced his own approach to bass pedagogy.

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• Karr, Gary. “Sound and Intention: Four Steps to Stress-Free Practicing for Lifelong Results” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, pp. 15-16.

Note: This is a fascinating and condensed set of instructions on how to practice as Gary Karr and written by Gary Karr himself. So all the advice is 100% authentic and may bring out some ideas that are not part of common collegiate practice routine.

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• Karr, Gary. “Technique for Soul.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 10) Vol. 1, No. 1, December 1969, pp. 19-21.

Note: An excellent article on how to practice and for what final purpose. The article addresses the scale practice and the general approach to increasing your technical skills without reaching the over-exhaustion stage.

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• Nestler, Dona and Gary Karr. “Learning to Vibrate.” International Society of Bassists Magazine. Vol. 7, No. 2, Winter 1981, p. 699, p. 701.

Note: Since this article is signed by Gary Karr, this may imply that some parts of this article may also show how to teach the famous Karr vibrato.

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• Vance, George. “The Gary Karr Double Bass Book with Music by Paul Ramsier, Book I.” International Society of Bassists Magazine. Vol. 14, No. 3, Spring 1988, pp. 26-28.

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Gary Karr – Repertoire

• Karr, Gary. “It’s What’s Up and Front that Counts.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, pp. 19-23.

Note: This feature presents Prof. Karr’s listing of preferred solo bass compositions based on an experience of performing “30 different works with about 100 orchestras throughout the United States, Canada, Mexico and Europe (in the last eight years, prior to 1970).” Fascinating to note, but beside the Koussevitzky concerto one can also note a Dittersdorf concerto listed as well. Please take a note of the contemporary concertos on the list, since some of these compositions may not be known today, and they are on the list of the recommended ones.

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• Karr, Gary. “Of the Record.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, p. 28.

Note: In this article Prof. Karr offers the details on his famous Koussevitzky recording with Oslo Philharmonic, upon which the author of this portal, and along many other bassists worldwide, have modeled their own understanding and interpretation of Koussevitzky’s concerto. Apparently, for this recording Prof. Karr did stand in an unusual off-stage place, and probably in order to get the clean bass-only sound that is separated from the orchestra. Yet, at the end it seems that the mixing had still allowed the orchestra to overpower the bass in some sections. The second part of the article describes Karr’s recording experience with the Alexander Brott’s Profundum Praedictum.

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Katrama, Jorma (1936-2022)

• (author not cited). “Jorma Katrama” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 2, February – May 2022, pp. 7-8.

• Katrama, Jorma. “Practice Tips.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, p. 74.

Note: This sub article was printed within the “Young Bassists Page” column dedicated to juvenile bass audiences, yet it contains advice of service to collegiate and professional players as well.

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Keller, Andrew

• Keller, Andrew. “Andrew Keller, Section Bass, Utah Symphony” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 2, February – May 2020, pp. 31-32.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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Kelley, Richard Sr. ( ?-1977)

• (author not cited). “Dick Kelley Passes.” International Society of Bassists Magazine. Vol. 4, No. 3, 1977-78, p. 408.

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Knight, Anthony

• (author not cited) “Antony Knight.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, p. 6.

Note: A small tribute feature.

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Knussen, Stuart (1923-1990)

• Knussen, Kenneth (the son). “Stuart Knussen in Memoriam.” International Society of Bassists Magazine. Vol. 17, No. 2, Winter/Spring 1991, pp. 26-29.

Note: Stuart Knussen was among the first solo bassist who had started to record with professional ensembles and his recording of Mozart’s Per Questa Bella Mano from 1960 may actually be the very first recording of this composition.

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Kolosov, Evgeny

• (author not cited) “Kolosov’s Jubilee.” International Society of Bassists Magazine. Vol. 18, No. 2, Fall 1992, p. 8.

• Krotneko, Girgory. “Evgeny Kolosov: A Celbration.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 47-49.

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Koussevitzky, Serge (1874-1951)

• Burghausen, Ingo. “Serge Koussevitzky, An Historical Portrait for the Occasion of the fortieth Anniversary of his Death.” International Society of Bassists Magazine. Vol. 18, No. 2, Fall 1992, pp. 14-25.

• Glöckler, Tobias and Robert Nairn. “Something New From the Low Register: At long last, Koussevitzky’s Double Bass Concerto op. 3 in Urtext, An Interview With Tobias Glöckler.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 2, February – May 2024, pp. 37-42.

• Hanna, Alex. “Serge Koussevitzky, Concerto in E Minor.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 5-8.

Note: This article is featured under the column of “Different Strokes” and intended for the audience of bass players interested in Koussevitzky concerto as an orchestra audition solo piece. The first page of the article explains why is this concerto well suited for the auditions, while the remaining pages (pp. 6-8) offer the solo part with suitable fingerings.

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• Karr, Gary. “Of the Record.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, p. 28.

Note: In this article Prof. Karr offers the details on his famous Koussevitzky recording with Oslo Philharmonic, upon which the author of this portal, and along many other bassists worldwide, have modeled their own understanding and interpretation of Koussevitzky’s concerto. Apparently, for this recording Prof. Karr did stand in an unusual off-stage place, and probably in order to get the clean bass-only sound that is separated from the orchestra. Yet, at the end it seems that the mixing had still allowed the orchestra to overpower the bass in some sections. The second part of the article describes Karr’s recording experience with the Alexander Brott’s Profundum Praedictum.

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• Kohn, Andrew. “Koussevitzky’s Double Bass Repertoire: A Reassessment.” Online Journal of Bass Research (OJBR). Vol. 9, September 2017. OJBR – Online View

• Kohn, Andrew. “New Insights into the Koussevitzky Concerto.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 3, June – September 2019, p. 15-16.

• Kohn, Andrew. “Koussevitzky’s Compositions: The Pre-CD Recordings.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 3, June – September 2024, pp. 31-66.

Note: This is an excellent article that covers the pre-CD recording history and chronology of Koussevitzky’s opus. These recordings date  from 1930 till 1993. All early recordings which Koussevitzky recorded himself are presented here in detail, as well as all the other recordings that followed, including the famous Karr recordings. This article presents also the full list of modern streaming platforms that offer these recordings in a digital format.

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• Koussevitzky, Olga. “Virtuoso of the Double Bass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 15) Vol. 2, No. 5, October 1970, pp. 12-17.

Note: An excellent article on Koussevitzky which offers many details of his life and performance activities that may not be well known today. Written by Olga Koussevitzky, wife of Serge Koussevitzky.

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• Loveridge, G. Y. “Koussevitzky, A Visit With Serge Koussevitzky.” Probas. [ Publication of the International Institute for String Bass ] Vol. 1, Issue 1, Fall  1972, pp. 22-28.

• Grodner, Murray. “Help Get Koussevitzky Recording in Print Again.” International Society of Bassists Magazine. Vol. 3, No. 1, Fall 1976, p. 240.

• Montag, Lajos. “On the Genesis of the Cadenza of Serge Koussevitzky’s Concerto for Double Bass Op. 3.” International Society of Bassists Magazine. Vol. 12, No. 2, Winter 1986, pp. 49-51.

• Newton, Raymond. “Serge Koussevitzky, The Artist – The Musician.” International Society of Bassists Magazine. Vol. 5, No. 4, Spring 1979, p. 521, 525, 529.

• Olin, Downes. “Recital by Koussevitzky.” International Society of Bassists Magazine. Vol. 12, No. 1, Fall 1985, pp. 47-48.

Note: A reprint of Koussevitzky’s recital review which appeared in New York Times in 1928.

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• Sankey, Stuart. “The Concerto of Koussevitsky.” International Society of Bassists Magazine. Vol. 18, No. 3, Spring 1993, pp. 40-63.

Note: Please note that within the cited pagination many pages are the advertisements.

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• Visotsky, Dmitry. “Ein Leben für die Kunst, Sergey Koussevitzky (1874–1951).” ; “A Life for his Art, Sergey Koussevitzky (1874–1951).” Magazin der Sperger Gesellschaft. Nr. 5, März 2022, pp. 46-49. IA – Download Page

Note: Article written in German and English in two parallel columns.

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Kowal, Karol (1983)

• Kowal, Karol. “Karol Kowal, Best Performance of Required Piece, 2003 ISB Solo Competition.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, p. 35.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Krasnopolsky, Michael (1892-1988)

• (author not cited). “Michael Krasnopolsky.” International Society of Bassists Magazine. Vol. 15, No. 2, Winter 1989, p. 45.

• Krasnopolsky, Michael. “Performance Edition – Suite No. 1 of J. S. Bach, (Originally for Violoncello).” International Society of Bassists Magazine. Vol. 6, No. 4, Spring 1980, pp. 638-644.

Note: This is an actual edition of Bach’s First Violoncello suite. The transposition used by Krasnopolsky is a fourth lower from the “at pitch” approach that is common today.

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Krekeler, Daniel

• Krekeler, Daniel. “Daniel Krekeler, Section Bass, Metropolitan Opera.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 49-50.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Krolick, Edward (1923-2013)

• (author not cited) “Edward J. Krolick Retires.” International Society of Bassists Magazine. Vol. 9, No. 2, Winter 1983, p. 42.

Note: This article also offers Krolick’s recollection on how the teaching and performing standards have evolved in the US during the time he was active as a collegiate teacher.

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Kurtz, Jeremy

• Kurtz, Jeremy. “Jeremy Kurtz, Principal Bass, San Diego Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, p. 27.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Lambert, James

• Lardin, Heather Miller. “Renaissance Man: Jim Lambert on his Crossover Career, A Conversation between Heather Miller Lardin and Jim Lambert.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, pp. 35-38.

Note. Jim Lambert is cited both here in the Bass Players – Classical and Bass Players – Violone & Period Basses  listings.

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Laska, Gustav (1847-1928)

• (author not cited). “Dem Andenken Gustav Laskas.” Der Kontrabass. Nr. 2, Leipzig, Ende Juni, 1929, p.15. IA – Download Link

Title in English: Remembering Gustav Laska.

Note: This is a tribute biographical article on Gustav Laska who passed away in 1928, about a year earlier from the time of print. It appears that the text is derived from the Laska commemorative articles by Schwerin Kammervirtuos Clemen Meyer and bassist Franz Tischer Zeit.

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• Klaus, Günter. “Mein Weg – Betrachtungen zur Deutschen Bogenhaltung.” ; “My Way – Considerations on the German bow hold.” Magazin der Sperger Gesellschaft. Nr. 3, November 2020, pp. 29-31. IA – Download Page

Note: Article written in German and English in two parallel columns. This is an excellent article for all those who wish to find out more on various German bow holds, both present and historical, since the article offers several images of various holds. The article also offers a unique and unknown photo of Gustav Laska that features his posture with the bass and bow.

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• Laska, Gustav. “Willkür in Instrumentenbau, Besonder in bau des Kontrabasses.” Der Kontrabass. Nr. 5, Leipzig, Anfang Februar 1931, p. 51-52. IA – Download Link

Title in English: The Arbitrariness in Construction of Instruments, Particularly in the Construction of Double Basses.

Note: This article makes a very interesting read as it reflects on the state of instruments c. 1931 in German orchestras. The article emphasizes the benefit of coming to an orchestra rehearsal to play on an already present instrument, yet underlines the drawback that the multitude of sizes and setups of those orchestra-owned instruments was apparently mind boggling. The author then advises that it would be welcome if the instrument makers would produce instruments in only one optimal size and setup. The author also offers his own preference for the mid size four stringed instrument that can serve well in all settings (orchestra, chamber and solo role). Laska is very thorough in this requirement and he also offers the measurements for his ideal instrument. This article also presents many unique details on the bass practice in Germany in the early 30s of the last century.

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Laszlo, Albert

• Vizachero, Rick. “You Really Can’t Miss with This Formula: Conversations with Albert Laszlo.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 2, October – January 2004, pp. 36-38.

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Leandre, Joëlle (1951)

• Sturm, Hans. “Joëlle Leandre Discographie.”  Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, p. 50.

Note: This is a review of Joëlle Leandre Discographie book by Francesco Martinelli which offers the details of some seventy seven recordings Leandre has produced during her career.

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Lee, Owen

• Lee, Owen. “Owen Lee, Principal Bass, Cincinnati Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 2, October – January 2008, p. 17.

Note: The article written in autobiographical style. Part of the “Won the Audition? Next, Win the Position!” group of articles. Column editor Steve Reeves.

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Levine, Julius (1921-2003)

• Lee, Owen. “Remebering Julius Levine” The Bass Line. [ Publication of the International Society of Bassists ] Spring 2004, pp. 1-4.

Note: A tribute article with details on Levine’s life and career including several testimonies by friends and colleagues. The last page features Levine’s chamber music discography.

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Levinson, Eugene

• Braun, Joel. “Exploring Eugene Levinson’s School of Agility.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 51-57.

• Levinson, Gary. “One Man’s View Through the Looking Glass: An Interview with Eugene Levinson.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 1, July – September 2006, pp. 7-11.

• Moran, Steve. “Eugene Levinson: A Celebration of 25 Years and a Life in Music.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 1, June – September 2010, pp. 43-46.

• O’Brien, Orin. “Interview with Eugene Levinson.” International Society of Bassists Magazine. Vol. 13, No. 1, Fall 1986, pp. 5-6.

• Vizachero, Rick. “Can You Tell me How to get to Carnegie Hall? Please?” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 32-33.

Note: This article presents an overview of Prof. Levinson’s accomplishments.

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• Vizachero, Rick. “Eugene Levinson on Mozart’s “Per Questa Bella Mano.”” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 34-35.

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Levitan, Sam (1913-2003)

• Bianco, Tony. “Sam Levitan, 1913-2003.” The Bass Line. [ Publication of the International Society of Bassists ] Spring 2003, p. 8.

Note: A tribute story on Life and career of Sam Levitan, orchestra bassist at NBC Symphony under Toscannini and his friendship with Tony Bianco, later a principal bass at the Pittsburgh Symphony Orchestra.

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Levy, Benjamin (1980)

• Levy, Benjamin. “Benjamin Levy, Section Bass, Boston Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, p. 34.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Little, Jane (?-2016)

• (author not cited). “Jane Little.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, p. 69.

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Liu, Ju-Fang

• Liu, Ju-Fang. “Kansas City Symphony, Section Bass: Ju-Fang Lin.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, p. 6.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Locke, Justin

• Locke, Justin. “A Bass Viol Thing to Do.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, pp. 9-11.

Note: This article is a report on the Boston Pops bass stage routines and the bass section tradition to spin the basses during the concert.

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Lockwood, Todd

• Lockwood, Todd. “Todd Lockwood, Section Bass, Kansas City Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 1, June – September 2012, p. 20.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Luboff, Abe (1917-2004)

• Green, Barry. “Abe Luboff: A Tribute to Abe Luboff.” The Bass Line. [ Publication of the International Society of Bassists ] Spring 2005, pp. 1, 3-4.

Note: A tribute article to Abbe Luboff featuring his life, career and teaching.

• Luboff, Abe. “Bricks and Mortar.” International Society of Bassists Magazine. Vol. 10, No. 1, Fall 1983, pp. 21.

Note: This article presents Abe Luboff’s teaching precepts and philosophy.

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Luo, Long

• Luo, Long. “Long Luo: Section Bass, Alabama Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, pp. 36-37.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Madensky, Edouard (1877-1923)

• Smărăndescu, Săndel. “10. The Contrabass. The Process of his Appearance and Consecration In Romanian Music.” Review of Artistic Education, no. 28, 2024, pp. 361-368. ProQuest

Note: This article offers a short biography of Madensky on pages 363-365, and presents also an interesting fact that Madensky had won a double bass competition organized by Royal Court Opera in Vienna in 1899, chaired by Hans Richter and Gustav Mahler.

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Manoly, Ludwig (1855-1932)

• Scelba, Anthony. “Manoly on the Double Bass.” International Society of Bassists Magazine. Vol. 9, No. 3, Spring 1983, pp. 33-34.

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Maresh, Ferdinand (1918-1986)

• Scott, Henry. “Ferdinand Maresh.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, p. 3.

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Martin, Stephen

• Martin, Stephen. “Bass Odyssey, A Personal Account of Stephen Martin.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 105, 107.

Note: A report of Martin’s study journey over several US states where he met and studied with five leading US bass teachers at the time.

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Mathews, John (1926-2006)

• (author not cited) “John Matthews.” The Bass Line. [ Publication of the International Society of Bassists ] Winter  2006-2007, p. 3.

Note: A tribute article to John Matthwes, Principal Bassists with Baltimore Symphony for more than two decades and one of the first Americans to present solo bass concerts in Europe.

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Mason, Brandon

• Mason, Brandon. “Brandon Mason, Section Bass, Kansas City Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 51-52.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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McCormick, Gaelen

• McCormick, Gaelen. “Gaelen McCormick, Section Bass, Rochester Philharmonic Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 3, February – May 2012, p. 47.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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McCulllough-Benner, Jon

• McCulllough-Benner, Jon. “Jon McCulllough-Benner, Principal Bass, Milwaukee Symphony .” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 27, 29.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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McFadden, Joseph

• McFadden, Joseph. “Joseph McFadden, Principal Bass, Alabama Symphony Orchestra; Section Bass, Atlanta Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, p. 51.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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McKnight, Linda

• (author not cited) “Linda McKinght.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, pp. 6-7.

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McLean, Brandon

• Turner, Jeff. “Brandon McLean, Associate Principal Bass of the Pittsburgh Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, p. 60.

Note: A small section announcing McLean’s appointment as the new Associate Principal Bass of the Pittsburgh Symphony. This section also announces a retirement of Jeff Turner as the editor of “In The Zone” column and introduces Brian Perry as a new column editor.

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• McLean, Brandon. “Brandon McLean, Associate Principal Bass, Vancouver Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, pp. 48-50.

Note: This article presents author’s biography, audition expertise and audition advice. Column ‘In The Zone,” editor Jeff Turner.

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McSweeney, Mary Ann

• Kosky, Chris. “It’s Showtime! Meet Mary Ann McSweeney” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, pp. 40-42.

Note: An interview with a Broadway musicals’ bassist Mary Ann McSweeney. This article offers many insights on the life and practice in Broadway musicals for bassists.

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Merrett, James Edward

• Slatford, Rodney. “James Edward Merrett.” International Society of Bassists Magazine. Vol. 1, No. 3, Spring 1975, p. 72.

Note: This a small tribute article on the life and accomplishments of James Edward Merrett, who played with London Philharmonic 1945-1966 and was also the Co-Principal of the London Symphony Orchestra. Of interest is that he owned the famous Bottesini Testore which was then sold to John Duffy and apparently with all the photographs of Bottesini with this fine bass too. The full journey of this instrument, and its present whereabouts would be an interesting story to explore and document in the future.

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Meyer, Edgar

• Morton, Mark. “Edgar Meyer’s Double Bass Concerto.” International Society of Bassists Magazine. Vol. 19, No. 3, Fall 1994, p. 28.

• Pillich, Simeon. “Edgar Meyer Interviewed.” International Society of Bassists Magazine. Vol. 16, No. 1, Fall 1989, pp. 45-48, continued on pp. 54-60.

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Meyer, Robert (1920-2016)

• Karr, Gary. “Solid Gold Bassists, Robert Meyer: Over 80 Years Old and Still Passionate About the Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, pp. 15-17.

Note: Robert Meyer was an English bassist who closely collaborated with Benjamin Britten and to whom Britten even started to write a bass concerto that unfortunately has never been completed.

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Meyer, Ranaan

• (author not cited) “It’s About Time: The ISB Welcomes Time for Three” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, p. 10-11.

Note: Ranaan Meyer is a bassist and artist whose interests cover classical music and Americana. For now he is cited as a classical bassist, yet it appears that in the future he may be listed in the other categories as well. This article covers the activity of his trio “Time for Three” and along offers much info on Meyers activity as a bass player.

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Milburn, David

• Milburn, David. “David Milburn, Assistant Principal Bass, San Antonio Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 1, February – May 2015, pp. 49-50.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Jeff Turner.

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Moleux, Georges Edmond (1900-1966)

• Finnegan, John A. “George E. Moleus, 66, Long with the Symphony.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 1) February 1967, p. 5.

Note: A tribute article to George Moleux, long time principal bass of the Boston Symphony Orchestra.

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Montag, Lajos (1906-1997)

• Enreiter, Istvan. “Memories of Lajos Montag (1906-1997).” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 3, February – May 2007, p. 19.

• Trumpf, Klaus. “Lajos Montag at 77, A Lifetime of Dedication to the Double Bass.” International Society of Bassists Magazine. Vol. 10, No. 2, Winter 1984, p. 32.

• Trumpf, Klaus. “Letter of Congratulations on Montag’s 65^th Birthday.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 16) Vol. 2, No. 6, December 1970, pp. 8-10.

Note: This Letter of Congratulation to Prof. Montag was published within the Bass Sound Post “Letter to the Editor” column as an introduction to German bass activities and a report on the “Encounter of Double Bass Players” in Berlin in March of 1971.

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Morton, Mark

• Ramsier, Paul. “ An Open Letter to the Bass Community.” International Society of Bassists Magazine. Vol. 19, No. 1, Fall 1993, pp. 24-27.

Note: This article presents Ramsier’s perceptions on state of solo bass music and also reviews Mark Morton’s ISB 1993 Interlochen workshop on the advancement of the double bass.

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Munagian, Katherine

• Munagian, Katherine. “Katherine Munagian, Section Bass, Nashville Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 63-64.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Jeff Turner.

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Müller, August (1808-1867)

• Pinca, Massimo. “August Müller’s Contributions to the Neue Zeitschrift Für Musik (1848-1849): Evidence of Approaches to Orchestral Double Bass Playing in the Mid-19th Century.” Ad Parnassum. Vol. 12, No. 23, April 2013, pp. 15-59 Ad Parnasum Journal Link

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Munter, Eero (1954-2022)

• (author not cited). “Eero Munter (1954-2022)” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, p. 7.

Note: A small tribute article to Eero Munter, Principal Bass of the Lahti Symphony in Finland.

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Muroki, Kurt

• Kurtz, Jeremy “An Interview with Kurt Muroki: On Chamber Music, The Importance of Listening, and Being the Musician First.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 1, July – September 2009, pp. 9-15.

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Myers, Nick

• Myers, Nick. “Nick Myers, Detroit Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 2, February – May 2019, pp. 45-46.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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Myers, Paris

• Myers, Paris. “Paris Myers, Milwaukee Symphony Orchestra” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, pp. 29.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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Nairn, Robert

• Fuller, Jerry. “An Interview with Robert Nairn.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, pp. 40-42.

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Naish, Bronwen

• Naish, Bronwen. “Double Bass Lady does the Fringe.” International Society of Bassists Magazine. Vol. 14, No. 2, Winter 1988, pp. 14-18.

Note: In this article Bronwen Naish describes her Scottish Arts Council Tour in 1987 and along a concert at the Edinburgh Fringe, a festival that occurs at the same time the Edinburgh Festival takes place.

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Nanny, Edouard (1872-1942)

• Sabuncu, Irmak. “A Technical Guidance for the Dragonetti Concerto in A Major by Édouard Nanny and Beyond.” Online Journal of Bass Research (OJBR). Volume 16, October 2022 – OJBR – Online View

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Neidlinger, Buell (1936-2018)

• (author not cited) “Buell, Neidlinger.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 3, February – May 2018, p. 53.

Note: A tribute article to Buell Neidlinger whose activity has covered both the jazz and classical fields, so he is cited in both listings.

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• Luboff, Abe. “New Bass Compositions – Chamber Music No. 4.” International Society of Bassists Magazine. Vol. 3, No. 3, Spring 1977, p. 294.

Note: An overview of the Rosenmann’s Chamber Music No. 4  including the details on composer, the origin of the piece and the soloist Buell Neidlinger.

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Netolicka, Karel (1929-?)

• (author not cited) “A Prague Professsor US Bound.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 7) (Vol. 6, No. 4) 1968, pp. 15-16.

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Nettleman, Kathryn

• Nettleman, Kathryn.  “Kathryn Nettleman, Section Bass, Minnesota Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 46-47.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Nunes, Lino José (?- 1847)

• Borém, Fausto ; Ribeiro, Alfredo ; Neves, Gustavo ; Campos, João Paulo and Rodrigo Olivarez. “Lino José Nunes’s 1838 Methodo: Historical, Analytical and Editorial Aspects of an Afro-Brazilian Double Bass Jewel.” Online Journal of Bass Research (OJBR). Vol. 5, April 2015. OJBR – Online View

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Nwanoku, Chi-chi

• Wallace, Helen. “An Interview with Chi-chi Nwanoku.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 3, Winter 2000, pp. 42-47.

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Obrecht, Eldon R. (1920-2011)

• (author not cited) “Eldon Obrecht.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 9) Vol. 9, No. 6, 1968-69, p. 2.

• Aaron, Jefrrey. “Eldon Obrecht Composes, Arranges, and Performs.” International Society of Bassists Magazine. Vol. 12, No. 3, Spring 1986, pp. 47-49.

Note: This article presents an overview of Obrecht’s Concerto for Double Bass that was premiered on February 7, 1986.

• Gannett, Diana. “Remembering Eldon R. Obrecht (1920-2011).” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, pp. 21-22.

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O’Brien, Orin (1935)

• Jacobson, Robert. “Entrances and Exits.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, pp. 16-18.

Note: An early biography of Orin O’Brien.

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• Mapp, Douglas. “Ten Questions for Orin O’Brien.” (Part I) Bass World : The Journal of International Society of Bassists. Vol. 36, No. 3, February – May 2013, pp. 16-20.

• Mapp, Douglas. “Ten Questions for Orin O’Brien: Part II.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 1, June – September 2013, pp. 16-19.

• O’Brien, Orin. “Some Thoughts on Teaching.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 13-14.

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Okamoto, Satoshi

• Okamoto, Satoshi. “Satoshi Okamoto, Section Bass, New York Philharmonic.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, p. 24.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Okuda, Kazuo (?-2010)

• Zhang, DaXun. “A Tribute to Kazuo Okuda.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 2, October – January 2010, p. 13.

Note: A tribute article to Kazuo Okuda, Principal Bassist of the Osaka Century Orchestra and Professor of bass at Osaka University of Arts.

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Olsen, Karl

• Olsen, Karl. “Karl Olsen: Section Bass, Louisville Orchestra (KY).” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, p. 33.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Olson, Vera

• Olson, Vera. “And Then There was One.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 2) June 1967, pp. 15-16.

Note: This is an autobiographical article of Vera Olson, which in somewhat humorous tone also touches on the gender issue of perception and treatment of lady bassists at and prior to 1967.

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Oppelt, Robert

• (author not cited) “National Symphony Hires Young Talent.” International Society of Bassists Magazine. Vol. 9, No. 2, Winter 1983, p. 31.

Note: A report of Oppelt’s National Symphony in Washington, DC appointment. Printed in the “Audition Spotlight” section.

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Osborne, Tony (1947-2019)

• (author not cited) “Tony Osborne (1947-2019).” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 3, June – September 2019, p. 36-38.

• Heyes, David. “All in a Days Work.” The Bass Line. [ Publication of the International Society of Bassists ] December, 1997, p. 1, 5.

Note: A biography feature of bassists and composer Tony Osborne on occasion of his 50^th birthday.

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Parman, Marilyn

• (author not cited) “Marilyn Parman Returns to the Bass at Age Seventy.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 3, February – May 2009, p. 5.

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Pastor, Eve-Simone

• (author not cited) “Eve-Simone.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, p. 85.

Note: Eve-Simone Pastor Avgerions was the first double bassist to win the Philadelphia Orchestra Children’s Concerto Competition, and has subsequently appeared as a soloist with Philadelphia Orchestra in performance of Dittersdorf Concerto. The featured article consists of three sections: the introduction (author not cited), Eve-Simone letter to the ISB magazine at the age of 12, and lastly the letter of her mother.

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Paul, Charles

• Paul, Charles. “Charles Paul, Section Bass, Baltimore Symphony” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, p. 29.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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Paulsen, Ed

• Paulsen, Ed. “Ed Paulsen, Section Bass Kansas City Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 3, February – May 2009, p. 23.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Pearce, Paul

• (author not cited). “Paul Pearce.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, pp. 6-7.

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Pecevski, Igor (1965)

• (author not cited) “Austrian Consulate Hosts Recital in NYC.” The Bass Line. [ Publication of the International Society of Bassists ] April 1997, p. 3.

Note: A short overview of Pecevski’s recital in New York City, which was presented in Viennese Tuning and for the audience of New York city bassists and the bassists from the Vienna Philharmonic, who were on tour in NYC at the time of this event. Photo with all bassists and guests featured.

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Pederzani, Ezio (?-2020)

• Slatford, Rodney. “Outside America – Milan, Italy, Ezio Pederzani.” International Society of Bassists Magazine. Vol. 3, No. 1, Fall 1976, p. 238.

Note: An interview with Ezio Pederzani, Professor at Conservatorio Giuseppe Verdi in Milan and principal Bass of La Scala, Milan.

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Perlman, David (?-1981)

• (author not cited) “The 1750 Dominicus Busan Double Bass.” International Society of Bassists Magazine. Vol. 9, No. 3, Spring 1983, (centerfold section, 6 pages, no pagination, inserted between pages 20 and 21).

Note: This centerfold on p. 1 features a short biography of David Perlman who was the former owner of  Dominicus Busan 1750 instrument.

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Perry, Brian

• Perry, Brian. “Brian Perry, Section Bass, Dallas Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 1, February – May 2015, pp. 47-48.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Jeff Turner.

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• Perry, Brian. “Brian Perry, Section Bass, Fort Worth Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 19-20.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Petracchi, Franco (1937)

• (author not cited) “Franco Petracchi.” International Society of Bassists Magazine. Vol. 5, No. 4, Spring 1979, p. 517, continued on p. 519.

Note: This is a relatively brief biography.

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• Ritter, Alexandre. “Franco Petracchi and the “Divertimento Concertante Per Contrabbasso E Orchestra” by Nino Rota: A Successful Collaboration Between Composer and Performer.” Online Journal of Bass Research (OJBR). Vol. 3, January 2012. OJBR – Online View

• Nubert, David. “President’s Corner.” International Society of Bassists Magazine. Vol. 19, No. 3, Fall 1994, p. 2.

Note: An overview of Petracchi’s activities at the Third Georgia Bass Symposium, 1994

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Piacek, Jindrich (1908-?)

• Gajdos, Miloslav. “Happy 80^th Birthday to Czech Bassist Jindrich Piacek.” Translated by Karel Janacek and Klaus Schruff. International Society of Bassists Magazine. Vol. 15, No. 2, Winter 1989, p. 10.

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Pillinger, Franz (1960)

• Duranceau, Anne. “An Interview with Franz Pillinger.” International Society of Bassists Magazine. Vol. 20, No. 1, Winter 1995, pp. 55-56.

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Pingel, Scott

• Heath, Jason. “The Bass Solo That Brought Down the House, A Conversation with Scott Pingel” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 1, October – January 2020, pp. 17-22.

Note: Although Scott Pingel is a classical bassist, also a Principal Bass of the San Francisco Symphony, this article is about the concert cooperation between San Francisco Symphony and the Metalica band and the unique bass solo that Pingel performed on this joint event that “Brought the House Down.” This is indeed a fascinating article about how the classical and hard rock (metalica) genres can be joined for the mutual benefit.

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• Pingel, Scott. “Scott Pingel, Principal Bass, San Francisco Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, p. 24.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Pitts, Timothy

• Kurtz, Jeremy. “An Interview with Timothy Pitts.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 2, October – January 2010, pp. 28-30.

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Planyavsky, Alfred (1924-2013)
–

Articles by Alfred Planyavsky

For articles written by Alfred Planyavsky please cosult the listing at Planyavsky’s site under  Alfredplanyavsky.at – Referate / Vorträge

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Artiles about Alfred Planyavsky

• Walter, Angerer. “Gratulationsbrief an Alfred Planyavsky, Enhernprasident der Internationale Sperger Gesellschaft.” Sperger-Forum. Nr. 2/3, November 2004, p. 47.

Title in English: Letter of congratulations to Alfred Planyavsky, Honorary President of the International Sperger Society.

Note: This honorary address offers a brief biography of Planyavsky in German.

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• (many signatories)  “[ Birthday Greeting Card ]” The Bass Line. [ Publication of the International Society of Bassists ] Fall 2003, p. 6.

Note: This is a very interesting and unique newsletter feature as it presents a copy of the 80^th Birthday Greeting Card to Prof. Planyavsky, which is signed by probably more than seventy bassists and friends. The story of how this card originated and how could all of these signatories leave their signatures on this unique card is perhaps to be told one day.

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Plumeri, Johnterryl “Terry”

• (author not cited)  “Remembering Johnterryl “Terry” Plumeri.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, p. 9.

Note: A tribute article to Johnterryl “Terry” Plumeri, an orchestra bassist, classical, solo bass and movie music composer and a jazz bassist.

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Portnoi, Henry (1914-1996)

• Krolick, Edward. “Creative Bass Technique by Henry Portnoi.” International Society of Bassists Magazine. Vol. 6, No. 2, Winter 1980, p. 577, continued at p. 579.

• Portnoi, Henry. “Nomenclature of Bow technique.” International Society of Bassists Magazine. Vol. 7, No. 3-4, Spring and Summer 1981 (Double Issue), pp. 719-720, 722 (right column).

Note: This is an excellent article on bow strokes and their precise definition, or the lack of them. A subject that is not often discussed in our times, although the historical diversity and nomenclature of strokes certainly variants a fresh look.

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• Portnoi, Henry. “Pedagogical Corner, Lets Talk Some Language .” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 114.

Note: This is a very brief article on what the term Legato means to Prof. Portnoi.

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Posta, Fratisek (1919-1991)

• (author not cited) “Frantisek Posta.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, p. 6.

Note: A small tribute feature.

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• Fancher, Joelle. “Frantisek Posta, Czech Double Bass Virtuoso.” International Society of Bassists Magazine. Vol. 18, No. 3, Spring 1993, pp. 28-33.

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Proto, Frank (1941)

• (author not cited) “Frank Proto.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, pp. 14-15. (pages not numbered, page numbers counted)

• (author not cited) “Liben Music Publishers – A Short Story.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, pp. 15-16. (pages not numbered, page numbers counted)

Note: This article by Frank Proto (written in first person, so assumed to be written by him although his name is not cited) presents a short history of his bass music publishing company “Liben Music Publisher’s.”

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• (author not cited) “Proto Work Takes Japan by Storm.” International Society of Bassists Magazine. Vol. 17, No. 2, Winter/Spring 1991, p. 4.

• Gertz, Bruce. “An Interview with Frank Proto.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 1, October – January 2023, pp. 47-49.

• Neubert, David. “Quintet for Piano and Strings by Frank Proto.” International Society of Bassists Magazine. Vol. 13, No. 1, Fall 1986, p. 38-45.

• Neubert, David. “Twenty One Modern Etudes by Frank Proto.” International Society of Bassists Magazine. Vol. 11, No. 3, Spring 1985, p. 43.

• (author not cited) “Fantasy for Double Bass and Orchestra.” International Society of Bassists Magazine. Vol. 10, No. 2, Winter 1984, pp. 22-23.

Note: This article features a review of Proto’s Fantasy for Double Bass and Orchestra written for Francois Rabbath. The article also features a part of the composition score. The article covers two pages, however the magazine centerfold section, which features the Goffriller bass, is inserted right in-between those two pages (22 and 23).

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• Proto, Frank. “Barry Green, A Personal Note by Frank Proto.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, p. 5.

Note: This article presents a nice overview of Proto’s activities as a composer at the time he met Barry Green in Cincinnati and all the compositions on which they collaborated together, including the Proto’s Concerto for Double Bass written for Barry Green.

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• Proto, Frank. “Give and Take, The All Around Bassist.” International Society of Bassists Magazine. Vol. 7, No. 1, Fall 1980, p. 669.

Note: This article follows up on Proto’s lecture “The All Around Bassist” presented during the ISB Summer Bass School 1980.

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• Proto, Frank. “Give and Take, Sound of Bass Volume 2, Album.” International Society of Bassists Magazine. Vol. 6, No. 2, Winter 1980, p. 585.

Note: In this feature of column “Give and Take” Proto describes how he recorded his bass quartet by himself on a multitrack tape recorder, while in the second part of this column he addressees the issues of boredom with the professional orchestra job that bassists may encounter after winning the audition and realizing that the same orchestra routine awaits them for the rest of their life.

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• Ramsier, Paul and Frank Proto. “Tunings Timbre and Talking Bass, an Interview with Frank Proto and Paul Ramsier.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 1, June – September 2008, pp. 17-21.

Note: Also cited under Composers listing – Ramsier, Paul.

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Prunner, Josif (1886-1969)

• Cheptea, Ion. “Josif Prunner (1886-1969).” International Society of Bassists Magazine. Vol. 3, No. 1, Fall 1976, p. 223.

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Quillen, Caleb

• Quillen, Caleb. “Caleb Quillen, Section Bass, Kansas City Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 52-53.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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Rabbath, Francois (1931)

• (author not cited) “Fantasy for Double Bass and Orchestra.” International Society of Bassists Magazine. Vol. 10, No. 2, Winter 1984, pp. 22-23.

Note: This article features a review of Proto’s Fantasy for Double Bass and Orchestra written for Francois Rabbath. The article also features a part of the composition score. The article covers two pages, however the magazine centerfold section, which features the Goffriller bass, is inserted right in-between those two pages (22 and 23).

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• Cross, Sam. “The Francois Rabbath Master Class at Domaine Forget.” International Society of Bassists Magazine. Vol. 14, No. 1, Fall 1987, pp. 6-7.

• Dome, Victor. “1991 International Rabbath Institute.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, pp. 56-60.

• Gilbert, Linda M. and Hans Sturm. “The Art of Bow DVD Project.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 41-42.

Note: An in depth study DVD project presenting the 3D motions of a bow arm based on the bow technique of Francois Rabbath.

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• Merritt, Marty. “Rabbath at Rice, An Introduction to the New Technique, October 8 – 13, 1983.” International Society of Bassists Magazine. Vol. 10, No. 2, Winter 1984, pp. 17-19.

Note: An overview of Rabbath visit to Houston where he performed solo with the Houston Symphony and presented a workshop at Rice University.

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• Proto, Frank. “Francois Rabbath.” International Society of Bassists Magazine. Vol. 5, No. 4, Spring 1979, p. 517, continued at p. 519.

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Raciti, Andrew

• Raciti, Andrew. “Andrew Raciti, Assistant Principal, Milwaukee Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 2, October – January 2008, pp. 21, 23.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Rakov, Lev (1926)

• (author not cited). “Lev Rakov: A Long and Happy Career, 75 Years with the Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 75-77.

• Visotsky, Dimitry. “Lev Rakov, Ein Leben mit dem Kontrabass.” ; “Lev Rakov, A Life with the Double Bass.” Magazin der Sperger Gesellschaft. Nr. 3, November 2020, pp. 46-50. IA – Download Page

Note: Article written in German and English in two parallel columns.

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Reel, Thomas

• (author not cited) “New Midland-Odessa Principal.” International Society of Bassists Magazine. Vol. 9, No. 2, Winter 1983, p. 31.

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Recuber, Nicholas

• Recuber, Nicholas. “Nicholas Recuber, The Colorado Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, p. 67.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Regtern Altena, Quirijn van (1956)

• (author not cited) “Quirijin van Regtern Altena – Holland.” International Society of Bassists Magazine. Vol. 12, No. 1, Fall 1985, p. 3.

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Reist, Joel

• Reist, Joel. “Joel Reist, Principal Bass, Nashville Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, pp. 27-28.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Roelofsen, Hans

• Bradetich, Jeff. “Grand Duo Concertant from Holland.” International Society of Bassists Magazine. Vol. 11, No. 3, Spring 1985, pp. 29-31.

Note: A presentation of Grand Duo Concertant ensemble whose members are bassists Hans Roelofsen and Rudolf Senn.

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Roberts, Christopher

• Roberts, Christopher. “The Ritual Bass.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 3, February – May 2009, pp. 17-21.

Note: An article about Christopher Roberts’ life journey, his residence in Papua New Guinea and the way the indigenous culture has influenced his bass music.

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Robinson, Harold

• Robinson, Hal. “Hal Robinson, Principal Bass, Philadelphia Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 2, October – January 2008, p. 19.

Note: The article written in autobiographical style. Part of the “Won the Audition? Next, Win the Position!” group of articles. Column editor Steve Reeves.

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Rohe, Robert

• Rohe, Robert. “The Bass Viol Quartet of New Orleans.” International Society of Bassists Magazine. Vol. 5, No. 1, Fall 1978, p. 463.

Note: Of interest in this article is also a performance report of the Rohe’s own Quartet for String Basses which apparently was written in 1954. This composition may have been composed with the knowledge, or even influence of late Frederick Zimmermann, who participated in the premiere of the famous Gunther Schuller Bass Quartet (written 1947, premiered 1960).

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Rollez, Jean-Marc (1931–2020)

• (author not cited) “Jean-Marc Rollez (1931–2020)” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 1, October – January 2020, p. 55.

• (author not cited) “Jean-Marc Rollez.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 120.

Note: This is a short resume-biography of Rollez up to 1975.

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Ruggieri, Roger (1939)

• (author not cited) “Rogger Ruggieri.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 9) Vol. 9, No. 6, 1968-69, p. 4.

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Ruiz, Edicson

• Plüddemann, Maja. ““Blick zur Urquelle”- ein Interview mit Edicson Ruiz.” Magazin der Sperger Gesellschaft. Nr. 1, Juli 2018, p. 34. IA – Download Page

• Plüddemann, Maja. ““Look to the Source”- an Interview with Edicson Ruiz.” Magazin der Sperger Gesellschaft. Nr. 1, Juli 2018, p. 35. IA – Download Page

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Samardžiski, Ljupčo (1947-2014)

• (author not cited) “Samardziski.” International Society of Bassists Magazine. Vol. 3, No. 1, Fall 1976, p. 235.

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Sanderling, Barbara

• Walter, David. “Barbara Sanderling.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, p. 31.

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Sankey, Stuart (1927-2000)

• (author not cited) “Memories of Stuart Sankey, December 31, 1927 – May 1, 2000.” The Bass Line. [ Publication of the International Society of Bassists ] May 2000, pp. 1-5.

Note: A tribute article on Sankey’ life and legacy, featuring also personal memories of some fifteen bassists, former students, professors colleagues or friends.

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• Sankey, Stuart. “Different Strokes.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 3, Winter 2000, pp. 48-52.

Note: Featured Solo, Bottesini, G. – Concerto No. 2 in B Minor, Movement 1 (with fingerings)

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• Neubert, David. “Gypsy Music, by Stuart Sankey, Dedicated to Oscar Ghilia.” International Society of Bassists Magazine. Vol. 12, No. 1, Fall 1985, p. 49.

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Savakus, Russell (?-1984)

• (author not cited) “In Memoriam Russell A. Savakus.” International Society of Bassists Magazine. Vol. 11, No. 1, Fall 1984, p. 25.

Note: A tribute article to Russel Savakus, a studio recording bassist.

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Schreinzer, Karl (1884-1960)

• Planyavsky, Alfred. “Nachruf auf den Tod Professor Karl Schreinzers.” Österreichische Musik Zeitschrift. (No.  3), 1960, p. 160.

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Scodanibbio, Stefano (1956-2012)

• Korb, Wolfgang. “Revolutionär am Kontrabass: Ein Nachruf Auf Den Kontrabassisten und Komponisten Stefano Scodanibbio.” Neue Zeitschrift Für Musik (1991-), Vol. 173, No. 2, 2012, pp. 38-39. JSTOR

Title in English: Revolutionary on the Double Bass: An Obituary for the Double Bassist and Composer Stefano Scodanibbio.

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Scontrino, Antonio (1850-1922)

• Malagugini, Nicola. “Antonio Scontrino, an Instrumentalist in the Golden Age of Opera.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 1, October – January 2018, pp. 23-27.

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Scott, Roger (1919-2005)

• Martin, Thomas. “Roger Scott: The Sound of Philadelphia.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, pp. 46-52.

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Semsis, Michail-Pavlos

• Semsis, Michail-Pavlos. “Michail-Pavlos Semsis, First Solo Double Bass, WDR Sinfonieorchester Köln” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 1, October – January 2022, p. 21.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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Senn, Rudolf

• Bradetich, Jeff. “Grand Duo Concertant from Holland.” International Society of Bassists Magazine. Vol. 11, No. 3, Spring 1985, pp. 29-31.

Note: A presentation of Grand Duo Concertant ensemble whose members are bassists Hans Roelofsen and Rudolf Senn.

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Sevitzky, Fabien (1893-1967)

• Heilbut, Francis. “Dr. Fabien Sevitzky.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 2) June 1967, pp. 11-12.

Note: This is a reprint of a tribute article on Sevitzky in New York Times from 1967.

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• Sevitzky, Fabian. “[How Difficult it is to be a Double Bass Virtuoso].” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 1) February 1967, p. 6.

Note: This is a printed version of Sevitzky’s personal letter to Garry Karr in regard to the newly founded International Institute for String Bass. Since this is simply a letter, this “article” does not have a title , yet for the sake of one a sentence written by Sevitzky to Karr which states “Now you realize how difficult it is to be a Double Bass virtuoso. “ was chosen as the one. This may also be the last letter Sevitzky wrote, as unfortunately he passed away in 1967.

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Schaeffer, John

• (author not cited). “John Schaeffer.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, p. 74.

Note: A tribute article dedicated to John Schaeffer, a former principal bass of the New York Philharmonic and a professor at Juilliard School.

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Shambley, Dwight

• Crouch, Madeleine. “Opening Doors to Opportunity.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 14-15.

Note: An article about Young Strings, a non profit org which offers free music education to Dallas black and Hispanic children, and which Shambley founded.

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• Young, David H.  “Dwight Shambley: A Tribute” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, pp. 8-13.

• (author not cited) “Remembering Dwight Shambley” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, p. 50.

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Shaw, Burke

• Shaw, Burke. “Houston Symphony Orchestra, Section Bass: Burke Shaw.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, pp. 6-9.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Shurtliffe, Brett

• Shurtliffe, Brett. “Brett Shurtliffe, Associate Principal Bass, Buffalo Philharmonic.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 2, October – January 2008, p. 21.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Shurtliffe, Brett. “2005 ISB Double Bass Competition Winners, Brett Shurtliffe (Pittsburgh, PA), First Prize, ISB Orchestra Division.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, p. 53-54.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Siani, S. Charles (1917-1991)

• (auhtor not cited) “Remembering S. Charles Siani.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, p. 19.

Note: A tribute article to Charles S. Siani, a professor of double bass at the San Francisco State University and the principal bass of San Francisco Opera Orchestra.

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Siebach, Konrad (1913-1995)

• Sanderling, Barbara. “A Life for Music, Konrad Siebach (1913-1995).” The Bass Line. [ Publication of the International Society of Bassists ] May 1996, p. 1.

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Simandl, Franz (1840-1912)

• McClure, Theron. “Franz Simandl.” International Society of Bassists Magazine. Vol. 1, No. 3, Spring 1975, p. 66.

Note: This small article presents two anecdotes about Simandl as told by his students Josef Houdek and Vaclav Jiskra. Yet, how and from what source did these two anecdotes get to Prof. McClure is not documented.

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Simons, Paul William

• (author not cited) “Paul William Simons … , Philosopher … Singer … Shaman – Bassist.” International Society of Bassists Magazine. Vol. 5, No. 4, Spring 1979, p. 523, continued on p. 529.

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Smith, Brian

• Smith Brian. “Brian Smith, Section Bass, Indianapolis Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 43-44.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Slatford, Rodney (1944)

• (author not cited) “Rodney Slatford.” Probas. [ Publication of the International Institute for String Bass ] Vol. 1, Issue. 1, Fall  1972, p. 8.

Note: A short biography of Rodney Slatford from 1972.

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• Slatford, Rodney. “Dittersdorf Concerto No. 2 in D Major.” International Society of Bassists Magazine. Vol. 16, No. 1, Fall 1989, p. 5.

Note: This article presents Slatford’s reply to article by Schultz, Michael J. “The Tuning of the Viennese Double Bass: An Indication of it’s Effect on the Articulation of Form in a Dittersdorf Concerto.” International Society of Bassists Magazine. Vol. 15, No. 3, Spring 1989, pp. 58-61.

In his reply Slatford offers his thoughts on how to approach the interpretation of Dittersdorf’s concerto and along advises that good way to understand Dittersdorf bass concerto is to actually explore the wider Dittersdorf’s opus in order to get familiar with musical style and other interpretations of Dittersdorf’s works.

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• Slatford, Rodney. “Practice Tips.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, p. 75.

Note: This sub article was printed within the “Young Bassists Page” column dedicated to juvenile bass audiences, yet it contains advice of service to collegiate and professional players as well.

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• Slatford, Rodney. “Seventy Elephants Later.” (Part 1) International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 105, p. 107.

Note: A report of a Slatford solo bass tour in India, Ceylon, Singapore, Borneo and Australia.

• Slatford, Rodney. “Seventy Elephants Later.” (Part 2) International Society of Bassists Magazine. Vol. 2, No. 2, Winter 1976, p. 138.

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Solomon, Murray “Doc” (2026-2018)

• (author not cited) “Murray “Doc” Solomon.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 3, February – May 2018, p. 53.

Note: A small tribute article to Prof. Solomon.

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Sommer, Andrew

• Sommer, Andrew. “Andrew Sommer, Chicago Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 3, June – September 2024, p. 25.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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Sperger, Johann Matthias (1750-1812)
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Sperger Forum

Please note that Sperger-Forum newletter, which was dedicated solely to J.M. Sperger, was printed in only five issues. The numbering of these issues however was somewhat convoluted because some have the “Nr.” designation, while the other feature only the “Heft” (Volume) ascription. For full details and chronology of these issues please see ABP Bass Journals – Sperger Forum section.

You may also note that many of the Sperger-Forum articles have its German and English variant. Commonly the newsletter would present the German variant first, followed by the English variant immediately after. However, in some cases the English translation would appear as the abbreviated version of the German original.

In this listing all the articles are listed alphabetically by the author and title, yet it was also thought prudent to list consecutively all German originals and their English translations together, so that they represent the order of printing in Sperger-Forum. Such a practice in turn did alter the alphabetical order of titles, but it was hoped that such a citation practice would offer greater benefit to those who wish to compare directly German and English versions. Moreover, every time a German Article is followed by a translated (or summarized) English version, these are labeled with (G 1.) and (E 2.) respectively at the end of the article citation. This was done on purpose in order for users to see that the articles are related and cover the same subject.

Lastly, if the article is printed without author’s name, then it was assumed that the author is Klaus Trumpf  (the newsletter editor), and his name is put in brackets. Thus you will see first the number of articles with the author cited in brackets as “(Trumpf, Klaus)” where the author is assumed, followed by “Trumpf, Klaus” where the author is actually cited at the article.

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Magazin der Sperger Gesellschaft

After the initial five issues the Sperger-Forum newsletter, the society’s publication was renamed in 2018 as the Magazin der Sperger Gesellschaft. The magazine’s new focus was now on the promotion of the Sperger Competition, yet it too has published several valuable articles on the life and activities of J. M. Sperger. The magazine has continued the tradition of publishing the articles in German and English variant, but now these articles appear in two parallel columns side by side, each in English and German respectively. So in essence, now we have a single article in two languages, and these are now cited as a single article print.

For full details and chronology of the magazine issues please see ABP Bass Journals – Magazin der Sperger Gsellschaft section.

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Listing of Articles on J. M. Sperger

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• (author not cited) “J. M. Sperger Symposium.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, pp. 4-5.

Note: An announcement for J. M. Sperger Symposium to be held from May 9-13, 1987 in Blankenburg, East Germany.

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• Bassarak, Rupercht. “Johann Matthias Sperger Musikschule Ludwigslust.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, p. 76.

• Bortolomai, Claudio. “Johann Matthias Sperger (1750-1812), Vier Sonaten in Orginalform für Kontrabass/Viola und Kontrabass/Violoncello.” Magazin der Sperger Gesellschaft. Nr. 1, Juli 2018, p. 42. IA – Download Page

• Bortolomai, Claudio. “Duett für Viola und Kontrabass von “Herrn Giovanni Sperger.” ; “Duet for Viola and Double Bass by Mr. Giovanni Sperger.” Magazin der Sperger Gesellschaft. Nr. 3, November 2020, pp. 32-33. IA – Download Page

Note: Article written in German and English in two parallel columns. This is article presents the edition work on Sperger’s Duett, Meier C I/8, Schwerin Ms. 5196.

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• Bortolomai, Claudio. “The 4 Sonatas in Original Form for Double Bass/Viola and Double Bass/Cello by Johann Matthias Sperger (1750 – 1812).” Magazin der Sperger Gesellschaft. Nr. 1, Juli 2018, p. 43. IA – Download Page

• Bosch, Leon. “J.M. Sperger – ein produktiver Komponist.” ; “J.M. Sperger – a Prolific Composer.” Magazin der Sperger Gesellschaft. Nr. 5, März 2022, pp. 42-45. IA – Download Page

Note: Article written in German and English in two parallel columns.

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• Boucher-Browning, Renaud. “Sperger’s Cadenzas for his Contrabass Concertos: A Study of Compositional Techniques and Improvisational Strategies for Creating Cadenzas.” Online Journal of Bass Research (OJBR). Vol. 13, August 2021. OJBR – Online View

• Boucher-Browning, Renaud. “Fermatenverzierung in Spergers Kontrabasskonzerten: Eine Musikwissenschaftliche Annäherung zur Aufführungspraxis.” ; “Fermata Embellishments in Sperger’s Contrabass Concertos: A Musicological Approach to Performance Practice.” Magazin der Sperger Gesellschaft. Nr. 4, August 2021, pp. 39-41. IA – Download Page

Note: Article written in German and English in two parallel columns.

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• Bunya, Michinori. “CD Johann Matthias Sperger, Kammermusik für Kontrabass.” Magazin der Sperger Gesellschaft. Nr. 2, Oktober 2019, pp. 26-27. IA – Download Page

Note: An Interview with Tobias Glöckler lead by Maja Plüddemann. The article is in German and English in two parallel columns.

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• Chirkov, Artem. “Sperger Renaissance in Russland.” ; “Sperger Renaissance in Russia.” Magazin der Sperger Gesellschaft. Nr. 3, November 2020, pp. 51-52. IA – Download Page

Note: Article written in German and English in two parallel columns.

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• Focht, Josef. “Der Position Spergers als Kontrabassist der Mecklenburg-Schweriner Hofkapelle.” Part 1, Sperger-Forum. Nr. 2/3, November 2004, pp. 34-35. (G 1.)

• Focht, Josef. “Sperger’s Position as Double Bassists of the Mecklenburg-Schwerin Court Orchestra.” Part 1, Sperger-Forum. Nr. 2/3, November 2004, pp. 35-36. (E 2.)

• Focht, Josef. “Die Position Spergers als Kontrbassist der Mecklenburg-Schweriner Hofkapelle.” Part 2, Sperger-Forum. Heft 3, Nr. 4/5, Oktober 2006, pp. 33-34. (G 1.)

• Focht, Josef. “Sperger’s Position as Double Bassists of the Mecklenburg-Schwerin Court Orchestra.” Part 2, Translated by James Lambert, Sperger-Forum. Heft 3, Nr. 4/5, Oktober 2006, pp. 35-36. (E 2.)

• Focht, Josef and Johannes Köppl. “Leipziger Allerlei – Kontrabass digital.” ; “Double Bass Goes Digital in Leipzig” Magazin der Sperger Gesellschaft. Nr. 3, November 2020, pp. 20-28. IA – Download Page

Note: Article written in German and English in two parallel columns. This article cover the subject of Organology, yet also the concert of J.M. Sperger in 1801 Leipzig, pp. 24-25 and the project of cataloguing all Sperger’s compositions online pp. 26-27.

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• Focht, Josef. “Sperger‘s Virtuosität: Modisch, Altmodisch oder Zeitlos?” ; “Sperger’s Vituosity: Fashionable, Old-fashioned or Timeless?” Magazin der Sperger Gesellschaft. Nr. 5, März 2022, pp. 30-35. IA – Download Page

Note: Article written in German and English in two parallel columns.

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• Focht, Josef. “Musik in Ludwigslust, Die Kontrabassisten um Sperger und ihre Wirkungsstätten Ein Beitrag von Prof. Dr. Josef Focht.” ; “Music in Ludwigslust, The Double Bassists around Sperger and Their Places of Action, An article by Prof. Dr. Josef Focht.” Magazin der Sperger Gesellschaft. Nr. 2, Oktober 2019, pp. 14-18. IA – Download Page

Note: Article written in German and English in two parallel columns.

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• Gajdos, Miloslav. “Der schöpferische Nchlaß von Johann Matthias Sperger.” Sperger-Forum: Mitteilungsblatt Der Internationalen Johann-Matthias-Sperger-Gesellschaft. Nr. 1, Mai 2002, p. 20.

Title in English: The creative inheritance of Johann Matthias Sperger.

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• Gajdos, Miloslav. “Konzert Nr. 2 “Haydn” – Haydn Revival.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 39, 42. (G 1.)

Note: In German.

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• Gajdos, Miloslav. “Haydn – Concerto per il Contrabasso.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 42. (E 2.)

Note: In English (abbreviated version), slightly different translation from the original.

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• Glettler-Feiertag, Jasmin. “Reisebericht zur Studienreise (28.03.-31.03.2019), “Auf den Spuren des Wiener Kontrabasses” ; “Travelogue to the Study Trip “On the Trails of the Viennese Double Bass.”” Magazin der Sperger Gesellschaft. Nr. 2, Oktober 2019, pp. 35-37. IA – Download Page

Note: Article written in German and English in two parallel columns.

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• Hanisch, Renate. “Seit 2003 mit neuem Namen: Kreismusikschule “Johann Matthias Sperger” Ludwigslust.” Sperger-Forum. Heft 3, Nr. 4/5, Oktober 2006, p. 52.

• Heißner, Reinhard. “Das Testament von Johaness Mathias Sperger.” Sperger-Forum. Heft 3, Nr. 4/5, Oktober 2006, p. 41.

• Hoock, Christine. “Johannes Sperger Romanze Mei B 29 bearbeitet für fünf Kontrabässe von Christine Hoock.” ; “Johannes Sperger Romanze Mei B 29 Arranged for Five Double Basses by Christine Hoock.” Magazin der Sperger Gesellschaft. Nr. 3, November 2020, pp. 38-39. IA – Download Page

Note: Article written in German and English in two parallel columns.

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• Jelinek, Miloslav. “Johann Matthias Sperger (1750–1812) Sonatas For Contrabass and Piano, Adaptation and Publication – Klaus Trumpf.” (Brno, 2003) Bass World : The Journal of International Society of Bassists. Vol. 35, No. 3, February – May 2012, pp. 25-32.

• Jelinek, Miloslav. “Johann Matthias Sperger (1750-1812), Sonaten für Kontrabass und Klavier, Bearbeiten und Herasugeben von Klaus Trumpf.” Sperger-Forum. Nr. 2/3, November 2004, pp. 27-30. (G 1.)

• Jelinek, Miloslav. “Johann Matthias Sperger (1750-1812), Sonatas for Contrabass and Piano, Adaptation and Publication – Klaus Trumpf.” Sperger-Forum. Nr. 2/3, November 2004, pp. 31-33. (E 2.)

• Pecevski, Igor. “The Double Bass Playing Technique of Johann Matthias Sperger” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 139-143. WorldCat Record – Book Link

Cited also in Bass History – Classical Period  and Bass Technique – Period Music – Classical Period .

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• Pecevski, Igor. “Silent Night a la Sperger.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, p. 31.

Note: A small melody exercise-piece of “Silent Night,” written in double stops by Pecevski to mimic the Sperger’s technique and also featured in treble clef by using Sperger’s unique notation system. Printed by courtesy of Joelle Morton.

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• Planyavsky, Alfred. “Bassgeige und Bassvioline.” Translated by Xenia Zeiter. Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 4-14. (G 1.)

Note: Article in German.

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• Planyavsky, Alfred. “Baßgeige und Baßvioline.” Translated by Xenia Zeiter. Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 15-22. (E 2.)

Note: Article in English (name of translator not provided). Also of interest that with the English version the title shows the German “ß” for double s in “bass,” while the German version shows standard double “s” in its spelling. Perhaps it was meant to be the opposite?

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• Planyavsky, Alfred. “Kontrabaß 04 : Versuch eines Protokolls im Gedenken an Sperger.” Part 1, Sperger-Forum. Nr. 2/3, November 2004, pp. 6-19. (G 1.)  Universität Wien – Article Record – OBVSG – Article Record

• Planyavsky, Alfred. “A Brief Summary of my German Article by James Lambert.” Part 1, Sperger-Forum. Nr. 2/3, November 2004, pp. 19-20. (E 2. a)

• Planyavsky, Alfred. “The Violone in the Anglo-American Literature. An Attempted Protocol.” Translated by James Lambert. Part 1, Sperger-Forum. Nr. 2/3, November 2004, pp. 20-27. (E 2. b)

Note: Please be aware that there are two different follow up articles in English (a. and b.). The first is a brief summary of the “Kontrabaß 04” by James Lambert, while the second offers somewhat different text and subject then the “Kontrabaß 04” on which it is based.

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• Planyavsky, Alfred. “Kontrabaß 04 : Versuch eines Protokolls im Gedenken an Sperger, Ende und Aufbruch.” Part 2, Sperger-Forum. Heft 3, Nr. 4/5, Oktober 2006, pp. 4-19. (G 1.)

• Planyavsky, Alfred. “The Violone in the Anglo-American Literature. An Attempted Protocol, An End and Beginning.” Part 2, Sperger-Forum. Heft 3, Nr. 4/5, Oktober 2006, pp. 20-27, 30-32. (E 2.)

Note: Please observe that the previously cited five articles by Planyavsky make a single project, while their titles may appear to address slightly different subjects. In essence there are two parts of “Kontrabaß 04” article in German, and likewise three translations of it with slightly different titles in English. However, the translations do differ in content and length somewhat and those differences may be addressed at some future point at some other venue.

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• Planyavsky, Alfred. “Vorwärts zu den Wurzeln / Ein kritischer Rückblick.” Sperger-Forum. Heft 4, (no Nr. indicated), Januar 2010, pp. 4-13. (G 1.)

Note: This article was also translated in English, and presented/read by Prof. Rob Nairn on June 6, 2007 at the International Society of Bassists Convention 2007, Oklahoma City University, OK, USA. See below. However, this 2010 German version contains some differences from the original translation for the 2007 conference reading, and as cited by the author in the footnote no. 1 in the article.

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• Planyavsky, Alfred. “Thinking Forward to the Roots / A Retrospective Survey.” Sperger-Forum. Heft 4, (no Nr. indicated), Januar 2010, pp. 14-20. (E 2.)

Note: This article in English version was presented-read by Prof. Rob Nairn on June 6, 2007 at the International Society of Bassists Convention 2007, Oklahoma City University, OK, USA.

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• Plüddemann, Maja and Tobias Glöckler. “Johannes Spergers “Sonata per il Contrabasso et Viola” (Meier C 1/6).” Magazin der Sperger Gesellschaft. Nr. 2, Oktober 2019, pp. 23-25. IA – Download Page

Note: An Interview with Tobias Glöckler lead by Maja Plüddemann. The article is in German and English in two parallel columns.

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• Rakov, Lev. “Kontrabassforschung Heute, Zum 200. Todestag von Johann Matthias Sperger.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 31-33. (G 1.)

• Rakov, Lev. “Double Bass Research Today.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 34-35. (E 2.)

• Roloff, Andreas. “300 Taler für zwei Sinfonien, Die Musikaliensammlung der Landesbibliothek Mecklenburg-Vorpommern in Schwerin.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 43-44.

• Roloff, Andreas. “Gedächtnis für Kontrabass, Die Musikalien der Landesbibliothek Mecklenburg-Vorpommern.” ; “Memory for Double Bass, The Music Materials of the Mecklenburg-Vorpommern State Library.” Magazin der Sperger Gesellschaft. Nr. 3, November 2020, pp. 42-45. IA – Download Page

Note: Article written in German and English in two parallel columns. An excellent source on the music materials in the Landesbibliothek Meklenburg-Worpommern, where the majority of Sperger manuscripts and solo bass compositions are held today. This is the article also explains the history of Sperger’s collection and how in fact Sperger’s music has survived to our day.

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• Sasina, Radoslav. “Johann Matthias Sperger in seiner Zeit.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 36-37. (G 1.)

• Sasina, Radoslav. “Johann Matthias Sperger in his Time.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 37-38. (E 2.)

• Sasina, Radoslav. “Warum “Wiener Stimmung” des Kontrabasses?” Sperger-Forum. Heft 4, (no Nr. indicated), Januar 2010, pp. 21-23, 26. (G 1.)

• Sasina, Radoslav. “Why Double Bass with Viennese Tuning?” Sperger-Forum. Heft 4, (no Nr. indicated), Januar 2010, pp. 27. (E 2.)

• Starke, Angelika. “Namensgebung an der Musikshule Ludwigslust: “Johann-Matthias-Sperger.”” Sperger-Forum. Nr. 2/3, November 2004, pp. 41-42.

• (Trumpf, Klaus.) “Aufführungen, Aufnahmen, Ausgaben.” Sperger-Forum. Heft 3, Nr. 4/5, Oktober 2006, pp. 45- 49.

Title in English: Performances, Recordings, Editions.

Note: This section of Sperger-Forum present the cumulative bibliography of all extant Sperger bass-music performances, recordings and editions as of 2006. This bibliography can certainly serve as a good basis for any future Sperger bibliograpy.

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• (Trumpf, Klaus.) “Brief von Johann Matthias Sperger and der Herzog Friedrich Franz I. von Mecklenburg-Schwerin vom 10. Oktober 1802.” Sperger-Forum. Heft 4, (no Nr. indicated), Januar 2010, p. 32.

Note: This is reprint of a Johann Matthias Sperger letter to Herzog Friedrich Franz I. von Mecklenburg-Schwerin from October 10, 1802 in which he asks Herzog for a permission to build a Catholic chapel in Ludwigslust. The reason for this request is because there was no catholic chapel in Ludwisglust at the time while the majority of musicians employed in service of Herzog were catholic.

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• (Trumpf, Klaus.) “CDs mit Kompositionen von Johann Matthias Sperger.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, p. 77.

Note: A nice bibliography of all CDs with Sperger’s music.

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• (Trumpf, Klaus.) “Ehrung für Johann Matthias Sperger zu seinem 260. Gebrutstage in seinem Geburtsort.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, p. 75.

Title in English: An honor to Johann Matthias Sperger for his 260^th Birthday in his Birthplace.

Note: This is a very short overview of an event organized in Valtice in honor of Sperger’s 260^th birthday anniversary. The article presents several exquisite photos of Castle Liechenstein and Valtice church where young Sperger was probably involved in music practice before leaving for Vienna in 1767.

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• (Trumpf, Klaus.) “Fragen an Ludwig Güttler.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 50-51.

Note: This article presents an interview with famous trumpet player Ludwig Güttler who has recorded numerous Sperger’s works for trumpet or cornet on CDs. The person who made an interview is not mentioned but it is likely Klaus Trumpf himself.

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• (Trumpf, Klaus.) “Schloss der Fürsten von und zu Liechenstein Fledberg-Valtice.” Sperger-Forum. Heft 4, (no Nr. indicated), Januar 2010, p. 39.

Note: A small article about the castle of the Princes of Liechestein in Feldsberg-Valtice (former Lower Austria, presently in Czech Republic), a city where Sperger was born and likely gained his first musical experience. In 1767, as a seventeen year old, Sperger was sent from Valtice to Vienna on further studies of music. So technically, he got to Vienna as a college age freshman, if we may use the modern analogy.

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• (Trumpf, Klaus.) “Spergers Gesuh 1802. Betreffend den Bau einer katholischen Kapelle in Ludwigslust.” Sperger-Forum. Heft 4, (no Nr. indicated), Januar 2010, pp. 32-33.

Note: This article follows on the Sperger’s letter sent to Herzog (see above) and details where this letter was discovered, how the Catholic chapel was completed and how at end Sperger even composed and performed “Leichte Orgelwerke” on the chapel organ, since he was an organist as well.

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• (Trumpf, Klaus.) “Testament von Johann Matthias Sperger Entdeckt.” Sperger-Forum. Nr. 2/3, November 2004, p. 45.

• Trumpf, Klaus. “Ein Denkmal für Anna Sperger!” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 55-57. (G 1.)

Note: This is an interesting article as it describes how did Anna Sperger, the widow of Sperger, bestow the Sperger’s music estate and his bass instrument to the court of Franz-Friedrich I of Mecklenburg-Schwerin. This article also presents the list of all compositions held in Sperger’s estate and along the Trumpf (T) numbering system for Sperger’s works.

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• Trumpf, Klaus. “A Monument for Anna Sperger!” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 57. (E 2.)

• Trumpf, Klaus. “Ein Gewißer Musikus Sperger …. der Einem Sonst Rauhen Instrumente eine bewundernswerte Annehmlichkeit zu geben weiß, Die Empfehlungsschrieben.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 44-47. (G 1.)

• Trumpf, Klaus. “A certain Musician Sperger …. Who Knows to Give an Admirable Pleasantness to a Usually Rough Instrument, The Letter of Recommendation.” Translated by Xenia Zeiter. Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 47. (E 2.)

• Trumpf, Klaus. “In “Lexikon der Deutschen Musikkultur 2002”” Sperger-Forum: Mitteilungsblatt Der Internationalen Johann-Matthias-Sperger-Gesellschaft. Nr. 1, Mai 2002, pp. 5-8. (G 1.)

Note: This is likely a J.M. Sperger article reprint from the Lexikon der Deutschen Musikkultur 2002 written by Klaus Trumpf.

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• Trumpf, Klaus. “In “Lexikon der Deutschen Musikkultur 2002”” Sperger-Forum: Mitteilungsblatt Der Internationalen Johann-Matthias-Sperger-Gesellschaft. Nr. 1, Mai 2002, pp. 8-10. (E 2.)

Note: This is an English translation of the original German J.M. Sperger article from the Lexikon der Deutschen Musikkultur 2002 written by Klaus Trumpf.

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• Trumpf, Klaus. “Johann Sperger.” Translated by Sharon Brown. International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, pp. 86-90. (E 1. ISB)

Note: In the same issue of ISB Magazine this article is also printed in the original German version as:
Trumpf, Klaus. “Johann Matthias Sperger, Bedeutender Kontrabassist und Komponist des 18. Jahrhundert.” International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, pp. 91-94.0

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• Trumpf, Klaus. “Johann Matthias Sperger, Bedeutender Kontrabassist und Komponist des 18. Jahrhundert.” International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, pp. 91-94. (G 2. ISB)

Note: In the same issue of ISB Magazine this article is also printed in English Translation as:
Trumpf, Klaus. “Johann Sperger.” Translated by Sharon Brown. International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, pp. 86-90.

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• Trumpf, Klaus. “Johann Matthias Sperger – ein verschenkter Komponist, Sein bedeutendes Konzert Nr. 15 D-Dur.” Sperger-Forum. Heft 4, (no Nr. indicated), Januar 2010, pp. 28-30. (G 1.)

• Trumpf, Klaus. “Johann Matthias Sperger – An Unlucky Composer, His Important Concerto No. 15 in D Major.” Sperger-Forum. Heft 4, (no Nr. indicated), Januar 2010, p. 31. (E 2.)

• Trumpf, Klaus. “Das Mozart-Requiem für einen Kontrabassisten.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 1-2. (G 1.)

Note: The title of the journal reads: “200. Todestag Johann Matthias Spergers am 13. Mai 2012.” (Two Hundred Years aniversary of Johann Mathias Sperger passing on May 13, 2012). The article on the performance of Mozart’s requiem after Sperger passed away in 1812 appears to commemorate this event as well.

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• Trumpf, Klaus. “Mozart’s Requiem for  a Contrabassist.” Translated by Xenia Zeiter. Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 2-3. (E 2.)

• Trumpf, Klaus.  “Mozart Requiem for a Double Bassist.” (Part 1). Translated by Anja Weineck-Hucke with Vincent Osborn. Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, pp. 59-62.

• Trumpf, Klaus. “Mozart Requiem for a Double Bassist (Part 2), Viennese-Tuned Double Bass”.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 3, February – May 2018, pp. 25-31.

• Trumpf, Klaus. “Mozart Requiem for a Double Bassist.” Part 3. Translated by Vincent Osborn.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 3, June – September 2019, p. 17-21.

• Trumpf, Klaus. “Peter Damm und Johann Matthias Sperger.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 52-53.

Note: A presentation of Peter Damm’s performances and recordings of Sperger’s solo horn music.

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• Trumpf, Klaus. “Der Sperger-Bogen.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, p. 61.

Title in English: Sperger’s Bows.

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• Trumpf, Klaus. “Das Testament Spergers Gefunden.” Sperger-Forum. Heft 3, Nr. 4/5, Oktober 2006, pp. 41-43. (G 1.)

• Trumpf, Klaus. “Sperger’s Last Will and Testament Found.” Translated by Vincent Osborn. Sperger-Forum. Heft 3, Nr. 4/5, Oktober 2006, pp. 43-44. (E 2.)

• Trumpf, Klaus. “Die Verantwortung des Herasugebers.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 58-59. (G 1.)

• Trumpf, Klaus. “The Publisher’s Responsibility.” Translated by Xenia Zeiter. Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 60. (E 2.)

• Trumpf, Klaus. “Virtuosität in den Werken für Solo-Kontrabass von Johann Matthias Sperger” Bericht über das Sperger-Kolloquium anläslich seines 175. Todestages am 13 Mai 1987. Studien zür Afführungpraxis und Interpretation der Musik des 18. Jahrhunderts, Heft 36, Michaelstein/Blankenburg : Institut für Aufführungspraxis, 1988, pp. 21-31. WorldCat – Book Record

Title in English: Virtuosity in the Double Bass Works of J.M. Sperger.

Cited also in Bass History – Classical Period .

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• Wegener, Sylvia. “Ein Haus voller Töne – Die Musikschule “Johann Matthias Sperger” des Landkreises Ludwigslust-Parchim” ; “A House full of Music: The J. M. Sperger Music School” Magazin der Sperger Gesellschaft. Nr. 1, Juli 2018, p. 26. IA – Download Page

Note: Article written in German and English in two parallel columns.

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• Wegener, Sylvia. “Ludwigslust und Sperger.” Magazin der Sperger Gesellschaft. Nr. 1, Juli 2018, p. 25. IA – Download Page

Note: Article written in German and English in two parallel columns.

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• Wegener, Sylvia. “Schloßstadt mit Persönlichkeit.” ; “Ludwigslust – a Town with Personality.” Magazin der Sperger Gesellschaft. Nr. 1, Juli 2018, p. 36. IA – Download Page

Note: Article written in German and English in two parallel columns.

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• Ueltzen, Dieter. “Johann Matthias Sperger in der Hofkapelle Ludwigslust.” Sperger-Forum: Mitteilungsblatt Der Internationalen Johann-Matthias-Sperger-Gesellschaft. Nr. 1, Mai 2002, pp. 21-22.

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Stoll, Klaus (1943)

• (author not cited) “Klaus, Stoll.” International Society of Bassists Magazine. Vol. 1, No. 2, Winter 1974-1975, p. 40.

• Green, Barry. “Klaus Stoll Master Class at Northwestern.” International Society of Bassists Magazine. Vol. 3, No. 2, Winter 1977, p. 267.

Note: This article offers a wealth of information on the style of playing of Berlin Philharmonic bass section and along the Stoll’s own approach to orchestra and solo playing.

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• Stoll, Klaus. “Autographs from the Collection of Klaus Stoll.” International Society of Bassists Magazine. Vol. 3, No. 4, Spring 1977, pp. 302-303.

Note: This feature is not a standard article but a presentation of various bass related autographs from Klaus Stoll collection. They are all of importance to the bass history and it will be of service to list here each of them individually:

1. Autograph by Joseph Hrabe 1860. This is a small method-like autograph score which presents the fingerings for the first 6 positions. Yet, for those who wish for a challenge in deciphering the presented positions, these are not the common ascending chromatic positions to which we are accustomed today, but something different. One can actually decipher the range of notes played on E and G strings for orchestra bassist c. 1860 by examining this position chart (p. 302)

2. Autograph by Italo Caimi 1929 dedicated to Carl Schreinzer. Featured are two measures of solo bass and piano score of Caimi’s unknown composition. Chances are that some information on this piece may be contained in the autograph note, if it could be deciphered.

3. Autograph by Giovanni Bottesini, incipit from his Garden of Olivet, 1889.

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• Stoll, Klaus. “The Evolution of String Bass Bows.” International Society of Bassists Magazine. Vol. 3, No. 4, Spring 1977, p. 308.

Note: This article is a pictorial presentation of various historical bass bow types, which start with an illustration of an actual “Hunting Bow” model noted in the 9^th century (and actually to some extent used even during the Baroque period), and ends with the Findeisen bow of c. 1920. Some of the sources for presented illustrations are documented, and some may need a further corroboration. However, in general this is a good overview of the variety of shapes and designs used on bass bows in the past.

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• Stoll, Klaus. “Graphics of F Holes of Italian Basses.” International Society of Bassists Magazine. Vol. 3, No. 4, Spring 1977, pp. 312-313.

Note: This article presents some 37 F holes’ drawings from various historical double basses that span in range from late 16^th century to the early 19^th century. Otherwise, and for some reason, such a unique study (1977), was never presented in bass research either before or after this feature.

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Streicher, Ludwig (1920-2003)

• Krolick, Edward. “Ludwig Strecher’s Approach to Bass Playing.” International Society of Bassists Magazine. Vol. 4, No. 1, Fall 1977, p. 345, continued p. 349.

• Lambert, Jim. “Ludwig Streicher, 1920-2003.” The Bass Line. [ Publication of the International Society of Bassists ] Spring 2003, p. 2.

Note: This is a tribute article with details on Streicher’s life and career.

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• McCreery, Laura. “Ludwig Streicher – Portrait of a Musician.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, pp. 30-33.

• Nordstrom, Randall. “Ludwig Streicher.” International Society of Bassists Magazine.  Vol. 1, No. 1, Fall 1974, p. 20.

• Nordstrom, Randall. “Weimar, International Music Seminar with Ludwig Streicher – “Viennese Bass Wonder.”” International Society of Bassists Magazine. Vol. 3, No. 2, Winter 1977, pp. 265-266.

Note: Although the title indicates a report from the International Music seminar in Weimar the article actually offers a lot of details on Streicher’s bass pedagogy and general approach to music. Otherwise, the Weimar seminar is probably one of the oldest bass “Summer Schools” as the article points that the first bass class was held there already in 1970 by Lajos Montag.

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• Ortiz, Lou. “Happy Birthday Ludwig Streicher.” International Society of Bassists Magazine. Vol. 20, No. 2, Spring/Summer 1995, pp. 12-13.

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Strong, Michele (?-2022)

• (author not cited) “Michele Strong” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, p. 8.

Note: A tribute article to Michele Strong, the principal bassist of the Ulster Orchestra.

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Stroup, James

• Stroup, James. “James Stroup 2008-2009 Fellow, Pittsburgh Symphony Orchestra and National Repertory Orchestra Training Program for African American Musicians.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 1, July – September 2009, p. 25.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Subiela, Andres Fernandez

• Subiela, Andres Fernandez. “Andres Fernandez Subiela, Solo Double Bass, Orchestre National des Pays de la Loire, France.” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 1, October – January 2022, pp. 21-22.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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Suggs, Samuel

• (author not cited). “Samuel Suggs.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, p. 73.

Note: This is a small artist-achievement article on Sam Suggs featured at the “Milestones” column.

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Surany, Rex

• (author not cited) “Double Bassists Joseph H. Conyers and Rex Surany Join Juilliard Faculty” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, p. 51.

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Swaim, Daniel (1934-2023)

• (author unknown) “Dan Swaim (1934-2023).” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 3, June-September 2023, p. 34.

Note: A tribute article to Daniel Swaim, a professor of bass at the Arizona State University for over 30 years.

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Tait, Andrew

• Tait, Andrew. “A Career in Making and Playing by Andrew Tait” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 1, October – January 2022, pp. 31-34.

Note: This article features Andrew Tait as classical bass player, violonist and luthier.

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Thompson, Clyde H. (1919-1985)

• (author not cited) “In Memoriam Clyde H. Thompson.” International Society of Bassists Magazine. Vol. 11, No. 3, Spring 1985, p. 37.

Note: A tribute article to Clyde H. Thompson, professor of bass and a chairman of the String Department at the University of Michigan School of Music.

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Tibay, Zoltan (1910-1989)

• Enreiter, Istvan. “Remembering Zoltan Tibay, September 6, 1910 – May 24, 1989.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 2, October – January 2010, pp. 11-12.

Note: A biographical article on Zoltan Tibay, principal bass of the Budapest Philharmonic Orchestra and professor of bass at Franz List Academy in Budapest.

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Tirado, Hector

• Tirado, Hector. “A New Technique for Exploring the Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 3, February – May 2018, pp. 5-7.

Note: This article presents Hector Tirado’s unique way of overcoming a hearing condition and becoming a world recognized bass soloist.

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• Tirado, Hector. “Perceiving Sound With the Right Hand.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, pp. 32-34.

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Tomey, Nash

• Tomey, Nash. “Nash Tomey, Kansas City Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 29-30.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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Torello, Anton (1884-1959)

• Navalpotro, Maria Jesus and Xose Crisanto Gandara. “The Musical Legacy of Antoni Torrelo: a Catalonian Bassist in Philadelphia.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 3, February – May 2007, pp. 9-17.

• Posell, Jacques. “Anton Torello.” International Society of Bassists Magazine. Vol. 12, No. 3, Spring 1986, p. 3.

Note: In this short article Posell tells the story of how and why Torello used the pen name to label the authorship of his compositions for bass.

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• Cowan, Joanna. “Anton Torello.” International Society of Bassists Magazine. Vol. 12, No. 2, Winter 1986, pp. 9-21.

Note: This is probably the most comprehesive article on Anton Torello available.

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Toshev, Todor

• Velkov, G. “Todor Toshev – A Profile.” International Society of Bassists Magazine. Vol. 16, No. 3, Spring 1990, p. 14.

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Tosky, Daniel

• Tosky, Daniel. “Daniel Tosky, Section Bass, Atlanta Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 57-58.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Jeff Turner.

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Trumpf, Klaus

• (author not cited) “Klaus Trumpf, Celebration of a Career.” The Bass Line. [ Publication of the International Society of Bassists ] Winter 2006, p. 4.

Note: A tribute article to Prof. Trumpf in honor of his recent retirement as a bass professor at Munich University.

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• Osborn, Vincent. “Klaus Trumpf: The Sperger Specialist.” International Society of Bassists Magazine. Vol. 18, No. 2, Fall 1992, pp. 4-7.

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Turetzky, Bertram

• Gassiott, Kyle. “An Interview with Bert Turetzky.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, pp. 38-42.

• Leavitt, Todd. “An Interview with Bertram Turetzky, Part I.” International Society of Bassists Magazine. Vol. 16, No. 1, Fall 1989, pp. 14-18, continued pp. 67-69.

• Leavitt, Todd. “An Interview with Bertram Turetzky, Conclusion.” (Part II) International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, pp. 16-19, continued pp. 73-75.

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Vance, George (1949-2009)

• DeCesare, Nina. “A Tribute to George Vance.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 2, October – January 2009, pp. 35-36.

• Peyrebrune, Henry. “George Vance: In His Own Words, An Interview with Henry Peyrebrune.” Transcribed by John Hamil and Christian Chesanek. Bass World : The Journal of International Society of Bassists. Vol. 41, No. 2, February – May 2019, pp. 37-43.

Note: this is a tribute article to George Vance authored by Henry Peyrebrune yet edited (transcribed) by John Hamil and Christian Chesanek. Thus what you will find here are the thoughts of George Vance on the bassists that had influenced his teaching, Suzuki Philosophy and his teaching in general.

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• Vance, George. “Preview of Methods for Teaching Young Bassists.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, p. 40.

Note: This short article presents an overview of Vance’s teaching precepts.

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VanDemark, James

• Raymond, David. “James VanDemark, Friend of the Double Bass.” The Instrumentalist. January 1989, pp. 27-35.

• (auhor not cited) “World Premiere – Menotti Double Bass Concerto.” International Society of Bassists Magazine. Vol. 10, No. 1, Fall 1983, p. 19.

Note: This is an announcement of the Menotti bass concerto premiere that also includes information on the additional performances of this concerto.

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Vayspapir, Roma

• Lund, Jim. “Views of Music Life in the Soviet Union.” International Society of Bassists Magazine. Vol. 10, No. 3, Spring 1984, pp. 8-9.

Note: The good portion of this article is an interview with Roma Vayspapir so this article is also good source on Vayspapir’s biography.

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Verdeguer, Manuel (1908-1988)

• Scelba, Anthony. “Manuel Verdeguer, A Modern Patriarch of the Double Bass.” International Society of Bassists Magazine. Vol. 4, No. 3, 1977-78, p. 405, 407, 409.

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Wadopian, Eliot (?-2021)

• (author not cited) “Eliot Wadopian” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 1, October – January 2021, p. 7.

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Walter, David (1913-2003)

• (author not cited). “David Walter.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 8) Vol. 7, No. 5, 1968-69, p. 4.

Note: A short biography as of c. 1968.

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• (author not cited) “Spotlight on Bassists – David Walter.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 126.

Note: This article also cites David Walter’s solo repertoire c. 1975.

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• Davis, Richard. “Arturo Toscanini, Richard Davis interviews David Walter.” International Society of Bassists Magazine. Vol. 18, No. 2, Fall 1992, pp. 38-43.

• Neher, Patrick. “Give me a Little Paprika . . .” The Bass Line. [ Publication of the International Society of Bassists ] Fall 2003, pp. 1, 3-4, 7.

Note: A tribute article on David Walter’s life, career and teaching by his former student Patrick Neher. Small memory paragraphs by Walter’s students and colleagues are also featured at the end of the article.

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• Proto, Frank. “Happy 90^th Birthday David Walter.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, pp. 10-11.

• Walter, David. “A Nobel Instrument.” International Society of Bassists Magazine. Vol. 3, No. 3, Spring 1977, p. 269.

Note: This is just an introduction article for the ISB Magazine of Spring 1977 when David Walter was ISB President, yet this article underlines the fact that Prof. Frederick Zimmermann has referred on the cover of his own method to the bass as a noble instrument, and as an inspiration to all that regard it as such.

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• Walter, David. “The Double Bass Renaissance.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 17) Vol. 3, No. 1-6, 1971, p. 5.

Note: This is an article on the general progress of bass playing standards and understating of its role as an instrument in the last 150 years ca. 1800-1950. The article makes a reference to John Reynolds, and his “Double Bass Scrap Book” (circa 1900). All the issues cited in the article also reflect on Water’s own understanding and approach of the bass instrument and its history at the time of printing in 1971.

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• Walter, David. “(No Title).” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 16) Vol. 2, No. 6, December 1970, pp. 18-23.

Note: This article does not have a clear focus but covers the general teaching activities of David Walter, his pedagogical approaches and thoughts on double bass. Walter’s biography as of 1970 is also cited on pages 21-23.

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• Walter, David. “Rostropovich and the Double Bass.” International Society of Bassists Magazine. Vol. 3, No. 4, Spring 1977, pp. 301-302.

Note: This is a very valuable article as it presents the views on double bass by famous cellist Mstislav Rostropovich.  It may not be that well know, yet Rostropovich was also a chair of the Cello and Bass department at the Moscow Conservatory early in his career, so he was familiar with the repertoire and technique of the bass, and was moreover personally interested in the instrument. This article also offers a historical retrospective of an encounter of bassists Manuel Verdeguer, Milton Kestenmaum, Homer Mensch, Fred Silva, Barry Gree and David Walter with Rostropovich, as they were all members of the festival orchestra at June ’76 Festival Casals in Puerto Rico, where they had a chance to meet and talk informally with Rostropovich.

You may see a photo of all these bassist with Rostropovich at:
International Society of Bassists Magazine. Vol. 3, No. 1, Fall 1976, p. 222.
From left to right: Barry Green, Homer Mensch, Federico Silva, Manuel Verdeguer, Milton Kestenbaum, David Walter.

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Warnecke, Johann (1856-1931)

• Lewy, Rudolf. “Johann  Warnecke (1856-1931).” International Society of Bassists Magazine. Vol. 2, No. 2, Winter 1976, p. 135.

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Warner, Ring (1940-2006)

• Lieberman, Barry. “Remebering Ring Warner.” The Bass Line. [ Publication of the International Society of Bassists ] Summer 2006, p. 3.

Note: A tribute article to Ring Warner.

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Wellington, George Sr. (?- 2002?)

• (author not cited). “George Wellington Sr.” The Bass Line. [ Publication of the International Society of Bassists ] Fall  2002, p. 2.

Note: A short tribute article to George Wellington Sr.

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West, Nathaniel

• West, Nathaniel. “Nathaniel West, Philadelphia Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 30-31.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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White, Adolphus Charles (1830-1902)

• Slatford, Rodney. “A. C. White – A Ninetieenth Century Professor.” International Society of Bassists Magazine. Vol. 3, No. 4, Spring 1977, pp. 314-317.

Note: In this article Slatford presents White’s own paper “The Double Bass” which was read at the Royal Musical Association meeting at London on April 4, 1887. This paper by White was also the first ever published by The Royal Musical Association on the subject of double bass.

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• Slatford, Rodney. “A. C. White – A Nineteenth Century Professor.” International Society of Bassists Magazine. Vol. 4, No. 3, 1977-78, p. 383.

Note: This article is a brief update on the article with the same title from ISB Magazine. Vol. 3, No. 4, Spring 1977 (above). Here Slatford presents two relevant photos, one featuring White’s orchestra in Royal College of Music hall, and where we can observe a derivative of continuo seating pattern for bass and cello, where they are seated right in front of the conductor (c. 1870-80). The other photo features A. C. White himself.

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White, Aaron

• White, Aaron. “Aaron White, Section Bass, Florida Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 1, July – September 2006, p. 21.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots” editor Jeff Turner.

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White, Carolyn (1951)

• (author not cited) “Carolyn White.” International Society of Bassists Magazine. Vol. 1, No. 1, Fall  1974, p. 12.

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Witzel, Bert

• Witzel, Bert. “Bert Witzel, Principal Bass, The Louisville Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 1, June – September 2005, p. 31.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Wood, Gareth (1950-2023)

• Emery, Caroline. “Gareth Wood’s New Concerto for Double Bass and Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 3, 1997, pp. 54-62.

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Wood, Kingsley

• Wood, Kingsley. “Kingsley Wood: Section Bass, Metropolitan Opera Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 2, October – January 2001, p. 31.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Wulff, Susan

• Wulff, Susan. “Susan Wulff, Associate Principal Bass, San Diego Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 2, October – January 2004, p. 25.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Wyrick, Inez

• (author not cited). “Inez Wyrick” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 2, February – May 2022, p. 7.

Note: A tribute article.

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Yazdanfar, Ali

• Yazdanfar, Ali “Ali Yazdanfar, Principal Bass, Montreal Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, p. 33.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Zadinsky, Derek

• Zadinsky, Derek. “Derek Zadinsky Section Bass, The Cleveland Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 1, June – September 2012, pp. 20-21.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Zhang, DaXun

• (author not cited) “DaXun Zhang.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, p. 31.

• Zhang, DaXun. “DaXun Zhang.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, p. 33.

Note: This article presents author’s biography and solo competition expertise. Column “Hot Shots,” editor Jeff Turner.

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Zimberoff, Nathan A.

• (author not cited) “Nathan A. Zimberoff.” International Society of Bassists Magazine. Vol. 1, No. 1, Fall  1974, p. 12.

Note: Small biography as a tribute to Zimberoff’s 30 years of service with Chicago Symphony (1944-1974)

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Zimmerman, Oscar (1910-1987)

• Olson, Phyllis Edwards ; Glenn Block and Michael Leiter. “Oscar Zimmerman: Pedagogue, Performer, Publisher (Compiled by the ISB).” International Society of Bassists Magazine. Vol. 9, No. 2, Winter 1983, pp. 7-10.

Note: This article is written in the first person narrative that appears to be taken from an interview with, or possibly a written biography of Prof. Zimmerman. However, the very title of the article at the end states “Compiled by the ISB”, while at the very end of the article we see three bassists cited as authors. Those bassist may indeed be the compilers of this text whose true source was not identified in the article.

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• * Author unknown “(* title unknown – Interview with Oscar Zimmerman).” Democrat and Chronicle. “Upstate” section, Sunday, June 25 1975, pp. ?

Cited in: (author not cited) “Oscar Zimmerman.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 130.

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• Tuthill, Burnet C. “(No Title, re, Bertram Turetzky).” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 130.

Note: This Letter to the ISB Magazine covers several important details on Tuthill’s solo bass compositions including the details on his Concerto that was composed at the request of Oscar Zimmerman for his son Robert Zimmerman.

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Zimmerman, Robert

• Griffin, Michael. “Bob Zimmerman: Living the Legacy, Playing It From the Heart.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 1, June – September 2008, pp. 23-27.

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Zimmermann, Frederick (1906-1967)

• (author not cited) “In Memoriam, Frederick Zimmermann.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 3) November, 1967, p. 24.

• Gladstone, Robert. “Fred Zimmermann: A Tribute.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, pp. 16-17. (pages not numbered, page numbers counted)

• Kolstein, Samuel. “Mr. Z.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, pp. 11-12. (pages not numbered, page numbers counted)

• Mickman, Herb. “Bass Lessons with Mr. Zimmermann and Mr. Mingus.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, p. 21. (pages not numbered, page numbers counted)

• Slapin, Bill. “From Bach to Business and Back.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, p. 23. (pages not numbered, page numbers counted)

Note: This is an interesting article about Bill and Harold Slapin who were both students of Prof. Zimmermann.

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• Walter, David. ““Mr. Z.” A Personal Memoir by David Walter.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, pp. 7-8. (pages not numbered, page numbers counted)

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Bass Players – Jazz

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Andrus, Chuck (1928-?)

• Campbell, Jeff. “All That Jazz.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, pp. 27-30.

Note: This article is dedicated to the two great jazz bassists: Eddie Jones and Chuck Andrus. Eddie Jones is covered on pages 27-28 while Chuck Andrus on pages 28-30.

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Bagley, Don (1927- 2012)

• Tomita, Fumi.  “Remembering Jazz Bassist Don Bagley.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 2, February – May 2020, pp. 8-11.

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Baker, David Nathaniel Jr.

• (author not cited) “Renaissance Man Honored.” International Society of Bassists Magazine. Vol. 17, No. 2, Winter/Spring 1991, p. 4.

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Bany, John

• Petersen, Clarence. “Bany – Chicago-Style Bass.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, pp. 26-28.

Note: This article also presents a John Bany discography on p. 28.

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Betts, William Thomas “Keter” (1928-2005)

• Hittle, Jon B. “Celebrating a Life: Keter Betts, 1928-2005.” The Bass Line. [ Publication of the International Society of Bassists ] Winter 2006, p. 3.

Note: A tribute article to life and career of Keter Betts.

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• Scimonelli, Paul. “William “Keter” Betts: Everybody’s Left Hand Man.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 3, February – May 2012, pp. 13-18.

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Blanton, James “Jimmy” (1921-1942)

• Bozarth, Rex. “James “Jimmy” Blanton and the Evolution of Jazz Bass Playing.” International Society of Bassists Magazine. Vol. 9, No. 2, Winter 1983, pp. 18-21.

Note: This article was based on the following thesis:
Bozarth, Rex O. An Assessment of the Role of James ”Jimmy” Blanton in the Development of Jazz Bass. M.M. Thesis, Univertsity of North Texas, Denton, 1981. Download Page0

Also, Page 21 of the article features Bozarth’s Transcription of Blanton’s Solo from “Body and Soul.”

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Brown, Ray (1926-2002)

• Bradley, Tim. “An Interview with Ray Brown.” International Society of Bassists Magazine. Vol. 6, No. 4, Spring 1980, pp. 625-627.

• Daugherty, Bob. “Looking for E Flat.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 2, October – January 2006, p. 9.

Note: In this brief article Daugherty offers few authentic memories and stories told by Ray Brown.

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• Koehler, David. “Ray Brown Meets the Symphony.” International Society of Bassists Magazine. Vol. 20, No. 1, Winter 1995, pp. 17-22.

• Lees, Gene “You’re Never too Old, A Tribute to Ray Brown on His 75^th Birthday.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, pp. 9-19.

• Pearce, Paul. ““My” Ray Brown.” The Bass Line. [ Publication of the International Society of Bassists ] Fall  2002, pp. 1, 3.

Note: A tribute article to Ray Brown featuring also testimonies of his friends and fans.

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Callender, Red (1916-1992)

• Simon, Richard. “Red Callender: A Quiet Giant” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, pp. 42-48.

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Campbell, Jeff

• Campbell, Jeff. “Options for the Modern Double Bassist.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 37-38.

Note: Although this article was written as an overview of the 2005 ISB convention, the initial two columns present a small biography of the author Jeff Cambell as well.

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Carter, Ron (1937)

• (author not cited). “Ron Carter.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 8) Vol. 7, No. 5, 1968-69, p. 4.

Note: A short biography as of c. 1968.

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• Carter, Ron. “My Turn.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, p. 7.

Note: In this article Ron Carter replies to the argument that “the bass pickup ruined jazz,” presented in the Neal Miner’s article “On Sound: The Power of Acoustic Bass Playing” (published in Bass World, v. 28, no. 1).

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• Gertz, Bruce. “An Interview with Bassist, Teacher, Composer, Jazz Legend: Mr. Ron Carter” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 1, October – January 2022, p. 19.

• Lyman, Frederick. “Development of the Piccolo Bass.” International Society of Bassists Magazine. Vol. 4, No. 1, Fall 1977, p. 343.

Note: This is the story of Lyman’s Piccolo Bass that was acquired by Ron Carter and made famous by his playing.

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• McCluskey, John Jr. “Invitation To Changes” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 1, October – January 2020, pp. 8-15.

Note: This interview with Ron Carter took place during the ISB Indiana Conference in June of 2019.

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• Ouellette, Dan “The Art and Science of the Bass.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 3, February – May 2009, pp. 7-15.

Note: A chapter from Dan Ouellette’s new biography of bassist Ron Carter.

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Chambers, Paul (1935-1969)

• Bany, John. “Blues for Nica, Paul Chambers.” International Society of Bassists Magazine. Vol. 11, No. 3, Spring 1985, p. 21.

Note: A transcript of Blues for Nica by Paul Chambers and a small biography of Paul Chambers.

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Chapman, Jack

• Chapman, Jack. “How Dumb Can you Get?” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 3, February – May 2008, pp. 5-7.

Note: Chapman retells the story of his first playing experience with Marian McPartland during April of 1954.

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Christie, Lyn (?-2020)

• (author not cited) “Remembering Lyn Christie” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, p. 50.

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Clayton, John

• Feather, Leonard. “John Clayton, Jr. the Traveling Bass Player and Composer.” International Society of Bassists Magazine. Vol. 17, No. 1, Fall 1990, pp. 5-8.

• Gertz, Bruce. “An Interview with Bassist and Composer/Arranger John Clayton” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 1, October – January 2021, pp. 53-56.

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Cranshaw, Bob

• (author not cited). “Melbourne Robert “Bob” Cranshaw.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, p. 73.

Note: This is a small tribute article dedicated to Bob Cranshaw.

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• Daugherty, Robert. “Bob Cranshaw, The Story behind the Picture.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 5-6.

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Crosby, Israel (1919-1962)

• Campbell, Jeff. “Israel Crosby: Ahead of His Time.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 1, July – September 2006, pp. 35-38.

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Curtis, William

• Macaro, Joe “A Great Teacher Makes All the Difference.” The Bass Line. [ Publication of the International Society of Bassists ] Fall 2007, pp. 1, 3.

Note: An article on William (Bill) Curtis a professor at Berklee College of Music, a jazz and classical bassist.

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Darling, Wayne

• Darling, Wayne. “An American Jazz Bassist in Europe.” International Society of Bassists Magazine. Vol. 3, No. 3, Spring 1977, p. 293.

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Davis, Art (1934-2007)

• Gass, Lisa and Chris Poehler. “The John Lott Bass Formerly Owned by Art Davis.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, pp. 31-40, Art Davis biography pp. 36-40.

Note: This article presents the John Lott bass, yet it also covers the career of jazz bassist Art Davis at pp. 36-40.

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Davis, Richard (1930-1923)

• Daugherty, Robert. “In the Footsteps of Richard Davis.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, p. 7.

• Davis, Richard. “Introductory Lecture on Jazz Bass.” Probas. [ Publication of the International Institute for String Bass ] Vol. 1, Issue 1, Fall  1972, pp. 30-32.

Note: Aside from lecture, this article also features a small biography of Davis at the end.

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• Davis, Richard. “How to Practice.” International Society of Bassists Magazine. Vol. 7, No. 2, Winter 1981, p. 699, p. 705, p. 707.

Note: Also cited under Pedagogy – Jazz

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• Green, Barry. “An Interview With Richard Davis.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 1, Spring / Summer 1999, pp. 8-11.

Note: This article presents an interview with focus on “Richard Davis’ Fifth Annual Young Bassists Conference” (1998) at Edgewood College in Madison, Wisconsin.

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Deardorf, Chuck (1954-2022)

• (author not cited) “Chuck Deardorf (1954-2022)” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, p. 7.

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Dresser, Mark

• Crouch, Madeleine. “Across the Sonic Universe, An Interview with Mark Dresser.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 1, Spring / Summer 1999, pp. 14-20.

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Duvivier, George B. (1920-1985)

• Bany, John. “In Memory of George B. Duvivier.” International Society of Bassists Magazine. Vol. 12, No. 1, Fall 1985, pp. 33-35.

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Eckels, Jeffrey (1957–2020)

• (author not cited) “Jeffrey Eckels (1957–2020)” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 1, October – January 2020, p. 53.

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Edelman, Irving

• (author not cited). “Irving Edelman.” International Society of Bassists Magazine. Vol. 15, No. 2, Winter 1989, p. 45.

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Ferguson, Jim

• Morton, Joëlle. “Jim Ferguson: Words and Music.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, p. 4.

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Filiano, Ken

• Campbell, Jeff. “An Interview with Ken Filiano.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, pp. 5-6.

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Fisher, Al (1932-1922)

• Fisher, Al. “Logarithmic Fingerboard.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 14) Vol. 2, No. 4, August 1970, pp. 10-13.

Note: In this article Fisher, describes how to plain the fingerboard longitudinally (from top to bottom) in a way that can afford the string the same angle between the pressed note and the fingerboard, regardless of the place where it is played. Al Fisher calls such a fingerboard, the “Logarithmic Fingerboard.”

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• Fisher, Al. “Unaccompanied Pizzicato String Bass.” Probas. [ Publication of the International Institute for String Bass ] Vol. 1, Issue 1, Fall  1972, pp. 11-17.

Note: In this article Al Fisher describes the setup of his 5 stringed bass with High C string that offers special acoustical benefits for his virtuoso pizzicato technique. The article also presents an overview of Fisher’s pizzicato performing technique, his pedagogy and there is also a short biography of Al Fisher.

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Francis, Roy E. (1920-2016)

• (author not cited). “Roy E. Francis.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, p. 69.

• Stokes, Donovan. “Roy E. Francis, Living Through History.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 33-35.

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Gertz, Bruce

• Martinez, Lewis. “Interview With Bruce Gertz.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 9-11.

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Gomez, Eddie (1944)

• Wolf, Andrew. “Eddie Gomez – Revolutionary.” International Society of Bassists Magazine. Vol. 1, No. 1, Fall  1974, p. 19.

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Gray, Larry

• Kosky, Chris. “Interview with Larry Gray.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 1, February – May 2015, pp. 11-15.

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Grimes, Henry

• Solothurnmann, Jürg. “The Miraculous Return of Henry Grimes.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, pp. 15-17.

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Haggart, Bob (1914-1988)

• Bany, John. “Bob Haggart: Musician/Painter.” International Society of Bassists Magazine, Vol. 13, No. 3, 1987, pp. 32-37.

Note: The “Big Noise from Winnetka” score is featured on pp. 36-37.

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Hall, Al [ Alfred W. ] (1915-1988)

• Bany, John. “All Hall, Another Ellington Bassist, Ellington Bassists, P.S.” International Society of Bassists Magazine. Vol. 13, No. 1, Fall 1986, p. 28.

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Heard, John

• Pillich, Simeon. “John Heard, On Music, On Art, On Magic & Independence.” International Society of Bassists Magazine. Vol. 18, No. 3, Spring 1993, pp. 22-26.

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Heath, Percy (1923-2005)

• (several authors) “Remebering Percy Heath.” The Bass Line. [ Publication of the International Society of Bassists ] Winter 2006, p. 6.

Note: A tribute article to Percy Heath.

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Hinton, Milt (1910-2000)

• (author not cited) “The 1740 Matteo Goffriller Double Bass.” International Society of Bassists Magazine. Vol. 10, No. 2, Winter 1984, (centerfold section, 6 pages, no pagination, inserted between pages 22 and 23).

Note: This article features a small biography of Milt Hinton, who owned the featured instrument at the time of printing, and also a small biography the maker Matteo Goffriller.

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• Burnett, Erich. “Here Comes the Judge, Legendary Jazz Bassist Milt Hinton Shines on Through an Unprecedented Relationship with Oberlin.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 1, February – May 2015, pp. 43-46.

• Lees, Gene. “A Tribute to Milt Hinton, 1910-2000, When We Were Atlas.” (Part One) Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 5-8.

• Lees, Gene. “The ISB Remembers Milt Hinton, 1910-2000.” Part Two. Bass World : The Journal of International Society of Bassists. Vol. 25, No. 1, June – September 2001, pp. 5-10.

• Litweiler, John. “Basic Bassist, Milt Hinton’s Images Lay Down a Jazz Bassline.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, pp. 38-42.

• Massoud, Gerald. “Milt Hinton: More Than A Foundation.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 2, February – May 2019, pp. 7-11.

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Israels, Chuck (1936)

• Israels, Chuck. “Things I’ve Learned From Owning Too Many Basses.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 23-28.

Note: This is an excellent autobiographical article which also covers all the basses Chuck Israels used in various stages of his career.

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Izenson, David (1932-1979)

Please note, the last name of David Izenson used to be spelled in press both as Izenzon and Izenson. For his heading the official Library of Congress version as Izenson is used. Please check LC David Izenson.

• Walter, David. “David Inzenzon Passes.” International Society of Bassists Magazine. Vol. 6, No. 2, Winter 1980, p. 595.

• Walter, David. “Ornette Coleman & David Izenson.” International Society of Bassists Magazine. Vol. 14, No. 2, Winter 1988, p. 3.

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Jackson, Chubby (1918-2003)

• Daugherty, Robert and Geoff Daugherty. “Just Play B Natural: A Chance Meeting with Chubby Jackson” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 1, June – September 2008, p. 5.

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Jones, Eddie (1929-1997)

• Campbell, Jeff. “All That Jazz.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, pp. 27-30.

Note: This article is dedicated to the two great jazz bassists: Eddie Jones and Chuck Andrus. Eddie Jones is covered on pages 27-28 while Chuck Andrus on pages 28-30.

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Khan, Eddie (1930-1988)

• Campbell, Jeff. “Eddie Khan.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 2, October – January 2012, pp. 15-19.

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Knific, Tom

• Crouch, Madeleine. “Tom Kinfic is Bassed in Kalamazoo.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 3, Winter 2000, pp. 28-30.

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Kosky, Christine

• White, Cathi. “On Being a Female Bassist.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, pp. 26-27.

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Kowald, Peter (1944-2002)

• Phillips, Barre. “Peter Kowlad.” The Bass Line. [ Publication of the International Society of Bassists ] Fall  2002, p. 2.

Note: A short tribute article with details of Kowald’s life and career.

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Kowert, Paul

• Gassiott, Kyle. “The List.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 3, February – May 2013, p. 45.

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LaFaro, Scott (1936-1961)

• Bany, John. “The Legendary Scott LaFaro.” International Society of Bassists Magazine. Vol. 14, No. 3, Spring 1988, pp. 38-54.

• Bert, Hanson. “Scotty Left an Impression.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 1) February 1967, pp. 10-11.

• Campbell, Jeff. “Scott LaFaro: The Complete Musician.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 3, February – May 2006, pp. 27-33.

• Kolstein, Samuel. “When I Met Scotty.” The Bass Line. [ Publication of the International Society of Bassists ] Spring 2004, p. 4.

• LaFaro Fernandez, Helene. “Scott LaFaro: A Chronological Discography.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, pp. 23-24.

• Walker, Nicholas. “Scott LaFaro Archives.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, p. 27.

• Williams, Martin T. “Three Men on a Bass” Jazz Changes. New York: Oxford University Press, 1993, pp. 107-120. WorldCat Record – Book  |  WorldCat Record – Article | Oxford Academic – Article Summary

• Wooley, Robert. “Remembering Scott LaFaro.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, pp. 20-23.

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Mann, Ned

• Pearce, Paul. “Finding My Way Home: The Miraculous Musical Journey of Ned Mann.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 1, June – September 2010, p. 74.

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Mapp, Douglas

• Heath, Jason. “An Interview with ISB President Douglas Mapp.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 29-33.

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Matta, Nilson

• Kosky, Chris. “Nilson Matta: Brazil form the Inside.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, pp. 5-6.

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McBride, Christian (1972)

• Koehler, David. “A Conversation with Christian McBride.” International Society of Bassists Magazine. Vol. 19, No. 3, Fall 1994, pp. 24-26.

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McGee, Esau

• Ramsey, Frederic Jr. “Where the Music Started, Home-Made String Bass.” Probas. [ Publication of the International Institute for String Bass ] Vol. 1, Issue. 1, Fall  1972, p. 5.

Note: This is the story of Mr. McGee one of the jazz bass pioneers and his home-made string bass.

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Michelot, Pierre (1928-2005)

• Darling, Wayne. “Jazz Notes, Pierre Michelot Discography.” International Society of Bassists Magazine, Vol. 13, No. 3, 1987, p. 39.

• Pejrolo, Andrea. “A Bass Perspective on the Origins of Modal Jazz: An Interview with Pierre Michelot.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, pp. 11-13.

Note: A good portion of this interview was focused on Michelot’s involvement with the recording of Miles Davis’ Ascenseur pour l’ echafaud.

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Mickman, Herb (1940-2017)

• (author not cited) “Herb Mickman.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, pp. 21-22. (pages not numbered, page numbers counted)

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Mingus, Charles (1922-1979)

• Callender, Red. “A Tribute to Charles Mingus.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, p. 18. (pages not numbered, page numbers counted)

• DeMichael, Don. “Better Get it in Your Soul.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, p. 13. (pages not numbered, page numbers counted)

Note: At the end of article a note states: “From the record album “Better Git it in Your Soul” Columbia Records.”

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• Feather, Leonard. “Charles Mingus.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, pp. 9-10. (pages not numbered, page numbers counted)

Note: At the end of article a note states: “From “The Passion for Jazz” published by Horizon Press.”

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• Feather, Leonard. “The Intense, Troubled Life of a Gifted Jazz Musician.” International Society of Bassists Magazine. Vol. 5, No. 2, 1979, p. 472.

Note: A reprint from Los Angeles Times.

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• Mickman, Herb. “Bass Lessons with Mr. Zimmermann and Mr. Mingus.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, p. 21. (pages not numbered, page numbers counted)

• Proto, Frank. “An Encounter (But Not too Close).” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, p. 14. (pages not numbered, page numbers counted)

• Rockwell, John. “Charles Mingus, 56, Bass Player, Bandleader and Composer, Dead.” International Society of Bassists Magazine. Vol. 5, No. 2, 1979, p. 473.

Note: A reprint from New York Times.

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• Williams, Webster E. “Jazz Inovator Charles Mingus Dies.” International Society of Bassists Magazine. Vol. 5, No. 3, 1979, p. 491.

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Mitchell, Red (1927-1992)

• Donnelly, John. “An Appreciation, Hanging with Red.” The Bass Line. [ Publication of the International Society of Bassists ] March 1993, p. 1, 3.

• Grimes, William, F. “The Solo Vocabulary of Jazz Bassist Red Mitchell circa 1957.” International Society of Bassists Magazine. Vol. 15, No. 3, Spring 1989, pp. 44-45, pp. 48-49, p. 52.

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Moseholm, Erik (1930-2012)

• Damhus, Ture. “Erik Moseholm (May 1930−October 2012), Bassist and Jazz Strategist.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 1, February – May 2015, pp. 35-42.

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Mraz, George (1944-2021)

• (author not cited) “George Mraz.” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 1, October – January 2021, p. 7.

• Reinfranck, Steve. “George Mraz at the Attila Zoller Vennont Jazz Clinic.” International Society of Bassists Magazine. Vol. 11, No. 1, Fall 1984, p. 26.

Note: This article features a nice biography of George Mraz.

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Mudasia, Frederick

• Reinfranck, Stephen. “Fredrick Mudasia: The African Bassist.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, pp. 23-24.

Note: Heartwarming! Please read if you can.

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Neidlinger, Buell (1936-2018)

• (author not cited) “Buell, Neidlinger.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 3, February – May 2018, p. 53.

Note: Buell Neidlinger activity has covered both the jazz and classical fields, so he is cited in both listings.

–
Novosel, Steve

• Hittle, John B. “Capital Bassist: Steve Novosel’s Jazz Journey.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 2, October – January 2004, pp. 15-19.

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Ørsted Pedersen, Niels Henning (1946-2005)

• (several authors) “Remembering “The Dane with the Never-Ending Name.” The Bass Line. [ Publication of the International Society of Bassists ] Winter 2006, p. 6.

Note: A tribute article to Niels-Henning Orsted Pedersen.

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• Fahnoe, Preben. “Niels-Henning Orsted Pedersen: An interview by Preben Fahnoe.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 2, October – January 2006, pp. 11-18.

• Daugherty, Robert. “With a Laugh and a Smile.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 3, February – May 2007, p. 7.

Note: This is a small tribute article on NHOP written by Bob Daugherty who got to meet  NHOP in Japan and was able to make his bass playable for the pending event.

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Pege, Aaladar (1939-2006)

• (author not cited) “Aladar Pege.” The Bass Line. [ Publication of the International Society of Bassists ] Winter  2006-2007, p. 3.

Note: A tribute article to Aladar Pege.

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Pena, Ralph (1927-1969)

• Campbell, Jeff. “The Legacy of Ralph Pena.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 3, February – May 2009, pp. 35-41.

• Pena, Ralph. “Pizzicato.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 5) (Vol. 6, No. 2) 1968, pp. 3-7.

Note: This is a very well written article that details Pena’s own pizzicato style and pizzicato technique in general.

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Perla, Gene

• Perla, Gene. “First Visit to China” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, pp. 18-21.

Note: This is a report of Gene Perla’s jazz band tour in China.

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Pettiford, Oscar Collins (1922-1960)

• Petersen, Kai Mohr. “An Oscar For Oscar: Oscar Collins Pettiford, Okmulgee 9.30.1922 – Copenhagen 9.8.1960.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 15-22.

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Phillips, Barre (1934)

• (author not cited) “Barre Phillips.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, pp. 4-6.

• (author not cited) “Seven Decades for Barre.” The Bass Line. [ Publication of the International Society of Bassists ] Fall 2004, p. 4.

Note: This feature is a Congratulations page to Barre Phillips for his 70^th Birthday which presents seven congratulations from his friends and colleagues.

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• Thomas, Clayton. “Tonight, by Barre Phillips as told to Clayton Thomas” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 1, October – January 2022, pp. 8-9.

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Reid, Rufus (1944)

• (author not cited) “Happy Birthday to the Evolving Bassist, Rufus Reid!” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 2, February – May 2024, pp. 6-7.

• (author not cited)  “Rufus Reid Named Harvard University Jazz Master in Residence.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, p. 9.

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Richmond, Mike (1948)

• Schroeder, David. “The Two Worlds of Mike Richmond.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, pp. 44-51.

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Schneider, Nick (1943-2024)

• (author not cited) “Nick Schneider (1943-2024).” Bass World : The Journal of International Society of Bassists. Vol. 47, No. 1, October – January 2024, p. 12.

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Sill, Kelly (1952-2022)

• (author not cited) “Kelly Sill (1952-2022)” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, p. 7.

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Stewart, Slam (1914-1987)

• Bany, John. “Koussevitzky Dug Him! Slam Stewart” International Society of Bassists Magazine. Vol. 11, No. 2, Winter 1985, pp. 10-21.

Note: The phrase “to dig him” or in past tense “dug him” implies, to understand and to admire someone, so indeed Koussevitzky called Slam Stewart “the best of the jazz bassists,” and praised his work as “unique and fantastic,” as cited in the article on p. 17.

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• Maricle, Sharon L. “In Memoriam: Slam Stewart “The Bow Master of Sophisticated Swing.”” International Society of Bassists Magazine. Vol. 14, No. 2, Winter 1988, pp. 32-34.

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Swallow, Steve (1940)

• Gertz, Bruce. “Interview with Steve Swallow” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, pp. 21-22.

• Waters, Drew. “Steve Swallow: Getting to the Second Bass.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, pp. 27-31.

Note: Swallow was one of the pioneers in use of the electric bass in jazz, and at the time in the 60s when such a combination was frowned upon in jazz community. This article tells the full story of Swallows adoption and use of the eclectic bass in jazz bands.

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Vinding, Mads

• Darling, Wayne. “Jazz Notes, Mads Vinding Discography.” International Society of Bassists Magazine, Vol. 13, No. 3, 1987, p. 39.

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Vinnegar, Leroy (1928-1999)

• Brewin, Michael. “Leroy Vinnegar Walkin’.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 2, (1998), pp. 10-17.

• Brewin, Michael. “Walkin’.” The Bass Line. [ Publication of the International Society of Bassists ] December 1999, pp. 1-2.

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Warren, Peter

• Kosky, Chris. “The Path: Peter Warren’s Story.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 1, June – September 2005, pp. 11-15.

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Weber, Eberhard (1940)

• Rodby, Steve. “The Colours of Eberhard Weber.” International Society of Bassists Magazine. Vol. 2, No. 3, Spring 1976, p. 165.

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Whitlock, Bob (1931-2015)

• Campbell, Jeff. “The Life, Career, and Music of Bob Whitlock.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, pp. 45-50.

Note: The story of Bob Whitlock, a bassist with Gerry Mulligan Quartet.

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Williams, Benjamin

• Williams, Benjamin. “2005 ISB Double Bass Competition Winners, Benjamin Williams (Washington, DC) First Prize, ISB Jazz Division.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, p. 53.

Note: This article presents author’s biography and competition expertise. Column editor Jeff Turner.

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Wright, Eugene “The Senator” (1923-2020)

• (author not cited) “Eugene “The Senator” Wright (1923 – 2020)” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, p. 7.

• (author not cited) “Eugene Wright.” International Society of Bassists Magazine. Vol. 2, No. 3, Spring 1976, p. 164.

• Wright, Eugene. “Editorial – Senator Eugene Wright.” International Society of Bassists Magazine. Vol. 1, No. 1, Fall  1974, pp. 5-6.

Note: This editorial feature contains also a small biography of Eugene Wright.

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Ziemann, Danny

• Gross, Dan. “Danny Ziemann Gives Us the Lowdown.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 47-49.

Note: An interview focused on Ziemann’s latest Jazz Method Book called “Low Down.”

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Bass Players – Latin Music

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Bass players cited in this listing may also be accomplished jazz players, yet their main legacy will belong to the field of Latin Music.

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“Cachao” Lopez, Israel (1918-2008)

• Koehler, David. “Cacaho, El Maestro of the Cuban Bass, Interview by David Koehler.” International Society of Bassists Magazine. Vol. 20, No. 3, Winter 1996, pp. 14-20.

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Cuevas, Salvador (1955-2017)

• Douglas, Tejada. “Sal Cuevas: A Tribute to One of Salsa’s Most Influential Bassists” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, pp. 51-57.

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Bass Players – Electric Bass

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Bailey, Steve (1960)

• Bailey, Steve. “Double Trouble” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, pp. 42-44.

• Bailey, Steve. “Electric AmBASSador.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 2, February – May 2020, pp. 42-44.

Note: An introduction to “All things Electric” column of the Bass World, a space dedicated to the electric bass (bass guitar), and which by chance did not have its full representation untill this time. A letter of inquiry on electric bass from Steve Bailey from February 2017 reprinted.

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Bailey, Victor (1960-2016)

• (author not cited). “Victor Bailey.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, p. 73.

Note: This is a tribute article dedicated to Victor Bailey.

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Forfia, Mike

• Kosky, Chris. “Wisdom from an Academic and Career Counselor: Mike Forfia” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 1, October – January 2020, pp. 39-41.

Note: This article presents an interview with Mike Forfia who is an electric bass player currently employed as an Academic Advisor for Jazz & Contemporary Music program at The New School in New York City.

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Hammick, Valda

• Carroll, Frank. “Hammick’s Electric Bass Technique Volumes I and II.” International Society of Bassists Magazine. Vol. 5, No. 3, 1979, p. 503.

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Merritt, Jymie (1926-2020)

• (author not cited) “Remembering Jymie Merritt” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, p. 51.

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Moffett, Charnett (1967-2022)

• (author not cited). “Charnett Moffett, 1967-2022” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, p. 7.

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Pastorius, Jaco (1951-1987)

• Bany, John. “In Memoriam, Jaco Pastorius.” International Society of Bassists Magazine, Vol. 14, No. 1, Fall 1987, p. 43.

Note: This tribute also includes Pastorius’ selected discography.

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• Egilsson, Arni. “Jaco Pastorius The Genius.” International Society of Bassists Magazine. Vol. 14, No. 3, Spring 1988, p. 3.

Note: This is a brief reminiscence on cooperation between Jaco Pastorius and Arni Egilsson on Pastorius’ Word of Mouth (Warner Bros BSK 3535) album where Egilsson has overdubbed each part in studio setting, and to Pastorius’ final approval and satisfaction.

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Patitucci, John (1959)

• Hartley, Bill. “John Patitucci: The Jazz From Ipanema.” International Society of Bassists Magazine. Vol. 20, No. 2, Spring/Summer 1995, pp. 16-31.

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Roxx, Divinity (1976)

• Blair, Elizabeth. “After Touring with Beyoncé, Divinity Roxx Brings Positive Vibes to Children’s Music” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 2, February – May 2022, pp. 10-12.

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Swallow, Steve (1940)

• Gertz, Bruce. “Interview with Steve Swallow” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, pp. 21-22.

• Waters, Drew. “Steve Swallow: Getting to the Second Bass.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, pp. 27-31.

Note: Swallow was one of the pioneers in use of the electric bass in jazz, and at the time in the 60s when such a combination was frowned upon in jazz community. This article tells the full story of Swallows adoption and use of the eclectic bass in jazz bands.

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Wooten, Victor (1964)

• Gertz, Bruce. “Q & A with Victor Wooten” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 2, February – May 2022, p. 17.

• Forfia, Michael. “Role Model: An Interview with Victor Wooten, Victor Wooten Shares His Thoughts on the Role of the Bass, Teachers, and Music Camps.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 3, February – May 2018, pp. 19-24.

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Bass Players – Violone & Period Basses

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Fuller, Jerry

• Duffie, Bruce. “Jerry Fuller, Performer and Scholar of the Double Bass and Violone, A Conversation with Bruce Duffie.” WNIB, Classical 97, 30 June 1997, BruceDufie.com/Fuller  |  IA – BruceDufie.com/Fuller

Note: This article presents a transcript of an interview recorded on June 30, 1997 for a broadcast at WNIB, Classical 97 in Chicago. Jerry Fuller is cited both in the Bass Players – Classical and here at Bass Players – Violone & Period Basses listings.

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Lambert, James

• Lardin, Heather Miller. “Renaissance Man: Jim Lambert on his Crossover Career, A conversation between Heather Miller Lardin and Jim Lambert.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, pp. 35-38.

Note: Jim Lambert is cited both in the Bass Players – Classical and here at Bass Players – Violone & Period Basses listings.

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Lardin, Heather Miller

• Lardin, Heather Miller. “Heather Miller Lardin, Principal Bass, Handel & Haydn Society.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 3, June – September 2019, p. 23-24.

Note: This article is written in first person and presents Heather Miller Lardin’s affiliation with Handel & Haydn Society ensemble.

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Lehning, Steven

• Fuller, Jerry. “An Interview with Steve Lehning.” International Society of Bassists Magazine. Vol. 20, No. 1, Winter 1995, pp. 6-12.

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Macmillan, Pippa

• Lardin, Heather Miller. “An Interview with Pippa Macmillan” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, pp. 31-35.

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Mackay, Alison

• Fuller, Jerry. “Tafelmusi’s Alison Mackay.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, p. 61-62.

Note: Title cited as printed although it should have read “Tafelmusik’s.” Likely a typo.

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Morton, Joelle

• Crouch, Madeleine. “Passing the Torch” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 46-47.

Note: This is a warm farewell article in honor of the work Joelle Morton has done as an ISB Magazine main editor. Warm wishes and memories are shared by some seventeen Morton’s colleagues in this feature.

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• Lardin, Heather Miller. “Early Bass Resources on the Web: Joelle Morton’s greatbassviol.com.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 67-68.

Note: The article also includes a nice biography of Joelle Morton.

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• Morton, Joelle. “The Editor’s Desk.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 2, Fall 1999, p. 4.

Note: This editorial feature presents the author’s biographical and scholarly background.

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Myron, Richard

• Fuller, Jerry. “An Interview with Richard Myron.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 2, (1998), pp. 4-8.

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Neely, Pat

• Neely, Pat. “An Interview with Pat Neely” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, pp. 37-41.

Note: This article is written in first person and presents the Neely’s education and career as an early music specialist.

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Nwanoku, Chi-chi (1957)

• Plüddemann, Maja and Chi-Chi Nwanoku. “Chi-chi Nwanoku OBE, “Ich habe eine Stimme – Ich muss Sie Nutzen!”” ; “Chi-chi Nwanoku OBE, “I have a voice – I must use it.”” Magazin der Sperger Gesellschaft. Nr. 4, August 2021, pp. 28-32. IA – Download Page

Note: Article Interview written in German and English in two parallel columns.

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Papp, Nicholas

• Fuller, Jerry. “An Interview with Nicholas Pap.” Translated and edited by Christina Sidiropoulou. Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, pp. 45-49.

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Roberts, Dane

• Fuller, Jerry. “An Interview with Dane Roberts.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, pp. 4-7.

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Serna, Philip W.

• Serna, Philip W. “Outreach Activism: Award-Winning Chicago Area Bassist Takes Early Music into the Classroom.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 2, October – January 2010, pp. 50-54.

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Sinclair, David

• Fuller, Jerry. “An Interview with David Sinclair.” International Society of Bassists Magazine. Vol. 19, No. 3, Fall 1994, pp. 4-10.

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Wilkinson, Ruth

• Wilkinson, Ruth. “Studying the Violone in the 1970s: Learning with Jordi Savall.” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, pp. 29-32.

Note: The article covers the Violone career and experience of Ruth Wilkinson, and along the period instruments she encountered in her career.

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Willens, Michael

• Fuller, Jerry. “An Interview with Michael Willens.” International Society of Bassists Magazine. Vol. 20, No. 2, Spring/Summer 1995, pp. 4-11.

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Bass Players – Folk & Ethnic Basses

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Wiant, Jerry

• Wiant, Jerry. “My Journey to Becoming Washtub Jerry.” International Society of Bassists Magazine. Vol. 16, No. 1, Fall 1989, pp. 27-29.

Note: An article about the curious species of stringed bass instrument called Washtub Bass and its performer Jerry “Washtub” Wiant.

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Composers

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Please note that only composers who were non-bass players will be listed at the “Composers” section. The bass players who were also composers will be cited in the Bass Players – Classical  or Bass Players – Jazz, where applicable. Therefore if you look for articles on Bottesini, Dragonetti, Koussevitzky, Sperger  or the other bassists who have left us compositions, please consult the Bass Players’  section. For some artists however, it is advisable that you check both Bass Players and Composers sections in order to find out whether an artist was just a composer or a bass player-composer as well.

If you know the composer’s name but do not wish to scroll through the listings, please use your browser’s Find function (Ctrl-F) and simply search for the name. Your browser will show the particular person name in every instance cited on this page, whether they are Composer, Bassist, an author of an article, or possibly someone mentioned in the Note’s section.

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Composers Listing

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Aitken, Hugh (1924-2012)

• Peters, Lynn. “Aitken Suite.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 118.

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Bach, Johann Sebastian (1685-1750)

• Bayles, Sarah Kendall. “An Invention After Bach With Verse.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 9-10.

Note: An article about Bach’s Cello Suites on bass and Richard Hartshorne’s suite performances on bass at the cello pitch.

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• Borem, Fausto. “Improvisatory Styles in the Music of Bach.” International Society of Bassists Magazine. Vol. 18, No. 2, Fall 1992, pp. 54-62.

Note: An article about how to consider adding an improvisation to the music of Bach, and to his violoncello suites on double bass in particular.

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• Budrow, Jack and Daxun Zhang. “Different Strokes.” (Sarabande from J.S. Bach’s Sixth Suite for cello.) Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, pp. 46-47.

Note: In this article Budrow introduces Daxun Zhang’s adaptation of Sarabande from J.S. Bach’s Sixth Suite for violoncello (score p. 47).

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• DeCesare, Nina. “An Approach to Bach for Smaller Hands” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 2, February – May 2022, pp. 35-39.

Note: This is a very well written article on how to approach the study and performance of Bach Cello Suites. The author covers many aspects of performance and presents practical fingering suggestions for certain challenging passages.

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• Ellison, Paul. “It’s Your Bach!” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 46-47.

Featured Solo:
Bach, J. S. – Suite (for Violoncello), No. 3, Sarabande (p. 47)

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• Finson, Jon W. “The Violone in Bach’s Brandenburg Concerti.” The Galpin Society Journal. Vol. 29, May,  1976, pp. 105-111. JSTOR

• Krasnopolsky, Michael. “Performance Edition – Suite No. 1 of J. S. Bach, (Originally for Violoncello).” International Society of Bassists Magazine. Vol. 6, No. 4, Spring 1980, pp. 638-644.

Note: This is an actual edition of Bach’s First Violoncello suite. The transposition used by Krasnopolsky is a fourth lower from the “at pitch” approach that is common today.

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• Leavis, Ralph. “J. S. Bach’s Violone Parts.” The Galpin Society Journal, Vol. 30, 1977, pp. 155-56. JSTOR

• Maunder, Richard. “The Violone in Bach’s Brandenburg Concerti.” The Galpin Society Journal, Vol. 31, May 1978, p. 147. JSTOR

• McClure, Theron. “Bach’s Bass.” International Society of Bassists Magazine. Vol. 8, No. 1, Fall 1981, pp. 772-774.

Note: Regardless of the immense research in the instrumentation of Bach’s music during his Leipzig years, this article from 1981 offers a still-relevant summary on the types of stringed bass instruments Bach had used in his Thomaskirche orchestra and the registers they covered.

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• Mortimore, Tracy. “Bach Suite in B Minor: Performance Consideration for the Double Bassist” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 3, February – May 2018, pp. 43-47.

Note: The composition covered in this article is Bach Suite in B Minor, BWV 1067, for Flute Solo, Strings and Continuo. The composition is known to the bassists mostly by its demanding orchestra excerpt from the Battinerie movement.

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• Murray, David. ““Suites Week” in Iowa City.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 2, Fall 1999, p. 34.

Note: A report on a collective effort to perform all six of Bach’s Violoncello suites during the ISB 1999 Iowa Convention.

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Baker, Claude (1948)

• (author not cited) “$5000 George Eastman Prize Awarded.” International Society of Bassists Magazine. Vol. 11, No. 3, Spring 1985, pp. 33-35.

Note: An overview of 1985 George Eastman Prize Award, which was presented to Claude Baker for his composition Omaggi e Fantasie for double bass and piano. A section of this composition was presented on pages 34-35.

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Beethoven, Ludvig van (1770-1827)

• Buckley, Stephen G. “Beethoven, the Viennese Violone, and the Problem of Lower Compass.” Online Journal of Bass Research (OJBR). Vol. 7, December 2015. OJBR – Online View

• Scelba, Anthony. “The Soloistic Approach to Orchestral Music.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 13) Vol. 2, No. 3, June 1970, pp. 6-8, continued on pp. 32-37.

Note: In this article Scelba offers an in depth study of Beethoven’s Ninth Symphony  Recitativo. You will find here many ideas and thoughts on how to interpret this solo, and also some historical references on how the Recitativo was interpreted in the past, for example by Toscanini’s own bass section.

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• Slatford, Rodney. “Dragonetti and Beethoven’s Ninth.” International Society of Bassists Magazine, Vol. 14. No. 1, Fall 1987, pp. 50-51.

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Bennet, Richard Rodney (1936-2012)

• Green, Barry. “Richard Rodney Bennett: Concerto For Bass and Small Orchestra.” International Society of Bassists Magazine. Vol. 5, No. 4, Spring 1979, p. 539.

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Biber, Heinrich Ignaz Franz (1644-1704)

• Planyavsky, Alfred. “Referat “Der Violone bei Biber” : gehalten am 12. April 1992 im Mozarteum Salzburg zum 21. ESTA-Kongreß.” 1994. OBVSG – Article Record – WorldCat – Article Record – Planyavsky – Referate

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Boccherini, Luigi (1743-1805)

• Gandara, Xose Crisanto. “The Double Bass in the Chamber Music of Luigi Boccherini.” Translated by Roberto Aymes. Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, pp. 8-13.

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Bottesini, Giovanni (1821-1889)

• Please follow the link to Bass Players – Classical – G. Bottesini

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Brahms, Johannes (1833-1897)

• McClure, Theron. ““Bottom” Brahms.” International Society of Bassists Magazine. Vol. 3, No. 4, Spring 1977, pp. 318-320.

Note: In this article McClure offers a strong argument for allowing the present day bassist to use extension, and/or the fifth C string range in Brahms’ orchestra writing where the E string may limit the ambitus and necessitate a transposition up for a normal 4 stringed instrument. McClure has in fact researched Brahms’ own symphony arrangements for four-hand piano, and in those arrangements some double bass passages actually double the cello line and follow up to low C₁. For orchestra bassists who would wish to make their own edition of  Brahms’ Symphony No. 1, McClure offers examples actual Brahms’ autograph writing samples from his piano arrangement editions and along the printed bass examples from standard orchestra bass part) for movements 1, 2 and 4. McClure also adds a word of caution that not always, and not in all instances the bottom of the contra range was envisioned by Brahms. He also explains where and when not to use the true octave down doubling.

This article however assumes that the four hand piano arrangement of Brahms’ symphonies would indeed correspond in lower range to what the composer would have wished in the orchestra sound as well. Yet, whether such a true-to-the-note approach would always be applied by Brahms is perhaps something that should be addressed by a modern research as well. Perhaps a modern inquiry in this subject could provide a better and updated version of this article, since there may be more of Brahms’ four hand piano arrangements that can be compared with his original orchestral works.

Otherwise, if you apply the logic of the article as indicated in the Brahms’ piano autograph notes, then the very opening of the Brahms’ Symphony No. 1 should indeed be played with the open 5^th string on the five stringer, or a fully open extension that allows a true C₁ as the lowest note of double bass range.

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Brott, Alexander (1915-2005)

• Karr, Gary. “Of the Record.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, p. 28.

Note: In this article Prof. Karr offers the details on his famous Koussevitzky recording with Oslo Philharmonic, upon which the author of this portal, and along many other bassists worldwide, have modeled their own understanding and interpretation of Koussevitzky’s concerto. Apparently, for this recording Prof. Karr did stand in an unusual off-stage place, and probably in order to get the clean bass-only sound that is separated from the orchestra. Yet, at the end it seems that the mixing had still allowed the orchestra to overpower the bass in some sections. The second part of the article describes Karr’s recording experience with the Alexander Brott’s Profundum Praedictum.

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Capuzzi, Antonio (1755-1818)

• Lardin, Heather Miller. “A Fresh Look at Capuzzi’s Concerto: Peter McCarthy’s New Edition.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 37-40.

Note: This article presents an overview of Capuzzi concerto sources and editions, and along offers an interview with Peter McCarthy on his own latest edition of this concerto.

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• Morton, Joëlle. “Informal Details about The Double Bass Concerto by G. A. Capuzzi, and its Relationship (or lack thereof) to Domenico Dragonetti.” (Unpublished, Article), Toronto, 2012 – Download Page  |  Download Link  |  IA – Download Link

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Chihara, Paul (1938)

• Kohn, Andrew. “Paul Chihara’s Logs: An Appreciation.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 2, October – January 2010, pp. 31-32.

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Cimador, Jean Battiste (1761-1805)

• Bergman, Mark Elliot. “Different Strokes: Giambattista Cimador’s Chamber Music Arrangement of Mozart’s Haffner (no. 35) and Paris (no. 31) Symphonies.” Online Journal of Bass Research (OJBR). Vol. 15, June 2022.  OJBR – Online View

• Fuller, Jerry and Curtis Daily. “Curtis Daily and a New Edition of the Cimador Concerto.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 2, October – January 2004, pp. 39-41.

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Costinescu, Gheorghe (1934)

• Robinson, Paul. “Launching a New Work.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, pp. 19-21.

Note: A report on the complete version performance of Gheorghe Costinescu’s The Musical Seminar on August 3, 1982 at the Festival of Contemporary Music at Tanglewood (Paul Robinson on bass). The work was premiered in 1971, yet with suggestion of Donald Palma who performed the premiere, the work was later expanded from the original 97 pages to 450 pages. The work is an advanced contemporary ensemble composition of substance, yet as curiosity it may be noted that this is also and probably the only work in bass repertoire, which requires a bass player to light up a cigarette on stage during the performance (and then cough and stomp it out), as a part of the composition performance instructions.

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Cramer, Johann Baptist (1771-1858)

• Lorenzen, Sanne Behrends. “Johann Baptist Cramer und das Klavierquintett mit Kontrabass.” Johann Baptist Cramer und die Welt der Pianistes Compositeurs. Edited by Felix Diergarten. Baden-Baden : Georg Olms Verlag, 2023, p. 105. OBVSG – Article Record

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Deak, Jon (1943)

• Leavitt, Tod. “Anything but Elementary: Sherlock Holmes Returns in Jon Deak’s “The Speckled Band”.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 2, October – January 2010, pp. 33-37.

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Diemente, Edward (1923-2018)

• Turetzky, Bertram. “Contrabass and Wind Ensemble.” International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, pp. 83, 85.

Note: In this article Turetzky offers a valid argument that one of the best ways to promote solo bass to wider audiences is by offering a solo performance with accompaniment of a wind ensemble, since the majority of colleges and high schools have exactly that type of an ensemble. For a suitable repertoire Turetzky suggests Edward Diemente’s Unvelopment (1968) for solo bass and wind ensemble and William Karlins’ Reflux (1972), a Concerto for Amplified Solo Bass and wind ensemble.

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Dittersdorf, Karl Ditters von (1739-1799)

• Herbert, Seifert. “Dittersdorfs Kontrabaßkonzert – der Beginn einer Gattung?” Sperger-Forum. Nr. 2/3, Part 1,  November 2004, pp. 39-41.

• Herbert, Seifert. “Dittersdorfs Kontrabaßkonzerte – der Beginn einer Gattung?” Sperger-Forum. Nr. 4/5, Part 2,  Oktober 2006, pp. 37-38.

• Hoock, Christine. “Carl Ditters von Dittersdorf, Konzert Nr. 2 in E-Dur – eine Reflexion.” ; “Carl Ditters von Dittersdorf, Concerto No. 2 in E Major – a reflection” Magazin der Sperger Gesellschaft. Nr. 4, August 2021, pp. 35-37. IA – Download Page

Note: The article written in German and English in two parallel columns.

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• Obrecht, Eldon. “Dittersdorf’s Solo Bass Music.” International Society of Bassists Magazine. Vol. 7, No. 2, Winter 1981, p. 691, p. 693.

• Slatford, Rodney. “The Editing and Preparation of the Concertos of  Karl Ditters von Dittersdorf.” International Society of Bassists Magazine. Vol. 6, No. 4, Spring 1980, pp. 635-637.

Note: This article overviews Slatford’s project of making a new edition of two Dittersdorf concertos in standard orchestra tuning (Yorke Edition). Of interest may be that the article also features a full list of editing marks and corrections that were applied in this edition.

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• Trumpf, Klaus. “The New Edition of Concerto No. 2 by Karl Ditters von Dittersdorf.” Translated by Jeanette Welch. International Society of Bassists Magazine. Vol. 19, No. 2, Spring 1994, pp. 40-45.

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Dragonetti, Domenico (1763-1846)

• Please follow the link to Bass Players – Classical – D. Dragonetti
  

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Druckman, Jacob (1928-1996)

• Deak, John. “Valentine for Solo Contrabass.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 117.

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Eccles, Henry (1670-1742)

• Groniger, Mik. “In Defense of the Eccles Sonata.” International Society of Bassists Magazine. Vol. 11, No. 1, Fall 1984, pp. 23-24.

• Morton, Joëlle. “The Eccles Sonata.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 1, June – September 2001, pp. 44-47.

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Elgar, Sir Edward (1857-1934)

• Slatford, Rodney. “Sir Edward Elgar’s Duet for Trombone and Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 13-10.

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Erb, Donald (1927-2028)

• Angell, Lawrence. “A “New” Solo Instrument: The Double Bass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, pp. 18-20.

Note: This article covers several subjects: the premiere of Basspiece by Donald Erb, the range of double bass, the models of basses and the general solo bass repertoire.

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Farrenc, Louise (1804-1875)

• Kamminga, Caitlyn. “Louise Farrenc: The Lost and Found Quintets.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 11-12.

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Foley, Daniel (1952)

• Foley, Daniel. “Concerto for Two Double Basses and Orchestra.” International Society of Bassists Magazine. Vol. 3, No. 3, Spring 1977, p. 289.

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Garner, David Kirkland

• Herman, Jory. “The “Skellet Knell” by David Kirkland Garner: A Crowd-Sourced Commission.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 37-39.

Note: An excellent article on how a joint effrot of many bassists (crowd sourcing) may bring out the comissions of quality bass works from renown composers.

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Ginastera, Alberto (1916-1983)

• Oppelt, Robert. “Ginastera from the First Desk.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, pp. 19-22.

Featured Excerpt:
Ginastera, A. – Concerto per Corde, Variazione IV, Solo

Note:
This entire article is dedicated to Ginastera’s Concerto per Corde Bass Solo, and which is the different one from the commonly asked Variaciones Concertantes, XI, Solo. Given that the Concerto per Corde  is not performed as often as the Variaciones Concertantes, this article offers an in-depth coverage of the part and the technical challenges it presents, and particularly from the point of view that historically this solo was considered unplayable-as-written or requiring a modification in order to be played. This article addresses all these issues and how to resolve them.

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• Walter, David. “Ginastera and the Double Bass.” International Society of Bassists Magazine. Vol. 5, No. 2, 1979, pp. 468-471.

Note: The article also features the solo bass parts from Variaciones Concertantes p. 470 and Concerto per Corde (Variation IV) p. 471.

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Handel, Georg Frederic (1685- 1759)

• Richard G. King. “Who Does What? On the Roles of the Violoncello and Double Bass in the Performance of Handel’s Recitatives.” Early Music. No. 44, 2016, pp. 45-58.

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Harbison, John (1938)

• Kurtz, Jeremy. “The John Harbison Bass Concerto Project.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 3, February – May 2006, pp. 11-16.

Note: This is the story of the origin, premiere and subsequent performances of the John Harbison Concerto for Bass Viol and Orchestra (double bass is called Bass Viol on purpose by composer).

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Haydn, Joseph (1732-1809)

• Gajdos, Miloslav. “Konzert Nr. 2 “Haydn” – Haydn Revival.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 39, 42.

Note: In German.

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• Gajdos, Miloslav. “Haydn – Concerto per il Contrabasso.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 42.

Note: In English (abbreviated version), slightly different translation from the original.

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• Gerlach, Sonja. “Neues zu Haydns Baryton-Oktett Nr. 5 (Hob X:1).” Haydn-Studien, München, 1983, vol. 5. 1983,2, pp. 125-134. OBVSG – Article Record

• Meier, Adolf. “The Vienna Double Bass and its Technique during the Era of the Vienna Classic.” Translated by Klaus Schruff. International Society of Bassists Magazine, Vol. 13, No. 3, 1987, pp. 10-16.

Note: Pages 12-13 present bass solos from Haydn’s Symphonies No. 6, 7, and 8.

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• Morton, Joelle. “Haydn’s Missing Double Bass Concerto.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 3, (1998), pp. 26-38.

• Webster, James. “On the Absence of Keyboard Continuo in Haydn’s Symphonies.” Early Music, November 1990, pp. 599-608. Early Music – Article Page

• Webster, James. “The Bass Part in Haydn’s Early String Quartets.” The Musical Quarterly, vol. 63, no. 3, 1977, pp. 390-424. JSTOR

Note: In this article Webster presents the evidence that double bass may have been used occasionally in some early Haydn’s string quartets, however that cello was the instrument that most commonly played the basso part.

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• Webster, James. “Violoncello and Double Bass in the Chamber Music of Haydn and His Viennese Contemporaries, 1750-1780.” Journal of the American Musicological Society, Vol. 29, No. 3, 1976, pp. 413-38. JSTOR

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Haydn, Michael (1737-1806)

• Flothius, Marius. “Quintette für Streichinstrumente von Michael Haydn.” Mozart-Jahrbuch der Akademie für Mozart-Forschung der Internationalen Stiftung Mozarteum Salzburg. 1987/1988, pp. 49-57. OBVSG – Article Record – Mozarteum – Download

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Henze, Hans Werner (1926-2012)

• Jacobson, Bernard. “A Solo Work for Double Bass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 3) November, 1967, pp. 20-21.

Note: The article on the origin, qualities and preparation of Hans Werner Henze Concerto for Double bass that was commissioned and premiered by Gary Karr. Reprinted from: Chicago Daily News, Thursday, Nov. 2, 1967.

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Hindemith, Paul (1895-1963)

• Klinghoffer, Michael. “The Hindemith Sonata: A Detective Story (in memoriam Peter Folk).” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 1, June – September 2012, pp. 42-47.

• Olson, Phyllis Edwards. “Hindemith’s Last Chord.” International Society of Bassists Magazine. Vol. 20, No. 1, Winter 1995, pp. 14-15.

Note: An article about the chord (solo bass pizzicato) in Hindemith’s Sonata for Double Bass and Piano, Movement 3, measure 103. Should you have a common Schott edition of Hindemith’s Sonata it may be worth checking this article for the proper notes, since the proper chord has been presented to the Prof. Olson in mail by Hindemith himself.

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Hoag, Charles (1931-2012)

• Please see Hoag, Charles (1931-2012) at the Bass Players – Classical  listing.

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Hoffmeister, Franz (1754-1812)

• Jacobson, Harry. “The Edition of an Unpublished Contrabass Solo-Quartet by Franz Hoffmeister.” (Part 1) International Society of Bassists Magazine. Vol. 15, No. 1, Fall 1988, pp. 58-62.

• Jacobson, Harry. “The Edition of an Unpublished Contrabass Solo-Quartet by Franz Hoffmeister.” (Part 2) International Society of Bassists Magazine. Vol. 15, No. 2, Winter 1989, pp. 52-56, 59, 62.

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Hosokawa, Toshio (1955)

• (author not cited). “Toshio Hosokawa, Komponist des Auftragswerks “Bai.”” ; “Toshio Hosokawa, Composer of Commissioned Work “Bai.”” Magazin der Sperger Gesellschaft. Nr. 5, März 2022, pp. 22-23. IA – Download Page

Title in English: Article written in German and English in two parallel columns.

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Hundemer, Thomas

• Christopher, Paul. “Music for Low String Ensemble: Filling a Gap in the Repertoire.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 3, February – May 2010, pp. 11-14.

Notes: An article about the creation of Pauli’s Prelude, a didactic composition for collegiate low bass ensemble (6 celli plus 3 basses) by Thomas Hundemer.

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Karlins, William (1932-2005)

• Turetzky, Bertram. “Contrabass and Wind Ensemble.” International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, p. 83, 85.

Note: In this article Turetzky offers a valid argument that one of the best ways to promote solo bass to wider audiences is by offering a solo performance with accompaniment of a wind ensemble, since the majority of colleges and high schools have exactly that type of an ensemble. For a suitable repertoire Turetzky suggests Edward Diemente’s Unvelopment (1968) for solo bass and wind ensemble and William Karlins’ Reflux (1972), a Concerto for Amplified Solo Bass and wind ensemble.

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Kozeluch, Leopold Anton (1747-1818)

• Massmann, Fritz. “Premiere of a Newly Rediscovered Opus “Sinfonia Concertante For Mandoline, Trumpet, Double Bass, Piano And Orchestra,” by Leopold Anton Kozeluch, Performed by the Symphony Orchestra Radio Frankfurt.” International Society of Bassists Magazine. Vol. 5, No. 4, Spring 1979, p. 537.

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Koussevitzky, Serge (1874-1951)

• Please follow the link to Bass Players – Classical – S. Koussevtizky
  

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Kurtz, Eugene (1923-2006)

• Neubert, David. “Contemporary Unaccompanied Double Bass Works: An Analysis of Style, Performance Techniques and Notational Practices, “Improvisations” by Eugene Kurtz.” International Society of Bassists Magazine. Vol. 9, No. 2, Winter 1983, pp. 24-26.

Note: This article offers an excerpt from the author’s thesis:
Neubert, Bernard D. Contemporary Unaccompanied Double Bass Works: An Analysis of Style, Performance Techniques and Notational Practices. D.M.A. Thesis, University of Texas at Austin, 1982. Record Link

In this article an interesting fact about Kurtz’ “Improvisations” is mentioned, as it apparently was used as a background music for a film Le Dernier Santo directed by Edouard Luntz.

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Lancen, Serge (1922-2005)

• (author not cited) “An Interview with Serge Lancen.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, pp. 42-43.

Note: This article also offers a chronology of Lancen’s works for bass, and cites the bassist for whom these works have been written.

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• Goilav, Yoan. “Serge Lancen: Lifelong Friend of the Double Bass.” Translated by Christine Lavoisier. Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, pp. 7-11.

• Neubert, David. “The Double Bass Works of Serge Lancen.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, pp. 44-46.

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Linkola, Jukka (1955)

• Koenig, James. “Birch Bark & Basses: A Musical Milestone by the Shores of Lake Superior.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 3, February – May 2006, pp. 7-8.

Note: This is the story of the origin and premiere of the Jukka Linkola double bass concerto.

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• Premo, Evan. “A New Finish Bass Concerto.” The Bass Line. [ Publication of the International Society of Bassists ] Spring 2005, p. 7.

Note: About a preparation for the premiere of Linkola’s bass concerto.

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Mahler, Gustav (1860-1911)

• Colbert, Jonathan. “How to Develop Success From Failure.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 2, February – May 2024, pp. 46-49.

Note: The second part of this article concerns the opening bass passage of Mahler’s 2^nd Symphony.

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• Del Mar, Johnatan. “Mahler Symphony No.1 In D, Problem Of The Contrabasso Solo In The Third Movement.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, pp. 34-41.

Note: This article offers an in-depth investigation of famous Mahler bass solo from the 1^st symphony and it irrefutably proves that it was indeed conceived and written for a single solo player.

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• Pingel, Scott. “Meaning, Technique, and Performance of the Bass Solo from Mahler’s Symphony No. 1.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, pp. 37-42.

Note: Beside a discussion on the very solo excerpt from Mahler’s 1^st symphony, this article offers a wealth of information on the symphony itself, and particularly the context and alluded meaning of the 3^rd movement. The presented information is well documented, and it includes some references provided by Mahler himself.

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Manav, Özkan (1967)

• Özlem Er Civelek. “Technical Difficulties and Proposed Solutions of Özkan Manav’s “Aman Avcı” Arrangement for Op.41 for Double Bass and Piano.” Yüzüncü Yıl Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, No. 56, 2022, pp. 218-32. WorldCat Record – Download Page

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Mazzoli, Missy (1980)

• Kesselman, Robin. “Missy Mazzoli’s “Dark with Excessive Bright:” An Instant Addition to the Standard Canon” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 1, October – January 2020, pp. 42-47.

Note: This article presents an in depth analysis of Missy Mazzoli’s “Dark with Excessive Bright” solo piece by New York Philharmonic bassist Robin Kasselman. Several excerpts from this composition with fingerings are featured, so this article can serve as an excellent resource for anyone who wishes prepare this piece for performance.

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Mendelssohn, Felix Bartholdy (1809-1847)

• Wiesenfeldt, Christiane. “Sextett D-Dur für Violine, zwei Violen, Violoncello, Kontrabass und Klavier.” Felix Mendelssohn Bartholdy : Interpretationen seiner Werke : in 2 Bänden. Bd. 1, Laaber : Laaber-Verlag, 2016, pp. 142-145. Universität Wien – Article Record

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Menotti, Gian Carlo (1911-2007)

• (auhor not cited) “World Premiere – Menotti Double Bass Concerto.” International Society of Bassists Magazine. Vol. 10, No. 1, Fall 1983, p. 19.

Note: This is an announcement for the Menotti bass concerto premiere to be performed by James Vandemark. The announcement also lists additional venues and performances of this composition.

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Meyer-Tormin, Wolfgang (1911-1988)

• Golm, Dieter, Paul Mertens-Pavlowsky and Klaus Schruff. “In Memoriam, Wolfgang Meyer-Tormin, 1911-1988.” International Society of Bassists Magazine. Vol. 15, No. 1, Fall 1988, p. 63.

Note: This tribute article presents also all the bass works of Meyer-Tormin.

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Mozart, Wolfgang Amadeus (1756-1791)

• Bär, Carl. “Zum Begriff des “Basso” in Mozarts Serenaden.” Mozart-Jahrbuch der Akademie für Mozart-Forschung der Internationalen Stiftung Mozarteum Salzburg. 1960/61, pp. 133-155. OBVSG – Article Record  |  Mozarteum Download

• Bergman, Mark Elliot. “Different Strokes: Giambattista Cimador’s Chamber Music Arrangement of Mozart’s Haffner (no. 35) and Paris (no. 31) Symphonies.” Online Journal of Bass Research (OJBR). Vol. 15, June 2022.  OJBR – Online View

• Blomhert, Bastiaan. “The Version a 8 of the Gran Partita K. 361 (370a).” Bericht über den Internationalen Mozart-Kongreß Salzburg 1991. 1991(1992), pp. 206-219. OBVSG – Article Record  |  Mozarteum – Download

• Focht, Josef. “Solo Music for the Viennese Double Bass and Mozart’s Compositions with Obbligato Passages for Double Bass.” International Society of Bassists Magazine. Vol. 18, No. 2, Fall 1992, pp. 45-52.

• Leeson, Daniel N. “The “Gran Partitta’s” Mystery Measure.” Mozart-Jahrbuch der Akademie für Mozart-Forschung der Internationalen Stiftung Mozarteum Salzburg. 1991, pp. 220-225. OBVSG – Article Record  |  Mozarteum – Download

• Leeson, Daniel N. “A Revisit: Mozart’s Serenade for Thirteen Instruments, K. 361 (370a), the “Gran Partitta”” Mozart-Jahrbuch der Akademie für Mozart-Forschung der Internationalen Stiftung Mozarteum Salzburg. 1997, pp. 181-223. OBVSG – Article Record  |  Mozarteum – Download

• Loy, Felix. “Die Oktett-Fassung der Serenade B-Dur KV 361 von Wolfgang Amadeus Mozart als “Urfassung” des Werkes? ” Mozart Studien. hrsg. von Manfred Hermann Schmid, Band 19, Tutzing : Hans Schneider, 2010, pp. 43-58.

• Lindmayr-Brandl, Andrea. “Mozarts frühe Tänze für Orchester : Überblick und Details.” Mozart-Jahrbuch der Akademie für Mozart-Forschung der Internationalen Stiftung Mozarteum Salzburg. 1995, pp. 29-58. OBVSG –  Article Record  |  Mozarteum Download

• Möchel, Kurt. “Der Kontrabaß im Orchester (Die Forderung nach größerer Tiefe).” Part 3. Der Kontrabass.Nr. 3, Leipzig, November 1929, pp. 26-27. IA – Download Link

Title in English: The Double Bass in the Orchestra (The Advancement in the Lower Register)

Note: The third part of the Möchel’s article offers five alternative tunings to the common orchestra tuning that are intended for the performance of solo bass music. In essence, he takes the Orchestra Tuning and start lifting it for a step up for every additional tuning, and in this way creates four cited tunings. Therefore the bottom strings start respectively on F#, G, A, B Natural. Yet for the last “fifth” tuning he starts on the low D and offers a combination of 5^th, 6^th and 3^rd, to approximate the D major convenience. The idea is to offer an option for solo bass to be notated “at pitch” and not as a transposing instrument.

However, it appears that there may be another idea beyond all these tunings, and that is, to enable some scordatura options for the performance of Mozart’s famous Per Questa Bella Mano. The title of the article’s last section reads “Mozarts Arie mit obligatem Kontrabaß,” and there Möchel describes the efforts of bassist Lebrecht Goedeke in arranging this piece for a “fifth up” performance. Yet, as this piece was originally written for the Viennese tuning, one may wonder if Prof. Möchel was even aware of the Viennese Tuning and its original notation system? The alternative tunings and solo part notation options for this piece are presented on the two page insert between printed p. 26 and 27, and may point that the transcription effort was attempted due to the unfamiliarity with the original Viennese Tuning notation.

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• Oppelt, Robert J. “Advice for Playing Mozart’s “Per questa bella mano” in Orchestra Tuning.” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, pp. 37-43.

Note: Although this article offers an advice on Playing Mozart’s “Per Questa” in standard orchestra tuning, it is still an excellent article on this compositions and the demands it presents to the bassist. Furthermore, you will find within the article also the complete solo part with all fingerings indicated and that part certainly can help when planning your own performance in standard tuning.

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• Vizachero, Rick. “Eugene Levinson on Mozart’s “Per Questa Bella Mano.”” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 34-35.

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• Planyavsky, Alfred. “Mozarts Arie mit obligatem Kontrabass.” Mozart-Jahrbuch der Akademie für Mozart-Forschung der Internationalen Stiftung Mozarteum Salzburg. 1971/1972, pp. 313-336. OBVSG – Article Record  |  Mozarteum Download

Note: This is still the most comprehensive article available on Mozart’s Per Questa Bella Mano Aria with obligato Double Bass (K.V. 612). The article has also been translated in English, see below.

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• Planyavsky, Alfred. “Mozart’s Aria With Contrabass Obligato.” Translated by Sharon Brown. International Society of Bassists Magazine. Vol. 2, No. 4, Spring 1976, pp. 187-192, continued on p 206.

Note: The pagination cited above applied to English translation of the article, while the original version in German is also presented within the same ISB Magazine on pp. 193-197.

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• Planyavsky, Alfred. “Mozarts Aria mit Obligatem Kontrabass.” International Society of Bassists Magazine. Vol. 2, No. 4, Spring 1976, pp. 193-197.

Note: The original version in German, the English translation available at the same ISB Magazine issue at pp. 187-192, continued on p 206.

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• Seiffert, Wolf-Dieter. “Zur Entstehung und Überlieferung von Mozarts “Kleiner Nachtmusik.” ” Mozart-Jahrbuch der Akademie für Mozart-Forschung der Internationalen Stiftung Mozarteum Salzburg. No. 10, 2009, pp. 199-140. OBVSG – Article Record  |  Mozarteum – Download

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Onslow, Georges (1784-1853)

• Yazdanfar, Ali Kian. “The String Quintets of George Onslow.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 1, June – September 2010, pp. 47-49.

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Prokofiev, Serge (1891-1953)

• Williams, Webster E. “Prokofiev Quintet, Opus 39.” International Society of Bassists Magazine. Vol. 7, No. 3-4, Spring and Summer 1981 (Double Issue), pp. 721-722.

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Ramsier, Paul (1937-2021)

• (author not cited) “The Double Bass Works of Paul Ramsier.” International Society of Bassists Magazine. Vol. 9, No. 3, Spring 1983, pp. 24-30.

Note: In addition to Ramsier’s biography this article presents the listing of Ramsier’s bass compositions and also features the music of samples of these works on pages 26-30.

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• (author not cited) “Paul Ramsier (1937-2021)” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 3, June – September 2021, p. 7.

• Heyes, David. “Two New Duets for ISB Members!” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 3, (1998), pp. 60-63.

Note: This article presents the music of two easy duets intended for beginning instruction by Paul Ramsier.

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• Morton, Mark. “Center Stage.” International Society of Bassists Magazine. Vol. 18, No. 3, Spring 1993, pp. 16-19.

Note: Mark Morton Leads an interview with Paul Ramsier. The article also presents the list of Ramsier’s bass works written till 1993.

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• Ramsier, Paul. “An Open Letter to the Bass Community.” International Society of Bassists Magazine. Vol. 19, No. 1, Fall 1993, pp. 24-27.

Note: This article presents Ramsier’s perceptions on state of solo bass music and also reviews Mark Morton’s ISB 1993 Interlochen workshop on the advancement of the double bass.

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• Ramsier, Paul. “Diary of My Travels On a Road to Hamelin.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, p. 30.

Note: An overview of history and recent performances of Ramsier’s On a Road to Hamelin piece.

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• Ramsier, Paul and Frank Proto. “Tunings Timbre and Talking Bass, an Interview with Frank Proto and Paul Ramsier.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 1, June – September 2008, pp. 17-21.

Note: This is a very interesting article that is somewhat difficult to classify, yet a good part of this interview relates to the bass music of Paul Ramsier.

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• Vance, George. “The Gary Karr Double Bass Book with Music by Paul Ramsier, Book I.” International Society of Bassists Magazine. Vol. 14, No. 3, Spring 1988, pp. 26-28.

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Rosenman, Leonard (1924-2008)

• Luboff, Abe. “New Bass Compositions – Chamber Music No. 4.” International Society of Bassists Magazine. Vol. 3, No. 3, Spring 1977, p. 294.

Note: An overview of the Rosenmann’s Chamber Music No. 4 including the details on composer, the origin of the piece and the soloist Buell Neidlinger.

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Rossini, Gioacchino (1792-1868)

• Cameron, Michael. “Rossini’s Six “Horrible” Sonatas for Strings.” International Society of Bassists Magazine. Vol. 15, No. 2, Winter 1989, pp. 39-41.

• Gossett, Philip. “The Overtures of Rossini.” 19^th Century Music. Vol. 3, No. 1, July 1979, pp. 3-31. JSTOR

Note: aside from offering a wealth of general information on all Rossini’s overtures, and which may complement the general knowledge of orchestral bassists on the subject, this article is of interest to the bass field because it presents details on a little known Rossini’s composition Sinfonia in D “Obligatta a Contrabbasso” also titled Grand’ Overtura obbligata a Contrabasso as titled on the first page of manuscript (pp. 25-29). The article cites in the footnote 21 the following: “The “obbligata a Contrabasso” is really a misnomer. There are solos for the bass in this overture, but the contrabass in this overture is always combined with violoncellos and bassoon.” Yet, whether this work has been researched again after 1979 in respect to any relevance to bass field is unknown today, but it would be of interest to determine for what ensemble was it written and how its bass writing may compare with the bass parts in the other more famous works of Rossini that bassists play today.

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• Kohn, Andrew. “On Transcribing Rossini.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 31-32.

Note: An overview of Rossini’s “Une Larme pour Basse” which appears to have been composed for violoncello, although bassists now play it as part of their repertoire.

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Rota, Nino (1911-1979)

• Ritter, Alexandre. “Franco Petracchi and the “Divertimento Concertante Per Contrabbasso E Orchestra” by Nino Rota: A Successful Collaboration Between Composer and Performer.” Online Journal of Bass Research (OJBR). Vol. 3, January 2012. OJBR Article Link

• Ritter, Alexandre. “In Search of Nino Rota and his Divertimento for Double Bass of 1973.” Part 1. Bass World : The Journal of International Society of Bassists. Vol. 35, No. 3, February – May 2012, pp. 19-22.

• Ritter, Alexandre. “In Search of Nino Rota and his Divertimento for Double Bass of 1973.” Part 2. Bass World : The Journal of International Society of Bassists. Vol. 36, No. 1, June – September 2012, pp. 22-41.

Note: By chance there are more pages of advertisement in the quoted pagination, than the actual text of the article.

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Rubin, Marcel (1905-1995)

• Planyavsky, Alfred. “Recent Double Bass Records from Austria.” International Society of Bassists Magazine. Vol. 13, No. 1, Fall 1986, p. 50.

Note: The second and third paragraph of this article cover the origin, premiere and a recent recording of Marcel Rubin’s Concerto for Double bass.

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Saunders, Rebecca (1967)

• Lawrence, Rebecca. “Adapting Rebecca Saunders’ “Fury” for Four-String Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 47, No. 1, October – January 2024, pp. 37-42.

Note: Saunders’ “Fury” was originally written for five stringed bass and this article presents the compositions properties and the adaptation procedures for a more common four stringed instrument.

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Schuller, Gunther (1925-2015)

• Valk, Alexis. “Schuller Concerto.” International Society of Bassists Magazine. Vol. 2, No. 2, Winter 1976, p. 151.

• Walter, David. “Gunther Schuller, Champion of the Instrumental Underdog.” International Society of Bassists Magazine. Vol. 7, No. 3-4, Spring and Summer 1981 (Double Issue), pp. 714-715.

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Schwartz, Elliot (1936-2016)

• (author not cited) “Divertimento by Elliott Schwartz.” International Society of Bassists Magazine. Vol. 7, No. 1, Fall 1980, p. 665.

Note: The full title of this composition is Divertimento No. 1/ for Flute/Piccolo, Contrabass and Piano (1980). The movement Soliloquy features the solo bass.

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Serebrier, Jose (1938)

• Karr, Gary. ““Nueve:” How I Performed in Two Places at One Time.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 2, October – January 2010, pp. 20-21.

Note: An interesting article about Serebrier’s “Nueve,” which was composed as an homage to Gary Karr premiered in 1970 by him, and how it was performed again with Bournemouth Symphony in 2010, yet this time with a separate solo recording that Gary Karr made in his home in Victoria, Canada.0

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Sperger, Johann Matthias (1750-1812)

• Please follow the link to Bass Players – Classical – J. M. Sperger 

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Spotts, Roger Hamilton (1928-1998)

• Gilbert, Edward. “Octet Premiered.” International Society of Bassists Magazine. Vol. 3, No. 1, Fall 1976, p. 236, 238.

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Shostakovich, Dmitri (1906-1975)

• Robert, Jean-Pierre. “Dmitri Shostakovich: Music and Adaptations for Double Bass and Piano.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 41-53.

Note: This is a very interesting article about adaptations of Shostakovich’s compositions for double bass during the time the composer was still active, and which he actually endorsed himself.

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Shynkevich, Andrej

• Shynkevich, Andrej. “Andrej Shynkevich, First Prize, 2003 ISB Solo Competition.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, p. 35.

Note: The article written in autobiographical style. Column editor Jeff Turner.

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Strauss, Richard (1864-1949)

• Klinghoffer, Michael. “Old Becomes New: Richard Strauss, Sonata Op.6 for Violoncello and Piano.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 25-39.

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Stravinsky, Igor (1882-1971)

• Oppelt, Robert, J. “Make a Splash with Pulcinella.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 55-58.

Note: This article presents a background on Pulcinella suite along with an overview and fingerings for Movement 7, “Vivo” Solo bass part.

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• Oppelt, Robert, J. “Make a Splash with Pulcinella.” (incomplete) Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 53-55.

Note: This was an initial print of Oppelt’s “Pulcinella” article, yet the important front section of the solo excerpt was omitted, so it was reprinted with full excerpt again in Bass World Vol. 39, No. 1, June – September 2016, pp. 55-58. (see above)

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• Wasserman, Ron. “What Note is That?” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 3, February – May 2007, pp. 21-23.

Note: An interesting article about the Con Legno harmonic notated section in Stravinsky’s Firebird ballet bass part, and how it should be played.

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Surinach, Carlos (1915-1997)

• Montgomery, Michael. “Carlos Surinach’s Double Concerto for Flute, Bass, and Chamber Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 46-51.

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Sydeman, William (1928-2021)

• Riveire, Janina and Bert Turetzky. “A Sound All Its Own: Sydeman’s “For Double Bass Alone” Fifty Years Later.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 3, February – May 2010, pp. 7-10.

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Szalonek, Witold (1927-2001)

• (author not cited). “Witold Szalonek: Muslca Concertante per Violbasso e Orchestra.” International Society of Bassists Magazine. Vol. 8, No. 1, Fall 1981, p. 768.

Note: This review was reprinted from Polnische Music 1978, No. I

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Tautenhahn, Gunther (1938-2014)

• Valk, Alexis and Philip Albright. “Concerto for Double Bass.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 117.

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Tuthill, Burnet (1888-1882)

• Tuthill, Burnet C. “(No Title, re, Bertram Turetzky).” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 130.

Note: This Letter to the ISB Magazine covers several important details on Tuthill’s solo bass compositions including the details of his Concerto that was composed at the request of Oscar Zimmerman for his son Robert Zimmerman.

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Voight, John

• Turetzky, Bertram. “New Works of John Voight.” International Society of Bassists Magazine. Vol. 8, No. 1, Fall 1981, p. 752.

Note: John Voight was also a bassist, yet a further inquiry should show if primarily jazz or classical, or perhaps both.

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Wilder, Alec (1907-1980)

• (author not cited) “Recording Premiere.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 8) Vol. 7, No. 5, 1968-69, p. 9.

Note: This short overview presents Alec Wilder’s compositions for solo bass, how they have originated in cooperation with Gary Karr, and how they were finally recorded by Gary Karr.

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Wuorinen, Charles (1938-2020)

• Cameron, Michael. “Three Trios of Charles Wuorinen.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, pp. 33-37.

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Composition and Orchestration

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This section is designed to list all articles in the area of Composition and Orchestration that pertain to double bass, and may be of service to both the experienced composers, as well as the students of composition and bassists themselves. Further relevant information on the bass technique is also presented at the Technique  section where the articles on respectively the Orchestra, Period, Contemporary and Folk bass music practices are presented. In addition, the articles on the use of bass Tunings and Harmonics are available under the headings of Organology – Tunings   and Organology – Harmonics. Lastly, in the Repertoire section you will find articles on the actual bass compositions that may be suitable for further study and examination.

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Composition and Orchestration

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• Drew, Lucas. “Ideas for Notating and Fingering Quarter-Tones for the Double Bass.” International Society of Bassists Magazine. Vol. 3, No. 4, Spring 1977, pp. 309-311.

• Fausto Borém. “Developing a Crossover Idiomatic Writing for the Double Bass: Composing/Arranging & Playing, and … Da Capo !” Revista Vortex, Vol. 8, No. 2, 2020, pp. 1-18. WorldCat Record  |  Download Page

• Hoag, Charles K. “Bass Color in Stravinsky.” International Society of Bassists Magazine. Vol. 5, No. 2, 1979, p. 478-479.

Note: The first printing of the article. See below.

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• Hoag, Charles K. “Bass Color in Stravinsky.” International Society of Bassists Magazine. Vol. 5, No. 4, Spring 1979, p. 543, continued on p. 545.

Note: The second printing of the article due to the fact that in the first printing in ISB Magazine Vol. 5, No. 2, 1979, pp. 478-479, the article pages in some issues were blank. Otherwise the articles are identical.

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• Kohn, Andrew. “Bass in a New Key.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, p. 9.

Note: An excellent article on what to consider and how to transpose solo bass compositions in a new key.

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Bass Compositions’ Competitions

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• For Composition’s Competitions articles and reports, please be kind to follow the link to the Bass Compositions’ Competitions listing which is located under the Competitions  heading.

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Repertoire

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Repertoire – Solo Music

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• (author not cited) “New Music from Yugoslavia.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, p. 9.

Note: A short report of new compositions for bass recently presented in Yugoslavia of 1987.

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• (author not cited). “Witold Szalonek: Musica Concertante per Violbasso e Orchestra.” International Society of Bassists Magazine. Vol. 8, No. 1, Fall 1981, p. 768.

• Aaron, Jefrrey. “Eldon Obrecht Composes, Arranges, and Performs.” International Society of Bassists Magazine. Vol. 12, No. 3, Spring 1986, pp. 47-49.

Note: This article presents an overview of Obrecht’s Concerto for Double Bass that was premiered on February 7, 1986.

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• Albright, Phillip. “The Original Solo Concertos for the Double Bass.” Probas. [ Publication of the International Institute for String Bass ] Vol. 1, Issue 1, Fall  1972, p. 9.

Note: In this article Dr. Albright explains how he conceived and developed his doctoral thesis on solo concertos for double bass.

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• Baguyos, Jeremy. “Interactive Computer Music for Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, pp. 13-17.

• Baguyos, Jeremy C. “Literature and Performance of Music for Double Bass and Tape.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 1, June – September 2008, pp. 7-15.

Note: An excellent article that also presents the list of pieces for double bass and tape.

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• Bray, Trevor. “Double Bass.” The Musical Times. Vol. 126, No. 1704, 1985, pp. 102-102. JSTOR

Note: This article offers a brief overview of several solo bass compositions that were in print and known ca. 1985.

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• Diedrich, Wilhelm. “Moderne Kompositionen für den Kontrabaß.” Der Kontrabass. Nr. 5, Leipzig, Anfang Februar 1931, pp. 48-49. IA – Download Link

Note: The article presents both the works of Wilhelm Diedrich and his perceptions on the state of solo bass performance and compositions at the time the article was written.

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• Drew, Lucas. “American Bass Music” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 10) Vol. 1, No. 1, December 1969, p. 29-30.

Note: This feature presents a list of American Solo and Chamber music compositions that was presented in a lecture at the Second Conference of the International Institute for the String Bass (1968) at Madison, WI. This list is an excellent source of American contemporary bass music from pre 1969 period.

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• Emery, Caroline. “Gareth Wood’s New Concerto for Double Bass and Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 3, 1997, pp. 54-62.

• Grodner, Murray. “Composers – Publishers – Forum, Winter 1974-75, Report from the Repertoire Committee.” International Society of Bassists Magazine. Vol. 1, No. 2, Winter 1974-1975, p. 29.

Note: This was a Grodner’s report on a bass music research project where his bass class “was involved in a project of seeking out and studying music that has never been done at our school before” and with “The idea (was) to find literature, written or transcribed for the double bass, primarily in print, which would broaden our horizons in solo literature.” The article also presents a printed list of some 13 compositions that fit these criteria.

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• Grodner, Murray. “An International Bass Library?” International Society of Bassists Magazine. Vol. 1, No. 1, Fall  1974, pp. 5-6.

Note: In this article Grodner describes the project of creating a universal bass library at the Indiana University with the goal of acquiring all the solo literature cited in his Catalog of Available Literature for the Double Bass, 1974, and with the aim that such collection becomes of service to the ISB members as well.

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• Harte, Carol Louise. “Contemporary Music Survey.” International Society of Bassists Magazine. Vol. 14, No. 2, Winter 1988, pp. 24-27.

Note: This survey presents a listing of contemporary solo bass works (up to 1988) and along offers the duration, difficulty level and additional comments for each entry. Since the record for each composition stretches over two pages, you will need to consult both pp. 24-25 and pp. 26-27 to get the full info on any particular piece.

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• Herman, Jory. “The “Skellet Knell” by David Kirkland Garner: A Crowd-Sourced Commission.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 37-39.

Note: An excellent article on how a joint effort of many bassists (crowd sourcing) may bring out the commissions of quality bass works from renown composers.

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• Holmvik, Bjorn F. “Recent Norwegian Compositions.” International Society of Bassists Magazine. Vol. 1, No. 2, Winter 1974-1975, p. 34.

Note: This is an overview of recent (1974) compositions for solo bass from Norway.

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• Jacobson, Harry. “The Edition of an Unpublished Contrabass Solo-Quartet by Franz Hoffmeister.” (Part 2) International Society of Bassists Magazine. Vol. 15, No. 2, Winter 1989, pp. 52-56, 59, 62.

• Karr, Gary. “It’s What’s Up and Front that Counts.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, pp. 19-23.

Note: This feature presents Prof. Karr’s listing of preferred solo bass compositions based on an experience of performing “30 different works with about 100 orchestras throughout the United States, Canada, Mexico and Europe (in the last eight years, prior to 1970).” Fascinating to note, but beside the Koussevitzky concerto one can also note a Dittersdorf concerto listed as well. Please take a note of the contemporary concertos on the list, since some of these compositions may not be known today, and they are on the list of the recommended ones.

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• Kohn, Andrew. “A List of Compositions by Women for the Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 23-28.

Note: The listing presented in this article contains both the solo and chamber compositions.

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• Kohn, Andrew.  “Incantation Pour Junon.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 56-57.

Note: This is an Andrew Kohn transcription of Francois Rabbath composition “Incantation Pour Junon.”

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• Kohn, Andrew. “Koussevitzky’s Double Bass Repertoire: A Reassessment.” Online Journal of Bass Research (OJBR). Vol. 9, September 2017. OJBR – Online View

• LeCompte, Korneel. “List of Double Bass Works That Appear on More Than One Record.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, pp. 28-29.

Note: This article presents an interesting list of compositions that had an honor to appear more than once on any recording (LP recording at the time).

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• Montgomery, Michael. “Carlos Surinach’s Double Concerto for Flute, Bass, and Chamber Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 46-51.

• Morelli, Michael J. “The Importance of Transcriptions.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, pp. 21-22.

• Neubert, David. “Contemporary Unaccompanied Double Bass Works: An Analysis Of Style, Performance Techniques And Notational Practices, “Improvisations” by Eugene Kurtz.” International Society of Bassists Magazine. Vol. 9, No. 2, Winter 1983, pp. 24-26.

Note: This article offers an excerpt from the author’s thesis:
Neubert, Bernard D. Contemporary Unaccompanied Double Bass Works: An Analysis of Style, Performance Techniques and Notational Practices. D.M.A. Thesis, University of Texas at Austin, 1982. Record Link

In this article an interesting fact about Kurtz’ “Improvisations” is mentioned, as it apparently was used as a background music for a film Le Dernier Santo directed by Edouard Luntz.

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• Neubert, David. “Electronic Double Bass Works.” International Society of Bassists Magazine. Vol. 7, No. 1, Fall 1980, p. 665, p. 667.

Note: This article also features a Catalog of Electronic Double Bass Works (p. 667)

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• Neubert, David. “In Search of the Missing Link – Music Technology and the Double Bass.” International Society of Bassists Magazine. Vol. 15, No. 1, Fall 1988, pp. 44-46.

Note: An article on the emergence and evolution of electric synthesizers and the recording technology that has allowed the emergence and development of the contemporary music for bass and electronic media (commonly prerecorded tapes with synthesized music).

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• Planyavsky, Alfred. “Der Kontrabass als Soloinstrument.” Österreichische Musik Zeitschrift. (Vol.) 15, (No.  3), 1960, pp. 143-147.

Note: This same article was reprinted in Das Orchester. No. 6, 1962, pp. 189-193.

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• Ritchie, William. “An Expanded Sampling of Double Bass Repertoire.” International Society of Bassists Magazine. Vol. 19, No. 2, Spring 1994, pp. 64-69.

Note: In this article the author offers an expanded list of solo repertoire based on the official 1976 American String Teacher Association (ASTA) list, and which is a common source of repertoire used by the ASTA members for pre collegiate instruction.

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• Ruggeri, Roger. “Highlights of the Last Half Century for Solo Double Bass.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, pp. 20-24.

Note: An article on suitable contemporary solo bass compositions (ca. 1950 – 1991), which also features an index of these compositions with brief comments.

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• Tischer-Zeitz, Franz. “Kurze Beiträge zur Fachliteratur.” Der Kontrabass. Nr. 4, Leipzig, Marz 1930, pp. 42-43. IA – Download Link

Note: This article presents a Tischer-Zeitz’ overview of both the bass pedagogy and the solo bass literature that is suitable for instruction purpose. Some of the cited literature is not known today, but it may be of interest to explore it further, if nothing else then for historical documentation purpose.

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• Turetzky, Bertram. “Contrabass and Wind Ensemble.” International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, p. 83, 85.

Note: In this article Turetzky offers a valid argument that one of the best ways to promote solo bass to wider audiences is by offering a solo performance with accompaniment of a wind ensemble, since the majority of colleges and high schools have exactly that type of an ensemble. For a suitable repertoire Turetzky suggests Edward Diemente’s Unvelopment (1968) for solo bass and wind ensemble and William Karlins’ Reflux (1972), a Concerto for Amplified Solo Bass and wind ensemble.

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• Turetzky, Bertram. “Notes on the Double Bass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 8) Vol. 7, No. 5, 1968-69, p. 9-16.

Note: this article presents the bass range and covers the technique and details of several contemporary pieces written up to c. 1969. The end of article features a list of American contemporary solo and chamber music for bass.

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• Valk, Alexis. “Contemporary Etudes – “Changing Meters.”” International Society of Bassists Magazine. Vol. 7, No. 2, Winter 1981, pp. 695-697.

Note: This is etude written by Alexis Valk.

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• Weinstein, Milton. “Phrygian No. 2.” International Society of Bassists Magazine. Vol. 8, No. 1, Fall 1981, pp. 754-756.

Note: This is actually a reprint of Weinsten’s Phrygian No. 2 composition score with solo and piano part from Weinsten’s 12 Contemporary Modal Solos for Double Bass and Piano.

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Repertoire – Chamber Music

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• Cameron, Michael. “Chamber Music Update.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, p. 49.

• Cameron, Michael. “Chamber Music With Bass – Compatible Aliens?” International Society of Bassists Magazine. Vol. 13, No. 1, Fall 1986, p. 36.

• Cameron, Michael. “Octets and the Double Bass.” International Society of Bassists Magazine. Vol. 14, No. 2, Winter 1988, pp. 20-23.

Note: The listing of octets with double bass is also presented at the end of the article.

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• Cameron, Michael. “The Baroque Chamber Players, Old & New Options.” International Society of Bassists Magazine. Vol. 17, No. 2, Winter/Spring 1991, pp. 56-68.

Note: This article offers a commentary on and a list of twentieth-century works for flute, oboe, double bass and harpsichord, an ensemble that was considered common in Baroque period, although the placement of double bass in it as a 16 foot instrument may be open to inquiry. Still, the idea to play and commission modern works for such an ensemble came through the Baroque Chamber Players faculty ensemble of the Indiana School of Music where Murray Grodner taught the bass. The idea was to offer some modern music along the period Baroque music in the Baroque ensemble concerts for a diversity sake. At the time the Baroque Chamber Players of Indiana University existed, from late fifties to mid eighties, the modern idea of a specialized period performance ensembles has not completely formed, however the baroque oriented modern (20^th century) ensemble music for this type of ensemble  may certainly be considered today.0

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• Cameron, Michael. “Chamber Music Survey Results.” International Society of Bassists Magazine, Vol. 13, No. 3, 1987, pp. 26-27.

Note: In this article Cameron presents the results of ISB wide survey on what chamber music ensemble formats are preferred by its members. The string quintet was apparently a winner.

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• Cameron, Michael. “Rossini’s Six “Horrible” Sonatas for Strings.” International Society of Bassists Magazine. Vol. 15, No. 2, Winter 1989, pp. 39-41.

• Cameron, Michael. “Three Trios of Charles Wuorinen.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, pp. 33-37.

• Christopher, Paul. “Music for Low String Ensemble: Filling a Gap in the Repertoire.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 3, February – May 2010, pp. 11-14.

Notes: An article about the creation of Pauli’s Prelude, a didactic composition for collegiate low bass ensemble (6 celli plus 3 basses) by Thomas Hundemer.

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• Clay, Aaron. “Millenium: Suite for for Violin and Double Bass (1998).” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 1, June – September 2005, pp. 22-25.

Note: This is actually a score of the third Movement of the Millenum Suite called “Escape from History.”

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• Drew, Lucas. “American Bass Music” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 10) Vol. 1, No. 1, December 1969, p. 29-30.

Note: This feature presents a list of American Solo and Chamber music compositions that was presented in a lecture at the Second Conference of the International Institute for the String Bass (1968) at Madison, WI. This list is an excellent source of American contemporary bass music from pre 1969 period.

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• Hickling, Gary. “Modern Japanese Music.” International Society of Bassists Magazine. Vol. 5, No. 3, 1979, p. 493.

Note: The article covers the modern Japanese chamber music for bass at and before 1979.

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• Kamminga, Caitlyn. “Louise Farrenc: The Lost and Found Quintets.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 11-12.

• Kohn, Andrew. “A List of Compositions by Women for the Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 23-28.

Note: The listing presented in this article contains both the solo and chamber compositions.

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• Kurtz, Jeremy. “Chamber Music Treasures: An Annotated List of Bass Players’ Favorites.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 2, October – January 2010, pp. 23-27.

Note: In this article several note bassists present their favorite chamber music pieces with double bass. Not all of these pieces are familiar to the general bass audiences so this article presents some unique additions to the repertoire that are worth considering.

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• Montgomery, Michael. “Double Bass Parts for String Quintets of the 18th and 19th Centuries?” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, pp. 21-26.

Note: Although the title mentions “Double Bass Parts for String Quintets” this is in fact an excellent article about the extant String Quintets that employ Double Bass in the chamber music repertoire. The author covers in depth the quintets by Dvorak, Dittersdorf, Boccherini, Onslow and Schubert, and along mentions several other works of note.

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• Neubert, David. “Quintet for Piano and Strings by Frank Proto.” International Society of Bassists Magazine. Vol. 13, No. 1, Fall 1986, p. 38-45.

• Planyavsky, Alfred. “Der Kontrabass in der Kammermusik.” Österreichische Musik Zeitschrift. (Vol.) 13, (No.  2), 1958, pp. 57-63.

Note: This article was also reprinted in Das Orchester. No. 10, 1960, pp. 277-281.

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• Riedel, Friedrich Wilhelm. “Streichquartette und -quintette mit Kontrabaß” Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 117-122. Universität Wien – Article Record  |  WorldCat – Book Record

Title in English: String Quartets and String Quintets with Double Bass.

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• Sawodny, Wolfgang. “Das Klavierquintett Mit Kontrabass” Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 123-140. Universität Wien – Article Record  |  WorldCat – Book Record

Title in English: The Piano Quintet with Double Bass

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• (author not cited – based on the lecture of Wolfgang Sawodny) “Unearthing Quintets, Quintets for Klavier, Violin, Viola, Violoncello and Kontrabass in Chronological Order.” International Society of Bassists Magazine. Vol. 11, No. 2, Winter 1985, pp. 40-41.

Note: This article presents only the quintets listing that was likely featured on the handout given during the lecture of Prof. Sawodny during the 1984 Innsbruck Conference (see article above).

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• Scherperel, Michael. “Music for Flute, Double Bass, and Piano: Some Adaptable Literature.” International Society of Bassists Magazine. Vol. 4, No. 4, April 1978, pp. 423-427.

Note: An article about the Baroque compositions for flute, bass instrument and keyboard and how these may be adapted to the modern flute, double bass and piano ensemble. In addition, what modern repertoire exists for such an ensemble and how can it be combined with the period literature.

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• Schrickel, William. “Commissioning Chamber Music.” International Society of Bassists Magazine. Vol. 16, No. 1, Fall 1989, pp. 21-22.

Note: The article presents the commissioning program of the Minneapolis Artists Ensemble (MAE) and offers the listing of commissioned chamber and solo works with bass as well.

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• Slatford, Rodney. “Sir Edward Elgar’s Duet for Trombone and Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 13-10.

• Unverricht, Hubert. “Die Beteiligung des Kontrabasses in der Triosonate und Kammermusik von 1720 bis 1770” Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 109-116. Universität Wien – Article Record  |  WorldCat – Book Record

Title in English: The Participation of the Double Bass in the Trio Sonata and Chamber Music from 1720 to 1770.

Cited also in Bass History – Classical Period  and Bass History – Baroque Period.

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• Turetzky, Bertram. “Notes on the Double Bass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 8) Vol. 7, No. 5, 1968-69, p. 9-16.

Note: This article presents the bass range and covers the technique and details of several contemporary pieces written up to c. 1969. The end of article features a list of American contemporary solo and chamber music for bass.

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• Williams, Webster and Lucas Drew. “Selected Repertoire for Baroque Trio and Baroque Quartet with Double Bass.” International Society of Bassists Magazine. Vol. 6, No. 4, Spring 1980, pp. 630-634.

Note: The following article offers the repertoire lists for Baroque Chamber Players (Indiana University) – bassist Murray Grodner, Contemporary Baroque Trio (University of Miami) – Bassist Lucas Drew and Heritage Chamber Quartet (University of Cincinnati) – bassist Barry Green. Of interest is to mention that at the time (from late 1950s to c. 1980) all the repertoire which these ensembles perfumed was with double bass as a single bass instrument, and with the recognition that in the original the bass parts belonged to either viola da gamba or violoncello instrument.  At that particular time (1970s -1980s), it was perfectly acceptable (legitimate) to perform this repertoire with double bass in the official faculty ensembles and in the collegiate instruction too. So perhaps, and with all due respect to the original instrumentation, there may be nothing wrong with using bass in these ensembles even today in collegiate setting, and on modern instruments, since the bass parts are relatively simple and may serve as a good didactic material for Baroque chamber forms and their performance.

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Repertoire – Orchestra Music

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• Ribbens, Mark. “Orchestral Literature Survey.” International Society of Bassists Magazine. Vol. 9, No. 2, Winter 1983, pp. 33-36.

Note: This is a survey of orchestra repertoire that was performed by five representative world orchestras from the 1977-78 season through the 1982-83 season. The following orchestras were represented in survey: National Symphony (Washington, D.C.), The Orchestra Of The Swiss Romande (Geneva, Switzerland), Leipzig Gewandhaus Orchestra (German Democratic Republic), Pittsburgh Symphony (USA), Helsinki Philharmonic (Finland).

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Repertoire – Bass Ensembles

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• Bailey, Steve. “InterBassial Marriage” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 3, June – September 2021, pp. 38-39.

Note: An article about (and so far) the rare practice of combining the acoustic and electric bass in a duo genre. The article also cites all the compositions that have come out of such a cooperation.

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Repertoire – Arrangements / Transcriptions

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• Borem, Fausto. “A Brief History of Double Bass Transcriptions.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, pp. 8-16.

• Groniger, Mik. “In Defense of the Eccles Sonata.” International Society of Bassists Magazine. Vol. 11, No. 1, Fall 1984, pp. 23-24.

• Hoock, Christine. “Johannes Sperger Romanze Mei B 29 bearbeitet für fünf Kontrabässe von Christine Hoock.” ; “Johannes Sperger Romanze Mei B 29 Arranged for Five Double Basses by Christine Hoock.” Magazin der Sperger Gesellschaft. Nr. 3, November 2020, pp. 38-39. IA – Download Page

Note: Article written in German and English in two parallel columns.

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• Klinghoffer, Michael. “Old Becomes New: Richard Strauss, Sonata Op.6 for Violoncello and Piano.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 25-39.

• Kohn, Andrew. “On Transcribing Rossini.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 31-32.

Note: An overview of Rossini’s “Une Larme pour Basse”

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• Kohn, Andrew. “Varieties of Transcriptions” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, pp. 11-15.

Note: This is an excellent article on the history, perceptions and repertoire of transcriptions / arrangements in bass literature. The article also offers excellent advice on how transcriptions should be made and considering the double bass register that may easily overlap with the piano bass part, and which should be avoided.

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• Kowert, Paul. “Väsen’s “Flippen” for Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 5-7.

Note: An arrangement of Swedish traditional tune Flippen for solo bass.

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• Morton, Joëlle. “The Eccles Sonata.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 1, June – September 2001, pp. 44-47.

• Robert, Jean-Pierre. “Dmitri Shostakovich: Music and Adaptations for Double Bass and Piano.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 41-53.

Note: A very interesting article about adaptations of Shostakovich’s compositions for double bass during the time the composer was still active and which he actually endorsed himself.

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• Serna, Phillip W. “The Viola da Gamba and the Double Bass – Transcribing Unaccompanied Lyra-Viol Works for the Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 3, February – May 2008, pp. 17-21.

• Slatford, Rodney. “Transcriptions and Arrangements, Cases for and Against.” Probas. [ Publication of the International Institute for String Bass ] Vol. 1, Issue. 1, Fall  1972, p. 7.

• Suggs, Samuel. “Made for Music: Living Transcriptions.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 1, October – January 2018, pp. 9-12, 13.

Note: A very thoughtful article on issues, decisions and solutions made in transcription of Bach’s Cello suites to Double bass. Page 13 of this article presents Suggs’ composition Postlude (2015) for Solo Bass.

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• Young, David H. “A Taste for Transcriptions.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, pp. 8-11.

Note: This article presents the history of E. F. Dall’Abaco’s Sonata in F, Op. 4, No. 3 piece, its past publications, and also the arrangement procedures for a double bass edition.

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Repertoire – Electronic Music

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• Neubert, David. “Electronic Double Bass Works.” International Society of Bassists Magazine. Vol. 7, No. 1, Fall 1980, p. 665, p. 667.

Note: This article also features a Catalog of Electronic Double Bass Works (p. 667)

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Orchestra

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Bass in Orchestra

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• Sankey, Stuart. “On the Question of Minor Alterations in the Double Bass Parts of Beethoven.” International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, pp. 95-99.

Note: In this article Sankey presents his thoughts on how to approach the performance of those passages in Beethoven orchestra bass parts that go below E String on instruments that do not have either the extension or the 5^th C string. This article also poses, yet does not answer the question of whether Beethoven would have liked to hear all of those notes below E1 himslef, if indeed double basses were able to produce them during his lifetime.

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• Seifert, Herbert. “Die Besondere Rolle Des Kontrabasses in Ungarischen Adelskapellen Der 2. Hälfte Des 18. Jahrhunderts.” Studia Musicologica Academiae Scientiarum Hungaricae, vol. 46, no. 1/2, 2005, pp. 99-105. JSTOR

• Hutchinson, Marshall “Larry.” “Convention Report: Panel on Orchestral Issues.” (ISB 2005 Convention) Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, p. 67.

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Bass in Orchestra – Auditions

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This section presents all the articles on the subject or orchestra auditions and their preparation. Cited articles are divided in the two groups, the Collegiate Faculty on Orchestra Auditions  and the Personal Testimonies of the Audition Winners . The later one features commonly the young professional players who have won the audition and whose audition story has appeared in the ISB Magazine columns “Hot Shots” and “In The Zone,” managed by Jeff Turner (Professor at Jacobs School of Music, Indiana University, former Pittsburgh Symphony) – and – Brian Perry (Dallas Symphony Orchestra). These audition testimonies are excellent source of practical information on how to prepare and win the orchestra job.

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Collegiate Faculty on Orchestra Auditions
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• Benfield, Warren. “Symphonic Forum, Report from Chicago Symphony Auditions.” International Society of Bassists Magazine. Vol. 2, No. 3, Spring 1976, p. 161.

• Bradetich, Jeff. “Taped Auditions, A Necessity Whose Time Has Come.” International Society of Bassists Magazine. Vol. 10, No. 3, Spring 1984, pp. 30-31.

Note: Although the taped auditions are now the matter of the past, this article still offers an insight into how these tapes were made in the mid eighties.

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• Colbert, Jonathan. “How to Develop Success From Failure.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 2, February – May 2024, pp. 46-49.

Note: The fist part of the article concerns the auditions and the audition process, the second part focuses on the opening bass passage of Mahler’s 2^nd Symphony.

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• Conover, Peter. “Auditioning.” International Society of Bassists Magazine. Vol. 14, No. 3, Spring 1988, pp. 3-4.

Note: In this short report Conover presents his audition experience with the Oregon Symphony.

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• Grodner, Murray. “Orchestral Auditions – An Ever Growing Dilemma, For Auditioners and Auditionees.” International Society of Bassists Magazine. Vol. 3, No. 4, Spring 1977, pp. 321-322.

Note: A well written article with advice that is still current and worth reading.

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• Haigh, Scott. “A View from the Bass Section: Winning a Job and Playing in the Orchestra.” (Part 1) International Society of Bassists Magazine. Vol. 19, No. 1, Fall 1993, pp. 28-33.

Note: This article also provides a comprehensive list of orchestra repertoire and the audition excerpts that should be known to the audition candidates for the US major orchestra positions.

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• Haigh, Scott. “A View from the Bass Section: Winning Orchestra Auditions.” (Part 2) International Society of Bassists Magazine. Vol. 19, No. 2, Spring 1994, pp. 16-20.

• Henahan, Donal. “Orchestra Auditions: The Old Systems are Changing.” International Society of Bassists Magazine. Vol. 1, No. 3, Spring 1975, p. 67.

• Hutchinson, Marshall “Larry.” “Convention Report: Panel on Orchestral Issues.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, p. 67.

Note: This article also presents a panel summary on the orchestra audition and the preparation for career in orchestral playing.

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• Hurst, Lawrence. “What will You Play. A Survey of Opinions Regarding Solos used in Professional Auditions” Bass World, The Journal of International Society of Bassists. Vol. 23, No. 2, Fall 1999, p. 52-59.

• Larson, Jeff. “How Fast Does It Go?” International Society of Bassists Magazine. Vol. 20, No. 1, Winter 1995, pp. 26-36.

Note: This article presents the common tempi for the usual orchestra excerpts asked at the auditions. Featured is also a discography listing for all recordings consulted in the process of measuring the tempi.

Featured Tempi for:
Mahler, G. – Symphony No. 1, Movement 3, Solo
Prokofiev, S. – Lt. Kije Suite, Solo
Verdi, G. – Otello, Act IV, Solo
Strauss, R. – Ein Heldenleben
Strauss, R. – Don Juan
Mozart, W.A. – Symphony No. 35, Movement 1
Mozart, W.A. – Symphony No. 35, Movement 4
Mozart, W.A. – Symphony No. 40, Movement 1
Mozart, W.A. – Symphony No. 40, Movement 4
Beethoven, L. – Symphony No. 5, Movement 3 (Scherzo and Trio)
Beethoven, L. – Symphony No. 9, Movement 4, Recitativo
Beethoven, L. – Symphony No. 9, Movement 4, Ode to Joy

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• Parry, Tony. “My ISB Orchestra Competition Experience.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 3, February – May 2008, p. 27.

Note: Tony Parry explains how the ISB Convention Orchestra Competition is similar or dissimilar to the standard professional orchestra auditions.

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• Reeves, Steve. “Dealing with Performance Anxiety.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 2, October – January 2007, pp. 53-55.

Note: This article was  a part of Centerstage column.

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• Robinson, Hal and Dennis Roy. “Different Stroke, A View from Both Sides of the Screen.” International Society of Bassists Magazine. Vol. 17, No. 1, Fall 1990, pp. 38-42.

Note: This article presents the full overview of the bass audition process for the 1990 National Symphony Orchestra (Washington, DC) and it includes both the views, comments and decisions made by the committee as well as the commentary by the winner of the audition Mr. Dennis Roy.

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• Schruff, Klaus. “March 1988, Audition survey of Orchestras in West Germany.” International Society of Bassists Magazine. Vol. 16, No. 3, Spring 1990, pp. 49-52.

• Sickle, David M. “Orchestra Audition Report.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, pp. 47-49.

• Turner, Jeff. “Common Threads from Audition Winners.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, p. 63.

Note: All the major orchestra audition winners with their stories and advice on how to prepare and win the audition are cited under their names in Bass Players – Classical heading. You will be able to recognize these articles by the author’s affiliation with the symphony orchestra that will commonly be cited in the article title along with the “Note” remark that will say: “This article presents author’s biography, audition expertise and audition advice. Column editor Brian Perry (or Jeff Turner).”

However, to make the search and study of these articles easier, all of them are also listed (duplicated) in this section under Personal Testimonies of the Audition Winners  (below).

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• Vizachero, Rick. “A Good Ole Fashioned Brain-Pickin’!” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, pp. 48-51.

Note: This article presents the jury embers of the ISB 2003 Orchestral Competition and their thoughts on what parameters of performance among competitors were important, and what the committee was listening for in this competition. All the jury members are the accomplished professional bassists.

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• Wellbaum, Jack. “Orchestral Audition Repertoire List for Double Bass, Compiled by Jack Wellbaum, Personnel Manager of the Cincinnati Symphony.” International Society of Bassists Magazine. Vol. 7, No. 2, Winter 1981, p. 693.

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Personal Testimonies of the Audition Winners
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The following articles were featured in the “Hot Shots” and “In The Zone” columns of the ISB Magazine and edited respectively by Jeff Turner and Brian Perry. Pending on the article, you will find that each may contain an introduction section on the audition winner commonly written by the editor, while the second part presents the audition winner’s personal testimony on the schooling, preparation, audition issues and the very audition experience that brought them a job.

Every article is a little different and presents the audition experience from a slightly different angle, while some audition elements appear to be common to all presenters. In general however, these articles offer a treasure trove of advice to prospective orchestra job seekers in respect to what to do and what not to do when approaching the orchestra job market. Lastly, since these articles also present the accomplished bass players, all of these articles are cited again in the Bass Players – Classical column where they are listed by bassist’s name alphabetically together with Bottesini, Koussevitzky and the other great players from the past.

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• Anderson, Andrew. “Andrew Anderson, Section Bass, Grant Park Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, p. 24.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Anderson, Carl. “Carl Anderson, Section Bass, Boston Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 2, February – May 2020, pp. 32-33.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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• Anderson, Jordan. “Seattle Symphony, Principal Bass: Jordan Anderson.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, p. 9.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Baines, Judson. “Judson Baines, Assistant Principal Double Bass, Charlotte Symphony Orchestra” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 1, October – January 2021, pp. 63-64.

Note: The article written in autobiographical style. Column “In The Zone,” editor Brian Perry.

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• Balliett, Doug. “Doug Balliett, Assistant Principal Bass, San Antonio Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 2, October – January 2008, pp. 25, 27.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Baltacigil, Fora. “Fora Baltacigil, Principal Bass, New York Philharmonic.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 3, February – May 2013, pp. 27, 29.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone: Orchestra Audition Winners,” editor Jeff Turner.

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• Banzhaf, Drew. “Drew Banzhaf, Co-Principal Double Bass, Malmö Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 3, June – September 2024, p. 23.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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• Barr, Charles. “Charles Barr, Section Bass, The Cleveland Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, p. 33.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Belcher, Aleck. “Aleck Belcher, Associate Principal Double Bass, St. Louis Symphony Orchestra” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, p. 23.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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• Borden, Jonathan. “Jonathan Borden, Section Bass, Buffalo Philharmonic Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, p. 50.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Jeff Turner.

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• Botsford, Ted. “Ted Botsford, Assistant Principal Bass, Oregon Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, p. 65.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Brown, Kevin. “Kevin Brown, Principal Bass, Detroit Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 64, 66.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Jeff Turner.

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• Browne, Nicholas. “Nicholas Browne, Section Bass, San Antonio Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 1, February – May 2015, pp. 50-51.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Jeff Turner.

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• Bruya, Kristen. “Kristen Bruya, Section Bass, Nashville Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 2, October – January 2008, p. 25.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Burnstein, Jonathan. “Jonathan Burnstein: Section Bass, Seattle Symphony (WA).” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, p. 33.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Campagna, Joseph. “Joseph Campagna, Section Bass, New Jersey Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 3, February – May 2013, pp. 29-30.

This article presents author’s biography, audition expertise and audition advice. Column “In the Zone: Orchestra Audition Winners,” editor Jeff Turner.

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• Carleton, Charles. “Charles Carleton: Section Bass, The Cleveland Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 2, October – January 2001, p. 31.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Carson, Daniel. “Daniel Carson, Principal, Alabama Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 2, October – January 2013, pp. 64-65.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone: Orchestra Audition Winners,” editor Jeff Turner.

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• Celis, Luis. “Luis Celis, Cincinnati Symphony Orchestra” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, pp. 27-28.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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• Cinque, P. J. “P. J. Cinque, San Diego Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 59-60.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Jeff Turner.

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• Cohen, Zachary A. “Zachary A. Cohen, Principal Bass, Milwaukee Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 1, July – September 2006, p. 21.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Conrad, Brittany. “Brittany Conrad, Milwaukee Symphony Orchestra” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, p. 28.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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• Conyers, Joseph H.  “Joseph H. Conyers, Assistant Principal Bass, Philadelphia Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 45-46.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Conyers, Joseph H.  “Joseph H. Conyers, Principal Bass, Grand Rapids Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, p. 51.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Corner, Colin. “Colin Corner, Principal Bass, Rochester Philharmonic Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 2, October – January 2012, p. 48.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Corner, Colin. “Colin Corner, First Prize Winner at the ISB Orchestral Competition in Richmond, 2003.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, pp. 24, 27.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots, editor Jeff Turner. This article also features Corner’s award residency with Detroit Symphony Orchestra and his cooperation with DSO bassists.

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• Corner, Colin. “Colin Corner, First Prize, 2003 ISB Orchestral Competition.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, p. 35.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• DeCesare, Nina. “2005 ISB Double Bass Competition Winners, Nina DeCesare, (Ellicott City, MD), First Prize, ISB Age 14 and Under Division.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, p. 55.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner. DeCesare presently holds a position with Baltimore Symphony.

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• DeNola, Paul. “Paul DeNola, Section Bass National Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 3, February – May 2009, pp. 23, 25.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• DeNola, Paul. “Paul DeNola, Section Bass, Oregon Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, pp. 34-35.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• DeRiso, David  “David DeRiso, Section Bass, Saint Louis Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 51-52.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Dilenschneider, Tim. “Tim Dilenschneider, Baltimore Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, p. 27.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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• Dixon, Scott. “Scott Dixon, Section Bass, Cleveland Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, pp. 23-24.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Dubost, Yann. “2005 ISB Double Bass Competition Winners, Yann Dubost (Paris, France), First Prize, ISB Solo Division.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 52-53.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Dyke, Jon Van. “Jon Van Dyke: The Minnesota Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, p. 37.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Fenner, Karl. “Karl Fenner, Atlanta Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, pp. 28-29.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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• Francis-Smith, Edward. “Edward Francis-Smith, Double Bass, Metropolitan Opera Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 1, October – January 2018, p. 37.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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• Gnekow, Edmond. “Edmond Gnekow: Section Bass, Buffalo Philharmonic.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, p. 20.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Gold, Ira J. “Ira J. Gold, Section Bass, National Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 1, July – September 2006, p. 22.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Grossman, David J. “New York Philharmonic Orchestra, Section Bass: David J. Grossman.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, p. 6.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Halloin, Evan. “Evan Halloin, Section Bass, Kansas City Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, p. 51.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Jeff Turner.

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• Hamlen, Christopher. “Christopher Hamlen, Section Bass, Syracuse Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, pp. 51-52.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Hanna, Alexander. “Alexander Hanna, Principal Bass, Detroit Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 1, July – September 2009, pp. 23-25.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Herman, Jory. “Jory Herman, Section Double Bass, San Diego Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 44-45.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Hogan, Sarah. “Sarah Hogan, Section Bass, Saint Louis Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 50-51.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Horton, Alex. “Alex Horton, Assistant Principal Bass, Chicago Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 3, June – September 2024, p. 24.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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• Huang, Mark. “Mark Huang, Section Bass, Baltimore Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, p. 34.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Huebner, Jena. “Jena Huebner: Section Bass, Columbus Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, p. 20.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Jablonski, Kevin. “Kevin Jablonski, The Nashville Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, pp. 65-67.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Jablonski, Kevin. “2005 ISB Double Bass Competition Winners, Kevin Jablonski (Columbus, OH) First Prize, IS8 Age 15-18 Division.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, p. 54-55.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Jacobsen, Alexander. “Alexander Jacobsen, Section Bass, National Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 2, October – January 2013, pp. 63-64.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone: Orchestra Audition Winners,” editor Jeff Turner.

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• Johnson, Brian. “Brian Johnson, Section Bass, Kansas City Symphony..” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, p. 43.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Johnson, Christopher. “Christopher Johnson, Winner, 2013 ISB Orchestra Competition.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, p. 47.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Jeff Turner.

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• Jones, Nicholas. “Nicholas Jones, Buffalo Philharmonic.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 3, February – May 2018, pp. 33, 35.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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• Jung, Ha Young. “Ha Young Jung, Principal Double Bass New Jersey Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 3, June-September 2023, pp. 35-36.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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• Kamm, Ryan. “Ryan Kamm, Section Bass, Nashville Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 2, October – January 2004, p. 25.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Keller, Andrew. “Andrew Keller, Section Bass, Utah Symphony” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 2, February – May 2020, pp. 31-32.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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• Kowal, Karol. “Karol Kowal, Best Performance of Required Piece, 2003 ISB Solo Competition.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, p. 35.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Krekeler, Daniel. “Daniel Krekeler, Section Bass, Metropolitan Opera.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 49-50.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Kurtz, Jeremy. “Jeremy Kurtz, Principal Bass, San Diego Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, p. 27.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Levy, Benjamin. “Benjamin Levy, Section Bass, Boston Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, p. 34.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Liu, Ju-Fang. “Kansas City Symphony, Section Bass: Ju-Fang Lin.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, p. 6.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Lockwood, Todd. “Todd Lockwood, Section Bass, Kansas City Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 1, June – September 2012, p. 20.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Luo, Long. “Long Luo: Section Bass, Alabama Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, pp. 36-37.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Mason, Brandon. “Brandon Mason, Section Bass, Kansas City Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 51-52.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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• McCormick, Gaelen. “Gaelen McCormick, Section Bass, Rochester Philharmonic Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 3, February – May 2012, p. 47.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• McCulllough-Benner, Jon. “Jon McCulllough-Benner, Principal Bass, Milwaukee Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 27, 29.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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• McFadden, Joseph. “Joseph McFadden, Principal Bass, Alabama Symphony Orchestra; Section Bass, Atlanta Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, p. 51.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• McLean, Brandon. “Brandon McLean, Associate Principal Bass, Vancouver Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, pp. 48-50.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Jeff Turner.

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• Milburn, David. “David Milburn, Assistant Principal Bass, San Antonio Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 1, February – May 2015, pp. 49-50.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Jeff Turner.

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• Munagian, Katherine. “Katherine Munagian, Section Bass, Nashville Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 63-64.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Jeff Turner.

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• Myers, Nick. “Nick Myers, Detroit Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 2, February – May 2019, pp. 45-46.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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• Myers, Paris. “Paris Myers, Milwaukee Symphony Orchestra” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, pp. 29.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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• Nettleman, Kathryn.  “Kathryn Nettleman, Section Bass, Minnesota Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 46-47.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Okamoto, Satoshi. “Satoshi Okamoto, Section Bass, New York Philharmonic.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, p. 24.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Olsen, Karl. “Karl Olsen: Section Bass, Louisville Orchestra (KY).” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, p. 33.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Paul, Charles. “Charles Paul, Section Bass, Baltimore Symphony” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, p. 29.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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• Paulsen, Ed. “Ed Paulsen, Section Bass Kansas City Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 3, February – May 2009, p. 23.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Perry, Brian. “Brian Perry, Section Bass, Dallas Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 1, February – May 2015, pp. 47-48.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Jeff Turner.

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• Perry, Brian. “Brian Perry, Section Bass, Fort Worth Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 19-20.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Pingel, Scott. “Scott Pingel, Principal Bass, San Francisco Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, p. 24.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Quillen, Caleb. “Caleb Quillen, Section Bass, Kansas City Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 52-53.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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• Raciti, Andrew. “Andrew Raciti, Assistant Principal, Milwaukee Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 2, October – January 2008, pp. 21, 23.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Recuber, Nicholas. “Nicholas Recuber, The Colorado Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, p. 67.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Reist, Joel. “Joel Reist, Principal Bass, Nashville Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, pp. 27-28.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Semsis, Michail-Pavlos. “Michail-Pavlos Semsis, First Solo Double Bass, WDR Sinfonieorchester Köln” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 1, October – January 2022, p. 21.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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• Shaw, Burke. “Houston Symphony Orchestra, Section Bass: Burke Shaw.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, pp. 6-9.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Shurtliffe, Brett. “Brett Shurtliffe, Associate Principal Bass, Buffalo Philharmonic.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 2, October – January 2008, p. 21.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Shurtliffe, Brett. “2005 ISB Double Bass Competition Winners, Brett Shurtliffe (Pittsburgh, PA), First Prize, ISB Orchestra Division.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, p. 53-54.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Smith Brian. “Brian Smith, Section Bass, Indianapolis Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 43-44.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Sommer, Andrew. “Andrew Sommer, Chicago Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 3, June – September 2024, p. 25.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In the Zone,” editor Brian Perry.

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• Stroup, James. “James Stroup 2008-2009 Fellow, Pittsburgh Symphony Orchestra and National Repertory Orchestra Training Program for African American Musicians.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 1, July – September 2009, p. 25.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Subiela, Andres Fernandez. “Andres Fernandez Subiela, Solo Double Bass, Orchestre National des Pays de la Loire, France.” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 1, October – January 2022, pp. 21-22.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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• Tomey, Nash. “Nash Tomey, Kansas City Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 29-30.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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• Tosky, Daniel. “Daniel Tosky, Section Bass, Atlanta Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 57-58.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Jeff Turner.

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• West, Nathaniel. “Nathaniel West, Philadelphia Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 30-31.

Note: This article presents author’s biography, audition expertise and audition advice. Column “In The Zone,” editor Brian Perry.

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• White, Aaron. “Aaron White, Section Bass, Florida Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 1, July – September 2006, p. 21.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Witzel, Bert. “Bert Witzel, Principal Bass, The Louisville Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 1, June – September 2005, p. 31.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Wood, Kingsley. “Kingsley Wood: Section Bass, Metropolitan Opera Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 2, October – January 2001, p. 31.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Wulff, Susan. “Susan Wulff, Associate Principal Bass, San Diego Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 2, October – January 2004, p. 25.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Yazdanfar, Ali “Ali Yazdanfar, Principal Bass, Montreal Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, p. 33.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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• Zadinsky, Derek. “Derek Zadinsky Section Bass, The Cleveland Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 1, June – September 2012, pp. 20-21.

Note: This article presents author’s biography, audition expertise and audition advice. Column “Hot Shots,” editor Jeff Turner.

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Bass in Orchestra – Excerpts

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• Bellotto, Nilson (Neto). “Orchestra Standards” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, pp. 52-54.

Featured excerpts:

Mozart, W. A. – Symphony 40, Movement 1, mm. 114-122.
Strauss, R. – Ein Heldenleben, no. 9-12.
Mahler, G. – Symphony 1, Movement 3, Solo

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• Botsford, Ted. “Phrasing by Number.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 7-11.

Featured Excerpts:

Mozart, W. A. – Symphony No. 35, Opening.
Beethoven, L. – Symphony No. 5, Movement 3, Beginning.
Brahms, J. – Symphony No. 2, Movement 4, Beginning.

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• Bruya, Kristen. “Ideas to Consider and Explore: Haydn’s “Horn Signal” Solo and Brahms’ Second Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 5-12.

Featured Excerpts:

Haydn, F. J. – Symphony No. 7, Variation 7, Solo
Brahms, J. – Symphony No. 2, Movement 1, mm. 52-67.
Brahms, J. – Symphony No. 2, Movement 1, mm. 118-131.
Brahms, J. – Symphony No. 2, Movement 1, mm. 132-156.
Brahms, J. – Symphony No. 2, Movement 1, mm. 381-397.
Brahms, J. – Symphony No. 2, Movement 1, mm. 398-424.
Brahms, J. – Symphony No. 2, Movement 2, mm. 47-62.
Brahms, J. – Symphony No. 2, Movement 2, mm. 82-104.
Brahms, J. – Symphony No. 2, Movement 4, mm. 1-32.
Brahms, J. – Symphony No. 2, Movement 4, mm. 33-75.
Brahms, J. – Symphony No. 2, Movement 4, mm. 244-257.
Brahms, J. – Symphony No. 2, Movement 4, mm. 258-281.

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• Budrow, Jack. “Different Strokes, Two Passages from Symphony Fantastique.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 3, 1997, pp. 64-67.

Featured Excerpts:

Lary Hurst
Berlioz, H. – Symphonie Fantastique, Songe d’une nuit du Sabbat

Hal Robinson
Berlioz, H. – Symphonie Fantastique, Songe d’une nuit du Sabbat
Berlioz, H. – Symphonie Fantastique, Un Bal

Stuart Sankey
Berlioz, H. – Symphonie Fantastique, Songe d’une nuit du Sabbat
Berlioz, H. – Symphonie Fantastique, Un Bal

Scott Haigh
Berlioz, H. – Symphonie Fantastique, Un Bal

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• Budrow, Jack. “Different Strokes.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, pp. 39-42.

Featured Excerpts:

Ju Fang Liu, Principal Bass, Indianapolis Symphony
Beethoven, L. v. – Symphony No. 2, Movement 1, mm. 34-69.

Ju Fang Liu, Principal Bass, Indianapolis Symphony
Beethoven, L. v. – Symphony No. 2, Movement 4, mm. 385-398.

Bob Goodlett, Assistant Principal Bass, Indianapolis Symphony
Beethoven, L. v. – Symphony No. 2, Movement 1, mm. 34-69.

Bob Goodlett, Assistant Principal Bass, Indianapolis Symphony
Beethoven, L. v. – Symphony No. 2, Movement 4, mm. 385-398.

Peter Hansen, Indianapolis Symphony
Beethoven, L. v. – Symphony No. 2, Movement 1, mm. 34-69.

Peter Hansen, Indianapolis Symphony
Beethoven, L. v. – Symphony No. 2, Movement 4, mm. 385-398.

Michael Hartt, Indianapolis Symphony
Dovak, A. – Carneval Overture, Op. 92, (section)

Ju Fang Liu, Principal Bass, Indianapolis Symphony
Verdi, G. – La Forza del Destino

Michael Hartt, Indianapolis Symphony
Verdi, G. – La Forza del Destino

Peter Hansen, Indianapolis Symphony
Verdi, G. – La Forza del Destino

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• Budrow, Jack Winston. “The Return of Different Strokes.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, pp. 46-55.

Featured Excerpts:

Lawrence Hurst
Verdi, G. – Falstaf, Act 3, Opening

Hal Robinson
Verdi, G. – Falstaf, Act 3, Opening

John Hood
Verdi, G. – Falstaf, Act 3, Opening

Scott Haigh
Verdi, G. – Falstaf, Act 3, Opening

Hal Robinson
Bach, J. S. – Violoncello Suite No. 1, Gigue

Lawrence Hurst
Bach, J. S. – Violoncello Suite No. 1, Gigue

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• Castilano, Edward. “Different Strokes.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 2, October – January 2012, pp. 7-13.

Featured Excerpts:

Beethoven, L. v – Symphony No. 3, Movement 3, mm. 14-170.
Schubert, F. – Symphony No. 9 “Great,” Movement 3, mm. 1- Letter “C”
Mussorgsky, M. – Pictures at an Exhibition, VI. Samuel Goldenberg und Schmuyle, No. 56 – 62 – End.

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• Corner, Colin. “Different Strokes.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, pp. 51-57.

Featured Excerpts:

Mozart, W.A. – Symphony No. 35, Movement 1, mm. 33-35.
Mozart, W.A. – Symphony No. 35, Movement 1, mm. 59-66.
Mozart, W.A. – Symphony No. 35, Movement 1
Haydn, F. J. – Symphony No. 31 “Horn Signal,” Solo
Ginastera, A. – Variaciones Concertantes, Solo
Strauss, R. – Ein Heldenleben, No. 51-70.

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• Ellison, Paul. “It’s Your Bach!” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 46-47.

Featured Solo:

Bach, J. S. – Suite (for Violoncello), No. 3, Sarabande (p. 47)

Note: Although this solo is not an orchestral excerpts the article was published under the “Different Strokes” column which covers all the audition materials including the audition solos.

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• Hanna, Alex. “Different Strokes.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 3, February – May 2010, pp. 39-42.

Featured Excerpts:

Mahler, G. – Symphony No. 1, Movement 3, Solo
Haydn, F. J. – Symphony No. 31, Variation VII, Solo
Prokofiev, S. – Liutenant Kije, Movement 2, Solo
Ginastera, A. – Variaciones Concertantes, XI, Solo

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• Hanna, Alex. “Ein Heldenleben.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, pp. 7-10.

Featured Excerpts:

Strauss, R. – Ein Heldenleben, No. 9
Strauss, R. – Ein Heldenleben, No. 40
Strauss, R. – Ein Heldenleben, No. 49
Strauss, R. – Ein Heldenleben, No. 58
Strauss, R. – Ein Heldenleben, No. 66
Strauss, R. – Ein Heldenleben, No. 77

Note: Measures are not indicated in consecutive way, as if printed in the score, however the “Numbers” are now standard way to differentiate certain sections of Ein Heldenleben and most bassists know these excerpts by their number in any case.

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• Hovnaninan, Michael. “Creative Fingering Solutions for Bruckner’s Symphony No. 7.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 39-43.

Featured Excerpts:

Bruckner, A. – Symphony No. 7, Movement 1, mm. 123-145.
Bruckner, A. – Symphony No. 7, Movement 1, mm. 363-391.

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• Hurst, Lawrence. “Different Strokes.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 2, (1998), p. 36.

Featured Excerpt:

Haydn, F. J. – Symphony No. 6, Le Matin, Solo.

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• Hurst, Lawrence. “Different Strokes.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 1, June – September 2008, pp. 37-40.

Featured Excerpts:

Verdi, G. – Otello, Act IV, Solo
Haydn, F. J. – Symphony No. 31, Variation VII, Solo

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• Hurst, Lawrence and Tobias Glöckler. “Different Strokes.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, pp. 50-53.

Featured Excerpts:

Lawrence Hurst
—Haydn, F. J. – Symphony No. 31, Variation VII, Solo
—(includes fingerings and commentary p. 50-51) 80

—Haydn, F. J. – Symphony No. 45 Farewell, Movement 4, Exit Solo
—(includes fingerings and commentary p. 51)

Tobias Glöckler
—Haydn, F. J. – Symphony No. 31, Variation VII, Solo
—(includes fingerings for Viennese Tuning intended to be read as intended for the normally tuned bass p. 52)

—Haydn, F. J. – Symphony No. 45 Farewell, Movement 4, Exit Solo
—(includes fingerings for Viennese Tuning intended to be read as intended for the normally tuned bass p. 53)

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• Hurst, Lawrence. “Giuseppe Verdi: Double Bass Solo from Rigoletto.” Translated and edited by Christina Sidiropoulou. Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, pp. 42-43.

Featured Excerpt:

Verdi, G. – Rigoletto, Act 2, Scene II, Solo

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• Kestenbaum, Milton. “Extension and 3^rd Finger.” International Society of Bassists Magazine. Vol. 3, No. 2, Winter 1977, p. 259.

Featured Excerpt:

Verdi, G. – Traviata, Act 1, No. 5

Note: The fingerings for presented Traviata passage were apparently conceived by a collective effort of the NBC Symphony bass section in anticipation of Toscanini’s rehearsals. The NBC Symphony is not mentioned in the article, yet that is the orchestra at which Kestenbaum played and which certainly was directed by Toscanini.

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• Larson, Jeff. “How Fast Does It Go?” International Society of Bassists Magazine. Vol. 20, No. 1, Winter 1995, pp. 26-36.

Note: This article does not present the fingered excerpts as the most other articles in this heading do, but instead it presents the common tempi for the usual excerpts and thus should be of service in this listing. This article also features the discography listing for all recordings that were consulted for measuring the featured tempi.

Featured Tempi:

Mahler, G. – Symphony No. 1, Movement 3, Solo
Prokofiev, S. – Lt. Kije Suite, Solo
Verdi, G. – Otello, Act IV, Solo
Strauss, R. – Ein Heldenleben
Strauss, R. – Don Juan
Mozart, W.A. – Symphony No. 35, Movement 1
Mozart, W.A. – Symphony No. 35, Movement 4
Mozart, W.A. – Symphony No. 40, Movement 1
Mozart, W.A. – Symphony No. 40, Movement 4
Beethoven, L. – Symphony No. 5, Movement 3, Scherzo and Trio
Beethoven, L. – Symphony No. 9, Movement 4, Recitativo
Beethoven, L. – Symphony No. 9, Movement 4, Ode to Joy

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• Mortimore, Tracy. “Bach Suite in B Minor: Performance Consideration for the Double Bassist” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 3, February – May 2018, pp. 43-47.

Featured excerpts:

Bach, J.S. – Suite in B Minor BWV 1067, All movements covered.

Note: This article presents an in depth analysis of bass part and role in all movements of this Bach Suite intended for Flute Solo, Stings and continuo. The composition is known to the bassists mostly by its demanding orchestra excerpt from the Battinerie movement.

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• Pingel, Scott. “Meaning, Technique, and Performance of the Bass Solo from Mahler’s Symphony No. 1.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, pp. 37-42.

Featured excerpt:

Mahler, G. – Symphony 1, Movement 3, Solo

Note: Beside a discussion on the very solo excerpt from Mahler’s 1^st symphony, this article offers a wealth of information on the symphony itself, and particularly the context and alluded meaning of the 3^rd movement. The presented information is well documented, and it includes some references provided by Mahler himself. This entire article is highly recommended to all educators and students who wish to find out more on Mahler’s first symphony and its bass solo.

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• Oppelt, Robert. “Ginastera from the First Desk.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, pp. 19-22.

Featured Excerpt:

Ginastera, A. – Concerto per Corde, Variazione IV, Solo

Note: This entire article is dedicated to Ginastera’s Concerto per Corde  Bass Solo, and which is the different one from the commonly asked Variaciones Concertantes, XI, Solo. Given that the Concerto per Corde  is not performed as often as the Variaciones Concertantes, this article offers an in-depth coverage of the part and the technical challenges it presents, and particularly from the point of view that historically this solo was considered unplayable-as-written or requiring a modification in order to be played. This article addresses all these issues and how to resolve them.

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• Oppelt, Robert, J. “Make a Splash with Pulcinella.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 55-58.

Featured Excerpt:

Stravinsky, I. – Pulcinella Suite, Movement 7, Solo

Note: This article presents a background on Pulcinella suite along with an overview and fingerings for Movement 7 “Vivo,” Solo bass part.

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• Oppelt, Robert J. “Paralell Fingering.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 31-32.

Featured Excerpts:

Handel, G. F. – Mesiah, No. 18, Rejoice Greatly, Letter G
Saint-Saëns, C. – Carnival of the Animals, Allegretto Pomposo (Elephant)
Strauss, R. – Also Sprach Zarathustra, Bass quartet, from the 1^st bass part.
Bartok, B. – Concerto for Orchestra, Introduzione, mm. 22-50.

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• Reck, Maren. “Gustav Mahler’s Symphony No. 7, Movement 2: Nachtmusik – The Night’s Watch.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 3, February – May 2018, pp. 9-12.

Featured excerpt:

Mahler, Gustav. – Symphony No. 7, Movement 2: Nachtmusik, Starts at Nicht Eilen after marking “74” to “78.”

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• Robinson, Harold. “Ein Heldenleben, Richard Strauss.” International Society of Bassists Magazine. Vol. 11, No. 3, Spring 1985, pp. 22-24.

Featured Excerpts:

Harold Robinson, Principal Bass, National Symphony Orchestra
Straus, R. – Ein Heldenleben, Number 9-11 80

Henry Loew, Principal Bass, St. Louis Symphony
Straus, R. – Ein Heldenleben, Number 9-11 80

Tom Martin
Straus, R. – Ein Heldenleben, Number 9-11

Klaus Stoll, Principal Bass, Berlin Philharmonic
Straus, R. – Ein Heldenleben, Number 9-11 80

Notes:

This feature presents the very first appearance of the “Different Strokes” column in the ISB Magazine, which was started by Harold Robinson, the Principal Bass of the National Symphony Orchestra at the time. The column was designed to feature various bowings and fingerings in orchestral bass excerpts by world’s leading orchestra bassists, so that it can offer different possibilities and solutions for the demanding orchestral passages. It should be noted that this column is probably the very first presentation of its kind that has attempted to collect and compare the ways the orchestra bass excerpts are performed by different bass sections worldwide.

This column is still active in the ISB’s Bass World today, and in that respect it may not only serve as a repository of ideas for present day bassists, but also as a historical reminder on how were certain passages performed some 2, 3 and 4 decades ago. It certainly will be of interest to explore and compare these fingerings and bowings with those that will emerge in the future too, as these are inevitably bound to evolve by the passage of time and with every new generation of bassists.

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• Robinson, Harold “Beethoven Symphony #5, 3^rd Movement.” International Society of Bassists Magazine. Vol. 12, No. 3, Spring 1986, pp. 24-25.

Featured Excerpts:

Roger Scott, Principal Bass, Philadelphia Orchestra
Beethoven L. v. – Symphony No. 5, Movement 3, Opening section

Lynn Peters, North Carolina School of the Arts
Beethoven L. v. – Symphony No. 5, Movement 3, Trio section

Robert Gladstone, Principal Bass, Detroit Symphony Orchestra
Beethoven L. v. – Symphony No. 5, Movement 3, Opening section

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• Robinson, Hal. “Berlioz Symphonie Fantastique.” International Society of Bassists Magazine. Vol. 15, No. 1, Fall 1988, pp. 50-53.

Featured Excerpts:

Joseph Guastafeste, Principal Bass, Chicago Symphony
Berlioz, H. – Symphonie Fantastique, Movement 2, Un Bal

Klaus Stoll, Berlin Philharmonic
Berlioz, H. – Symphonie Fantastique, Movement 2, Un Bal

Larry Angell, Cleveland Symphony
Berlioz, H. – Symphonie Fantastique, Movement 2, Un Bal

Juraj Pečevski, Principal Bass, Belgrade Philharmonic
Berlioz, H. – Symphonie Fantastique, Movement 3, Valse

Roger Ruggeri, Principal Bass, Milwaukee Symphony
Berlioz, H. – Symphonie Fantastique, Movement 3, Valse

Jorma Katrama, Principal Bass, Helsinki Philharmonic
Berlioz, H. – Symphonie Fantastique, Movement 4, The Procession of the Stake

Roger Scott, Principal Bass, Philadelphia Orchestra
Berlioz, H. – Symphonie Fantastique, Movement 4, The Procession of the Stake

David Walter, The JuilliardSchool
Berlioz, H. – Symphonie Fantastique, Movement 4, The Procession of the Stake

Branko Živanović, Principal Bass, Yugoslavia Radio Orchestra
Berlioz, H. – Symphonie Fantastique, Movement 5, The Witchs’ Round Dance

Clifford Spohr, Co-Principal Bass, Dallas Symphony
Berlioz, H. – Symphonie Fantastique, Movement 5, The Witchs’ Round Dance

Paul Ellison, University of Southern California & Rice University
Berlioz, H. – Symphonie Fantastique, Movement 5, The Witchs’ Round Dance

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• Robinson, Hal. “Brahms’ First Symphony.” International Society of Bassists Magazine. Vol. 17, No. 2, Winter/Spring 1991, pp. 38-47.

Featured Excerpts:

Clifford Spohr, Co-Principal, Dallas Symphony
Brahms, J. – Symphony No. 1, Movement 1, Letter “E”

Jorma Katrama, Principal Bass, Helsinki Philharmonic
Brahms, J. – Symphony No. 1, Movement 1, Letter “E”

Roger Ruggeri, Principal Bass, Milwaukee Symphony
Brahms, J. – Symphony No. 1, Movement 1, Letter “E”

Branko Živanović, Principal Bass, Belgrade Philharmonic
Brahms, J. – Symphony No. 1, Movement 1, Letter “K”

Harlod Robinson, Principal Bass, National Symphony
Brahms, J. – Symphony No. 1, Movement 1, Letter “K”

Roger Scott, Principal Bass, Philadelphia Orchestra
Brahms, J. – Symphony No. 1, Movement 1, Letter “K”

Paul Ellison, Rice University and University of Souther California
Brahms, J. – Symphony No. 1, Movement 2, Letter “B”

Juraj Pečevski, Yugoslav Army Symphony Orchestra
Brahms, J. – Symphony No. 1, Movement 2, Letter “B”

Lawrence Angell, Principal Bass, Cleveland Orchestra
Brahms, J. – Symphony No. 1, Movement 4, Letter “D”

Roger Scott, Principal Bass, Philadelphia Orchestra
Brahms, J. – Symphony No. 1, Movement 4, Letter “D”

David Neubert, University of Texas at Austin
Brahms, J. – Symphony No. 1, Movement 4, Letter “D”

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• Robinson, Harold. “Brahms Symphony No. 2, 1^st and 4^th Movements.” International Society of Bassists Magazine. Vol. 12, No. 2, Winter 1986, pp. 30-35.

Featured Excerpts:

Roger Scott, Principal Bass, Philadelphia Orchestra
Brahms, J. – Symphony No. 2, Movement 1, 12 Measures before Letter “B”

John Deak, New York Philharmonic
Brahms, J. – Symphony No. 2, Movement 1, 12 Measures before Letter “B”

Joseph Guastafeste, Principal Bass, Chicago Symphony
Brahms, J. – Symphony No. 2, Movement 1, 12 Measures before Letter “B”

Lawrence Wolfe, Assistant Principal Bass, Boston Symphony Orchestra
Brahms, J. – Symphony No. 2, Movement 1, 12 Measures before Letter “B”

Juraj Pečevski, Principal Bass, Yugoslavian Army Symphony Orchestra
Brahms, J. – Symphony No. 2, Movement 1, 13th Measure after Letter “H” to 24th m. after Letter “H”

Ralph Jones, Principal Bass, Atlanta Symphony Orchestra
Brahms, J. – Symphony No. 2, Movement 1, 13th Measure after Letter “H” to 24th m. after Letter “H”

Josef Niederhammer, Principal Bass, Bavarian State Orchestra
Brahms, J. – Symphony No. 2, Movement 1, 13th Measure after Letter “H” to 24th m. after Letter “H”

Clifford Spohr, Principal Bass, Dallas Symphony Orchestra
Brahms, J. – Symphony No. 2, Movement 1, 13th Measure after Letter “H” to 24th m. after Letter “H”

Harold Robinson, Principal Bass, National Symphony Orchestra
Brahms, J. – Symphony No. 2, Movement 1, 13th Measure after Letter “H” to 24th m. after Letter “H”

Jack Budrow, Principal Bass, North Carolina Symphony Orchestra
Brahms, J. – Symphony No. 2, Movement 1, 13th Measure after Letter “H” to 24th m. after Letter “H”

Branko Živanović, Principal Bass, Belgrade Philharmonic
Brahms, J. – Symphony No. 2, Movement 4, 8 Measures before Letter “L” to 12 Measures after Letter “L”

Roger Ruggeri, Principal Bass, Milwaukee Symphony Orchestra
Brahms, J. – Symphony No. 2, Movement 4, 8 Measures before Letter “L” to 12 Measures after Letter “L”

Joseph Guastafeste, Principal Bass, Chicago Symphony Orchestra
Brahms, J. – Symphony No. 2, Movement 4, 8 Measures before Letter “L” to 12 Measures after Letter “L”

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• Robinson, Harold. “Don Juan – By Richard Strauss Op. 20.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, pp. 36-39.

Featured Excerpts:

Frank Diliberto, Principal Bass, Oregon Symphony
Strauss, R. – Don Juan, Opening, First 3 measures

Klaus Stoll, Principal Bass, Berlin Philharmonic
Strauss, R. – Don Juan, Opening, First 3 measures

Ralph Jones, Principal Bass, Atalnta Symphony
Strauss, R. – Don Juan, Opening, First 3 measures

Josef Niederhammer, Principal Bass, Munich Philharmonic
Strauss, R. – Don Juan, Letter “A”

Roger Scott, Principal Bass, Philadelphia Orchestra
Strauss, R. – Don Juan, Letter “A”

Jack Budrow, Principal Bass, North Carolina Symphony
Strauss, R. – Don Juan, Letter “F” to “G”

Paul Ellison, Principal Bass, Houston Symphony
Strauss, R. – Don Juan, Letter “F” to “G”

Juraj Pečevski, Principal Bass, Yugoslav Army Symphony
Strauss, R. – Don Juan, Letter “F” to “G”

Jorma Katrama, Principal Bass, Helsinki Philharmonic
Strauss, R. – Don Juan, 6 measures before Letter “P” to 8 measures after Letter “P”

David Walter, The JuilliardSchool
Strauss, R. – Don Juan, 6 measures before Letter “P” to 8 measures after Letter “P”

Roger Ruggeri, Principal Bass, Milwaukee Symphony
Strauss, R. – Don Juan, 6 measures before Letter “P” to 8 measures after Letter “P”

David Malone, Houston Symphony
Strauss, R. – Don Juan, Letter “R”

Josef Niederhammer, Principal Bass, Munich Philharmonic
Strauss, R. – Don Juan, Letter “R”

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• Robinson, Harold. “Mahler Symphony #1, Third Movement.” International Society of Bassists Magazine, Vol. 14, No. 1, Fall 1987, pp. 24-25.

Featured Excerpts:

Carolyn White Buckley, St, Louis Symphony
Mahler, G. Symphony No. 1, Movement 3, Solo

Ralph Jones, Principal Bass, Atlanta Symphony Orchestra
Mahler, G. Symphony No. 1, Movement 3, Solo

Thomas Martin, Co-Principal, City of Brmingham Symphony Orchestra
Mahler, G. Symphony No. 1, Movement 3, Solo

Rodney Slatford, Royal Northern College of Music
Mahler, G. Symphony No. 1, Movement 3, Solo

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• Robinson, Hal. “Mozart Symphony #35.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, pp. 58-63.

Featured Excerpts:

Paul Ellison, University of Southern California and Rice University
Mozart, W. A. – Symphony No. 35, Movement 1, Opening

Paul Zibits, University of California, Los Angeles
Mozart, W. A. – Symphony No. 35, Movement 1, Opening

Roger Scott, Principal Bass, Philadelphia Orchestra
Mozart, W. A. – Symphony No. 35, Movement 4, Opening

Jeff Bradetich, Northwestern University
Mozart, W. A. – Symphony No. 35, Movement 4, Opening

Jack Budrow, Principal Bass, North Carolina Symphony Orchestra
Mozart, W. A. – Symphony No. 35, Movement 4, Opening

David Walter, The Juilliard School
Mozart, W. A. – Symphony No. 35, Movement 4, Opening

Klaus Stoll, Berlin Philharmonic
Mozart, W. A. – Symphony No. 35, Movement 4, mm. 96-101

Enteko Radkukanov, Principal Bass, Radio Symphony of Stockholm
Mozart, W. A. – Symphony No. 35, Movement 4, mm. 96-101

Henry Loew, Principal Bass, Saint Louis Symphony Orchestra
Mozart, W. A. – Symphony No. 35, Movement 4, mm. 96-101

Cliffor Spohr, Co-Principal Bass, Dallas Symphony Orchestra
Mozart, W. A. – Symphony No. 35, Movement 4, mm. 96-101

Larry Angel, Principal Bass, The Cleveland Orchestra
Mozart, W. A. – Symphony No. 35, Movement 4, mm. 134-140

Lynn Peters, North Carolina School of the Arts
Mozart, W. A. – Symphony No. 35, Movement 4, mm. 134-140

Roger Ruggeri, Principal Bass, Milwaukee Symphony Orchestra
Mozart, W. A. – Symphony No. 35, Movement 4, mm. 134-140

Lucas Drew, University of Miami and Principal Bass, Philharmonic Orchestra of Florida
Mozart, W. A. – Symphony No. 35, Movement 4, mm. 134-140

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• Robinson, Paul. “Mozart No. 39.” International Society of Bassists Magazine. Vol. 13, No. 1, Fall 1986, pp. 18-23.

Featured Excerpts:

David Walter, The Juilliard School, New York City Ballet Orchestra
Mozart, W. A. – Symphony No. 39, Movement 1, Adagio, Opening scale passages

Thomas Martin, Co-Principal Bass, English Chamber Orchestra
Mozart, W. A. – Symphony No. 39, Movement 1, Adagio, Opening scale passages

Josef Niederhamer, Principal Bass, Bavarian State Orchestra
Mozart, W. A. – Symphony No. 39, Movement 1, Adagio, Opening scale passages

Clifford Spohr, Principal Bass, Dallas Symphony
Mozart, W. A. – Symphony No. 39, Movement 1, Adagio, Opening scale passages

Henry Loew, Principal Bass, St. Louis Symphony Orchestra
Mozart, W. A. – Symphony No. 39, Movement 1, Allegro, Melody section

David Neubert, Principal Bass, Austin Symphony, University of Texas at Austin
Mozart, W. A. – Symphony No. 39, Movement 1, Allegro, Melody section

David Malone, Assistant Principal Bass, Houston Symphony
Mozart, W. A. – Symphony No. 39, Movement 1, Allegro, 14 measures before Letter “C” to Letter “C”

Luciano Bole, Principal Bass, Ljubljana Philharmonic
Mozart, W. A. – Symphony No. 39, Movement 1, Allegro, 14 measures before Letter “C” to Letter “C”

J. Cazauran, Paris
Mozart, W. A. – Symphony No. 39, Movement 1, Allegro, 10 measures before Letter “I” to Letter “I”

Paul Ellison, Principal Bass, Houston Symphony
Mozart, W. A. – Symphony No. 39, Movement 1, Allegro, 10 measures before Letter “I” to Letter “I”

Gabin Lauridon, Orchestre National de France
Mozart, W. A. – Symphony No. 39, Movement 4, Repetition sign to 7 measures before Letter “C”

Roger Scott, Principal Bass, Philadlphia Orchestra
Mozart, W. A. – Symphony No. 39, Movement 4, Repetition sign to 7 measures before Letter “C”

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• Robinson, Harold. “Symphony No. 40 in G Minor, 4^th Movement, by W. A. Mozart.” International Society of Bassists Magazine. Vol. 12, No. 1, Fall 1985, pp. 14-17.

Featured Excerpts:

Barker, Edwin, Principal Bass, Boston Symphony Orchestra
Mozart, W. A. – Symphony No. 40, Movement 4, mm. 33-49 and mm. 213-225.

Paul Ellison, Principal Bass, Houston Symphony Orchestra
Mozart, W. A. – Symphony No. 40, Movement 4, mm. 33-49 and mm. 213-225.

Clifford Spohr, Principal Bass, Dallas Symphony Orchestra
Mozart, W. A. – Symphony No. 40, Movement 4, mm. 33-49 and mm. 213-225.

Josef Niederhammer, Principal Bass, Dallas Symphony Orchestra
Mozart, W. A. – Symphony No. 40, Movement 4, mm. 33-49 and mm. 213-225.

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• Robinson, Hal. “Ginastera “Variations Concertante”.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, pp. 62-72.

Featured Excerpts:

Bruce Brandsby
Ginastera, A. – Variations Concertantes, Solo

Ed Barker
Ginastera, A. – Variations Concertantes, Solo

Jack Budrow
Ginastera, A. – Variations Concertantes, Solo

Lawrence Hurst
Ginastera, A. – Variations Concertantes, Solo

Gabin Lauridon
Ginastera, A. – Variations Concertantes, Solo

Tom Martin
Ginastera, A. – Variations Concertantes, Solo

Lev Rakov
Ginastera, A. – Variations Concertantes, Solo

Stuart Sankey
Ginastera, A. – Variations Concertantes, Solo

Denis Trembly
Ginastera, A. – Variations Concertantes, Solo

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• Robinson, Harold. “Othello by Giuseppe Verdi.” International Society of Bassists Magazine, Vol. 13, No. 3, 1987, pp. 20-22.

Featured Excerpts:

J. Cazauran, Paris
Verdi, G. – Othello, Solo, Opening, First 6 measures.

Paul Ellison, Principal Bass, Houston Symphony
Verdi, G. – Othello, Solo, Opening, First 6 measures.

Roger Scott, Principal Bass, Philadelphia Orchestra
Verdi, G. – Othello, Solo, Opening, mm. 7-12.

Thomas Martin, Co-Principal Bass, English Chamber Orchestra
Verdi, G. – Othello, Solo, Opening, mm. 7-12.

Frank Diliberto, Principal Bass, Oregon Symphony Orchestra
Verdi, G. – Othello, Solo, Opening, mm. 13-25 (end).

Stuart Sankey, University of Michigan
Verdi, G. – Othello, Solo, Opening, 13-25 (end).

Gabin Lauridan, Principal Bass, French National Orchestra
Verdi, G. – Othello, Solo, Opening, 13-25 (end).

Josef Niederhammer, Principal Bass, Munich Philharmonic
Verdi, G. – Othello, Solo, Opening, 13-25 (end).

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• Robinson, Harold. “Prokofiev Lieutenant Kije Romance.” International Society of Bassists Magazine, Vol. 14. No. 1, Fall 1987, p. 26.

Featured Excerpts:

Jack Budrow, Principal Bass, North Carolina Symphony
Prokofiev, S. Lieutenant Kije, Romance, Solo

Josef Niederhammer, Principal Bass, Munich Philharmonic Orchestra
Prokofiev, S. Lieutenant Kije, Romance, Solo

David Walter, The Juilliard School
Prokofiev, S. Lieutenant Kije, Romance, Solo

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• Robinson, Hal. “Rabbath – for Soloists Only?!” International Society of Bassists Magazine. Vol. 16, No. 1, Fall 1989, pp. 34-37.

Featured Excerpts:

Mahler, G. – Symphony No. 1, Movement 3, Solo
Beethoven, L. – Symphony No. 5, Movement 3, Trio.
Mozart, W. A. – Symphony No. 39, Movement 1, Allegro section.
Britten, B. – Young Person’s Guide to the Orchestra, exposed bassi section
Shostakovich, D. – Symphony No. 5
Strauss, R. – Ein Heldenleben, Number 49
Brahms, J. – Symphony No. 2, Movement 4, Beginning

Note: In this article Robinson demonstrates the Rabbath method approach and fingerings on several common orchestra excerpts.

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• Robinson, Harold. “Schubert’s 10^th Symphony (“The Great”); Movement 3, Scherzo.” International Society of Bassists Magazine. Vol. 14, No. 3, Spring 1988, pp. 20-25.

Featured Excerpts:

Jorma Katrama, Helsinki Philharmonic
Schubert, F. – Symphony No. 10, Movement 3, Opening

Roger Ruggeri, Milwaukee Symphony
Schubert, F. – Symphony No. 10, Movement 3, Opening

Jorma Katrama, Helsinki Philharmonic
Schubert, F. – Symphony No. 10, Movement 3, Opening

Larry Angell, Cleveland Orchestra
Schubert, F. – Symphony No. 10, Movement 3, Letter “B”

Jon Deak, New York Philharmonic
Schubert, F. – Symphony No. 10, Movement 3, Letter “B”

Francois Rabbath, International Solo Artist
Schubert, F. – Symphony No. 10, Movement 3, Letter “B”

Rodney Slatford, Head of Strings, Royal Northern College of Music
Schubert, F. – Symphony No. 10, Movement 3, Letter “B”

Klaus Stoll, Berlin Philharmonic
Schubert, F. – Symphony No. 10, Movement 3, Letter “B”

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• Robinson, Harold. “Shostakovich 5^th Symphony.” International Society of Bassists Magazine. Vol. 15, No. 3, Spring 1989, pp. 20-23.

Featured Excerpts:

Harold Robinson, Principal Bass, National Symphony Orchestra
Shostakovich, D. – Symphony No. 5, Movement 1, Rehearsal 22

Joseph Guastafeste, Principal Bass, Chicago Symphony
Shostakovich, D. – Symphony No. 5, Movement 1, Rehearsal 22

Clifford Spohr, Co-Principal Bass, Dallas Symphony Orchestra
Shostakovich, D. – Symphony No. 5, Movement 1, Rehearsal 22

Roger Ruggeri, Principal Bass, Milwaukee Symphony Orchestra
Shostakovich, D. – Symphony No. 5, Movement 1, 3 m. before Rehearsal 24 to Rehearsal 26

EugeneLewinson, New York Pihlharmonic, JuiliardSchool
Shostakovich, D. – Symphony No. 5, Movement 1, 3 m. before Rehearsal 24 to Rehearsal 26

Roger Scott, Principal Bass, Philadelphia Orchestra
Shostakovich, D. – Symphony No. 5, Movement 1, 5 m. before Rehearsal 104 to 5 m. after Rehearsal 104

David Malone
Shostakovich, D. – Symphony No. 5, Movement 1, 5 m. before Rehearsal 104 to 5 m. after Rehearsal 104

David Neubert, University of Texas, Austin
Shostakovich, D. – Symphony No. 5, Movement 4, 2 m. before Rehearsal 119 to 19 m. after Rehearsal 119

Paul Ellison, University of Southern Califronia, Rice University
Shostakovich, D. – Symphony No. 5, Movement 4, 2 m. before Rehearsal 119 to 19 m. after Rehearsal 119

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• Robinson, Hal. “Tchaikovsky, Symphony #4.” International Society of Bassists Magazine. Vol. 16, No. 3, Spring 1990, pp. 56-63.

Featured Excerpts:

Roger Ruggeri, Principal Bass, Milwaukee Symphony Orchestra
Tchaikovsky, P. – Symphony no. 4, Movement 1, Letter “B”

Paul Zibits, University of California, Los Angeles; Pacific Symphony Orchestra
Tchaikovsky, P. – Symphony no. 4, Movement 1, Letter “B”

Juraj Pečevski, Principal Bass, Belgrade Philharmonic
Tchaikovsky, P. – Symphony no. 4, Movement 1, Letter “B”

Roger Scott, Principal Bass, Philadelphia Orchestra
Tchaikovsky, P. – Symphony no. 4, Movement 1, Letter “B”

Tim Cobb, Co-principal Bass, Metropolitan Opera
Tchaikovsky, P. – Symphony no. 4, Movement 1, Letter “B”

Klaus Stoll, Berlin Philharmonic
Tchaikovsky, P. – Symphony no. 4, Movement 1, Letter “P”

Carolyn White Buckley, Associate Principal Bass, St. Louis Symphony
Tchaikovsky, P. – Symphony no. 4, Movement 1, Letter “P”

Tom Martin, Principal Bass, City Symphony of Birmingham Orchestra; Guildhall School of Music
Tchaikovsky, P. – Symphony no. 4, Movement 1, Letter “P”

David Walter, The Juilliard School
Tchaikovsky, P. – Symphony no. 4, Movement 1, Letter “P”

Mikle Kekshoeb, Co-Principal Bass, Satate Symphony Orchestra of the USSR
Tchaikovsky, P. – Symphony no. 4, Movement 1, Letter “P”

David Neubert, University of Texas, Austin
Tchaikovsky, P. – Symphony no. 4, Movement 1, Letter “P”

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• Sankey, Stuart. “Different Strokes.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 2, (1998), pp. 34-35.

Featured Excerpts:

Weber, Carl Maria von. – Adagio
Weber, Carl Maria von. – Rondo

Note: The featured movements are Sankey’s transcriptions of an unknown solo piece by C. M. Weber. No other details were offered.

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• Sankey, Stuart. “Different Strokes.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 3, Winter 2000, pp. 48-52.

Featured Excerpt:

Bottesini, G. – Concerto No. 2 in B Minor, Movement 1 (with fingerings)

Note: Although this solo is not an orchestral excerpts the article was published under the “Different Strokes” column which covers all the audition materials including the audition solos.

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• Scelba, Anthony. “The Soloistic Approach to Orchestral Music.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 13) Vol. 2, No. 3, June 1970, pp. 6-8, continued on pp. 32-37.

Featured Excerpt:

Beethoven, Ludwig van. Symphony No. 9, Movement 4, Recitativo

Note: This article is not the typical “Different Strokes” entry on particular fingerings of particular passage, but rather an in depth study of Beethoven’s “Ninth” Recitativo. You will find here many ideas and thoughts on how to interpret this solo, and also some historical reference on how it was interpreted in the past, for example by Toscanini’s own bass section.

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• Shurtliffe, Brett. “Different Strokes.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 1, June – September 2012, pp. 9-14.

Featured Excerpts:

Bottesini, G. Concerto in B Minor No. 2, Movement 1, mm. 1-58.
Stravinsky, I. Pulcinella, Solo
Prokofiev, S. Romeo and Juliet

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• Zadinsky, Derek. “The Thumb Revolution.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 1, February – May 2015, pp. 17-21.

Featured Excerpts:

Beethoven, L. v, – Symphony No. 9, Movement 4, mm. 594-602 / mm. 709-717.
Brahms, J. – Symphony No. 2, Movement 4, mm. 13-17.
Britten, B. – Young Person’s Guide to the Orchestra. XV, Fugue: Allegro Molto, mm. 101-125.
Bruckner, A. – Symphony No. 7, Movement 1, mm. 135-145.
Mendelssohn, F. – Symphony No. 4, Op. 90, Italian,  Movement 4, mm. 43-53.
Mozart, W.A. – Symphony No. 40, Movement 4, mm. 213-220.
Strauss, R. – Ein Heldenleben, mm. 444-449.
Strauss, R. – Don Juan, mm. 383-385.

Note: All of the featured excerpts feature the use and incorporation of the thumb as a “helping finger,” and often in mid to lower positions.

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Bass in Orchestra – Bass Sections

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Atlanta Symphony Orchestra

• Attard, Adam. “Reflections on a week with the Atlanta Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 1, October – January 2018, pp. 7-8.

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Berlin Philharmonic

• (author not cited) “The Berlin Philharmonic Double Bass Section.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, p. 11.

Note: This short article also presents the chronology of relevant events for the orchestra and bass section listed from 1882 to 1985. Cited are also the schools of playing present in the section and an interesting fact that the section plays on solo strings tuned down to orchestra tuning.

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The Boston Symphony Orchestra

• DiMaria, Joanne. “The ISB Salutes the Boston Symphony Orchestra.” International Society of Bassists Magazine. Vol. 10, No. 1, Fall 1983, pp. 15-17.

Note: This presentation of the Boston Symphony Orchestra bass section also lists the entire repertoire the orchestra has performed during 1979 to 1983 season. Not surprisingly the Koussevitzky Concerto is also cited in this list.

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Chicago Symphony Orchestra

• Hutchinson, Larry. “Chicago Symphony Bass Section.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 3, Winter 2000, p. 32.

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The Cleveland Orchestra

• (author not cited) “ISB Salutes The Cleveland Orchestra Bass Section.” International Society of Bassists Magazine. Vol. 11, No. 2, Winter 1985, p. 3.

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The Czech Philharmonic

• Bradetich, Jeff. “ISB Salutes the Czech Philharmonic Bass Section.” International Society of Bassists Magazine. Vol. 10, No. 3, Spring 1984, p. 7.

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Colorado Music Festival In Boulder Orchestra

• (author not cited) International Society of Bassists Magazine. Vol. 14, No. 1, Fall 1987, p. 13.

Note: This feature is not a typical overview of the orchestra section but presents only a single photo of the orchestra section from the summer of 1987 where featured bassists are listed. Some of the bassists on this photo have become later a recognized professors and world leading orchestra members.

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The Concertgebouw Orchestra

• Guldemond, Henk. “The Concertgebouw Orchestra Bass Section.” International Society of Bassists Magazine. Vol. 12, No. 2, Winter 1986, p. 5.

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The English Chamber Orchestra

• Bradetich, Jeff. “The ISB Salutes The English Chamber Orchestra Double Bass Section.” International Society of Bassists Magazine. Vol. 10, No. 2, Winter 1984, p. 5.

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Dallas Symphony Orchestra

• Scales, Nicholas. “Dallas Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, pp. 37-38.

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Detroit Symphony Orchestra

• Hutchinson, Marshall “Larry.” “Detroit Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 1, June – September 2001, p. 53.

• Shurtliffe, Brett. “A Week with the Detroit Symphony.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 1, July – September 2006, p. 5.

• Corner, Colin. “Colin Corner, First Prize Winner at the ISB Orchestral Competition in Richmond, 2003.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, pp. 24-27.

Note: The article written in autobiographical style. Column editor Jeff Turner. This article also features Corner’s award residency with Detroit Symphony Orchestra and his cooperation with DSO bassists.

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Dresden Philharmonic Orchestra

• Hutchinson, Marshall “Larry.” “The Dresden Philharmonic Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, pp. 30-31.

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Gothenburg Symphony Orchestra (Sweden)

• Hutchinson, Marshall “Larry.” “Gothenburg Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, p. 49.

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Kanagawa Philharmonic Orchestra (Japan)

• Hutchinson, Marshall “Larry.” “Kanagawa Philharmonic Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, p. 59.

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Indianapolis Symphony Orchestra

• Hutchinson, Marshall “Larry.” “Indianapolis Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 2, October – January 2001, pp. 54-55.

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Leipzig Gewandhaus Orchestra

• Bradetich, Jeff. “The ISB Salutes The Leipzig Gewandhaus Orchestra Bass Section.” International Society of Bassists Magazine. Vol. 9, No. 3, Spring 1983, pp. 5-6.

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Los Angeles Philharmonic

• Bradetich, Jeff. “The ISB Salutes The Los Angeles Philharmonic Double Bass Section.” International Society of Bassists Magazine. Vol. 9, No. 2, Winter 1983, pp. 5-6.

• Hutchinson, Marshall “Larry.” “Los Angeles Philharmonic.”  Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, pp. 47-48.

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Louisiana Philharmonic Orchestra

• Anderson, David.  “Louisiana Philharmonic Orchestra (LPO), David Anderson, Principal Bassist of the LPO.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 49-51.

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The Minnesota Orchestra (Minneapolis, MN)

• Hutchinson, Marshall “Larry.” “The Minnesota Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, pp. 49-50.

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National Symphony Orchestra (Washington, DC, USA)

• (author not cited) “ISB Salutes The National Symphony Orchestra Bass Section.” International Society of Bassists Magazine. Vol. 12, No. 1, Fall 1985, p. 5.

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New World Symphony Orchestra (Miami, FL, USA)

• Scales, Nick. “New World Symphony Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 2, October – January 2006, pp. 31-32.

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New York Philharmonic

• (author not cited) “ISB Salutes the New York Philharmonic Bass Section.” International Society of Bassists Magazine. Vol. 13, No. 1, Fall 1986, p. 4.

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Orchestra of the Age of Enlightenment (London, United Kingdom)

• Hutchinson, Marshall “Larry”. “Orchestra of the Age of Enlightenment.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 43-44.

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Orchestra of the Royal Opera House, Covent Garden

• Hutchinson, Marshall “Larry.” “Orchestra of the Royal Opera House, Covent Garden.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, pp. 47-48.

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Orqu’estra Sinfonica de Minas Gerais (Brazil)

• Hutchinson, Marshall “Larry.” “Orqu’estra Sinfonica de Minas Gerais, Brazil.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, pp. 56-57.

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Orchestre Symphonique de Montreal

• Hutchinson, Marshall “Larry.” “Orchestre Symphonique de Montreal.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, p. 55.

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Philadelphia Orchestra

• Brown, Kevin. “A Week with the Philadelphia Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 1, June – September 2010, p. 9.

• Hutchinson, Larry. “The Philadelphia Orchestra Bass Section.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, p. 10.

Note: By mistake the title of this article presentation was printed “Chicago Symphony Bass Section,” while it should read “The Philadelphia Orchestra Bass Section.” Here corrected to the intended title.

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Romanian Opera of Cluj-Napoca (Romania)

• Hutchinson, Marshall “Larry.” “The Romanian Opera Orchestra of Cluj-Napoca.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, p. 55.

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Syracuse Symphony Orchestra (NY, USA)

• (author not cited) “The Syracuse Symphony Orchestra Double Bass Section.” International Society of Bassists Magazine. Vol. 14, No. 1, Fall 1987, p. 4.

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Utah Symphony Orchestra

• Scales, Nick. “Utah Symphony Orchestra Bass Section.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 61-63.

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Vienna Philharmonic and Vienna State Opera

• Planyavsky, Alfred. “ISB Salutes the Vienna State Opera and Vienna Philharmonic Double Bass Section.” Excerpted from Geschichte des Kontrabasses by Alfred Planyavsky. Translated by Judi Bradetich. International Society of Bassists Magazine. Vol. 11, No. 3, Spring 1985, pp. 4-5.

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Warsaw Philharmonic

• Bradetich, Jeff. “The ISB Salutes the Warsaw Philharmonic Double Bass Section.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, p. 7.

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Bass in Orchestra – Electric Bass

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• Ludwin, Norman. “Electric Life with an Orchestra.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 2, October – January 2008, pp. 5-7.

Note: An excellent overview of what to expect and how to play as an electric bass player within the symphony orchestra, and when called for such a duty.

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Bass in Orchestra – Stories

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• Locke, Justin. “A Bass Viol Thing to Do.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, pp. 9-11.

Note: This article is a report on the Boston Pops bass stage routines and the bass section tradition to spin the basses during the concert.

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• Locke, Justin. “The Last of the Ninth.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 3, February – May 2008, p. 23.

Note: Moral of the story: Watch what kind of a beer you buy for the bass section for an intermission treat.

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Ensembles

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Bass Ensembles

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ASTA Bass Choir

• (author noti cited) “ASTA Bass Choir.” (International Society of Bassists Magazine. Vol. 6, No. 3, Spring 1980, p. 615.

Note: The article is sufficiently short that it can be cited here in full:

“Thirty-two double bassists formed the first National Student Double Bass Choir sponsored by the American Sting Teacher Association on April 9, 1980. They performed during a session of the Music Educators National Conference which met at Miami Beach. The program appears to the right on this page.”

The event program also cites a David Walter lecture The Double Bass in Ensemble, while the concert program features bass quartets, solo bass compositions and some ASTA Bass Choir members.

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Bass Viol Quartet of New Orleans

• (author not cited) “The Bass Viol Quartet of New Orleans.” International Society of Bassists Magazine. Vol. 2, No. 2, Winter 1976, p. 153.

• Rohe, Robert. “The Bass Viol Quartet of New Orleans” International Society of Bassists Magazine. Vol. 5, No. 1, Fall 1978, p. 463.

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Contrabass Quartet of the Berlin Philharmonic

• (author not cited) “Possibly The First Double Bass Quartet of the World.” International Society of Bassists Magazine. Vol. 3, No. 3, Spring 1977, p. 269.

Note: The photo of the initial members of the Berlin Philharmonic Bass Quartet after their performance in 1933.

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• (author not cited) “The Contrabass Quartet of the Berlin Philharmonic.” International Society of Bassists Magazine. Vol. 4, No. 1, Fall 1977, p. 350.

Note: This is just a small report of the ensemble 1977 performance that lists the ensemble members and the repertoire performed.

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• Stoll, Klaus. “Berlin Philharmonic.” International Society of Bassists Magazine. Vol. 3, No. 1, Fall 1976, p. 235.

Note: In this article Stoll presents recent performances of the Berlin Philharmonic bass section ensembles that included compositions for bass trio, bass quartet and bass octet.

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Edinburgh Bass Ensemble

• Sharp, Jennifer. “The City of Edinburgh Bass Ensemble: First Performance.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 1, June – September 2012, p. 49.

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Grand Duo Concertant

• Bradetich, Jeff. “Grand Duo Concertant from Holland.” International Society of Bassists Magazine. Vol. 11, No. 3, Spring 1985, pp. 29-31.

Note: A presentation of Grand Duo Concertant ensemble whose members are bassists Hans Roleofsen and Rudolf Senn.

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Manhattan Bass Ensemble

• Hansen, Karen. “Manhattan Bass Ensemble.” International Society of Bassists Magazine. Vol. 2, No. 2, Winter 1976, p. 137.

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The Indianapolis Bass Ensemble

• Murray, David. “Outer Bass – The Indianapolis Bass Ensemble.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 3, (1998), pp. 18-21.

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Bass in Chamber Ensemble – Excerpts

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• Muroki, Kurt. “Thoughts on Chamber Music.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 1, October – January 2019, pp. 41-44.

Featured excerpts:

Schubert, Franz. Das Forellen Quintet/Trout Quintet, D. 667, Op. 114, Movement 2, mm. 53-60.
Schubert, Franz. Das Forellen Quintet/Trout Quintet, D. 667, Op. 114, Movement 3, mm. 150-170.
Schubert, Franz. Das Forellen Quintet/Trout Quintet, D. 667, Op. 114, Movement 4, Variation 3.
Schubert, Franz. Das Forellen Quintet/Trout Quintet, D. 667, Op. 114, Movement 4, mm. 37-44.
Prokofiev, Sergei. Quintet in G minor, Op. 39, Movement 1, rehearsal numbers 8-11.
Prokofiev, Sergei. Quintet in G minor, Op. 39, Movement 2, beginning.

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Bass in Various Ensembles

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• Kopper, Krista. “Pit Playing Advice.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 3, June – September 2019, pp. 7-8.

Note: An excellent article with plenty of valuable advice on how to perform and behave in a Broadway Musical production. The advice presented may apply to essentially all musical productions and may certainly be of value for the symphony and opera bassists as well.

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• Kosky, Chris. “It’s Showtime! Meet Mary Ann McSweeney” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, pp. 40-42.

Note: An interview with a Broadway musical’s bassist Mary Ann McSweeney. This article offers many insights on the life and practice of Broadway musicals’ bassists.

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• Kosky, Chris. “Bassists on Base.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, pp. 34-35.

Note: A nice article that describes what it is to be a musician in the US armed forces in general, and as the musician (bassist) with the United States Air Force Band in Washington, DC, in particular.

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Jazz

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This section is designed to present various articles that cover the field of Jazz Bass and related areas. At this time there is only one general Jazz heading that includes all jazz styles and jazz bass specialties, yet in the future this section may offer more divisions.

In addition, for Jazz Pedagogy please consult Pedagogy – Jazz heading as this is where you will find all articles on the subject of collegiate or general jazz teaching. Likewise, for articles on individual jazz bass players please consult Bass Players – Jazz .

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Jazz

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• Brough, Regan. “Walk That Dog: The Emergence of Walking Bass Lines In Jazz.” Online Journal of Bass Research (OJBR). Vol. 4, November 2012. OJBR – Online View

• Chevan, David. “The Double Bass as a Solo Instrument in Early Jazz”. The Black Perspective in Music. Vol. 17, No. 1/2, 1989, pp. 73-92. JSTOR

• Gertz, Bruce. “Let Choice Be Made! The Bassist’s Role as Seen by a Jazz Composer/Bandleader.” Bass World : The Journal of International Society of Bassists. Vol. 47, No. 1, October – January 2024, p. 28.

• Goldsby, John. “The Duo Scene in New York City.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, pp. 38-41.

Note: This is a very interesting article on how the antiquated “cabaret law” that required a special permit for any establishment (restaurant, bar) ensemble in New York City prior to 1990, actually motivated both the venues and the musicians to form smaller ensembles and therefore foster a jazz duo culture in the New York jazz scene. In addition, and unrelated to the “cabaret law,” this article offers a brief bibliography of classic jazz duet recordings that feature great bass playing.

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• Miner, Neal. “On Sound: The Power of Acoustic Bass Playing.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, pp. 4-5.

• Lahasky, Sarah. “The Downbeat Bites the Dust: Learning and Teaching Bass Grooves in Cuban Popular Music.” Online Journal of Bass Research (OJBR). Vol. 11, December 2019. OJBR – Online View

• Reid, Rufus. “Words of Advice: Rufus Reid on Composing” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 3, June – September 2021, p. 27.

• Sabin. Robert. “Revolution in Action: A Motivic Analysis of “Ghosts: First Variation” as Performed by Gary Peacock.” Online Journal of Bass Research (OJBR). Vol. 8, January 2017. OJBR – Online View

• Socican, Igor. “Combination of Melodic Lines, Percussive Elements and Accompaniment for the Jazz Double Bass.” Studiul Artelor Şi Culturologie: Istorie, No. 3(40), 2021, pp. 57-67. WorldCat Record  |  Download Page

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Amplification & Audio Recording

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Bass Amplification & Audio Recording

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• Green, Barry. “Nadine Bass Mic by Ear Trumpet Labs” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 1, October – January 2020, p. 49.

Note: This is a review of Nadine Bass Microphone by Ear Trumpet Labs which is suitable for the amplification and recording of both jazz and classical arco playing styles. Since the author was also acquainted with the smaller DPA microphone for arco amplification, this article also presents a comparison between DPA and Nadine microphones.

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• Karr, Gary. “Of the Record.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, p. 28.

Note: In this article Prof. Karr offers the details on his famous Koussevitzky recording with Oslo Philharmonic, upon which the author of this portal, and along many other bassists worldwide, have modeled their own understanding and interpretation of Koussevitzky’s concerto. Apparently, for this recording Prof. Karr did stand in an unusual off-stage place, and probably in order to get the clean bass-only sound that is separated from the orchestra. Yet, at the end it seems that the mixing had still allowed the orchestra to overpower the bass in some sections. The second part of the article describes Karr’s recording experience with the Alexander Brott’s Profundum Praedictum.

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• Lazarus, Arnold. “An “In” Plug for Plugging In.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 13) Vol. 2, No. 3, June 1970, pp. 18-21, continued on pp. 30-31.

Note: An article about bass amplifiers and speakers, and how to interpret and match their specs. Given that the article was written in 1970, one could probably obtain much better information on the subject online now. Yet, this article may also be of interest to those who wish to know what kind of knowledge was offered on the subject at the time.

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• Lazarus, Arnold. “Louder Please.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, pp. 12-16.

Note: A general article on amplification of bass, types of bass pickups and the options with amplification.

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• Lyman, Frederick. “The Underwood Bass Pickup.” International Society of Bassists Magazine. Vol. 6, No. 3, Spring 1980, p. 601, continued p. 605.

Note: Aside from presenting the Underwood pickup, this article also overviews the projection of the bass (audibility) within the jazz ensemble in the past, and covers also the evolution of the acoustic bass amplification.

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• Reid, Rufus. “AMT S25B” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, p. 45.

Note: A review of AMT S25B Condenser Bass Mic, designed specifically for use on double bass. This microphone can also be attached to the bass without causing any damage to the instrument.

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• Tomita, Fumi. “Equipment and Setup for Jazz Bassists.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 2, February – May 2019, pp. 31-36.

Note: This article also covers the electric bass setup and the amplification setup issues.

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• Jefsen, Jens. “Bass Player Jens Jefssen tests Willson and Wahlgreen’s Pick-up for the Double Bass.” International Society of Bassists Magazine. Vol. 15, No. 3, Spring 1989, pp. 36-37.

• MacMillan, Elisabeth. “Making an Audition Tape.” International Society of Bassists Magazine. Vol. 15, No. 3, Spring 1989, pp. 40-43.

Note: An article about how to produce a good audition tape and which also offers many good points on performance, recording and production aspects that will help your recording session even today in our digital age.

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Travel & Transportation

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Bass & Travel

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• Anderson, Robert. “Transporting the Bass.” International Society of Bassists Magazine. Vol. 1, No. 3, Spring 1975, p. 55-56.

• Daugherty, Robert. “Come Fly With Me.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 3, February – May 2013, pp. 7-9.

• Gray, Jacque. “Caring for Your Fiberglass Case.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, p. 76.

Note: This article does not review a particular fiberglass case maker but rather offers an advice on how to handle and care for the bass case, and what to expect of airlines in handling the cases (important part).

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• Green, Barry. “Cincinnati Symphony Conducts Trunk Survey.” International Society of Bassists Magazine. Vol. 1, No. 1, Fall  1974, pp. 13-15.

Note: This survey was conducted in order to identify possible reasons for orchestra bass instrument damage in the process of transportation while being on tours. The survey has included following orchestras: New York (Philharmonic, Ballet Orchestra, Met Opera), Philadelphia, Chicago, Washington, D.C., Detroit, Los Angeles, Cincinnati, Cleveland, St. Louis, Montreal, Houston, New Orleans, Rochester, Oregon, Seattle, and Vancouver. In addition, this survey has also identified the typical trunk makes used by these orchestras. Lastly, given that this survey has been undertaken in 1974, it would be of interest to see kind of a data would the modern survey of the same profile yield today some 50 years later.

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• Horwitz, Charlie. “Bass Magic.” The Bass Line. [ Publication of the International Society of Bassists ] December 1994, p. 7.

Note: How do you put a double bass and a chair in VW Bug for transport? Simple indeed, just follow the instructions Charlie Horwitz provided, including the photos on “how to.” No need to worry about passengers, as there will be no space for any.

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• Kahn, Nathan. “Midway Airlines Accommodates Bassists.” International Society of Bassists Magazine. Vol. 17, No. 1, Fall 1990, p. 54.

• Milloy, Courtland. “Airline Security Should Let Music Go First Class.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, p. 31.

• Morton, Mark. “Traveling With Your Bass.” International Society of Bassists Magazine. Vol. 20, No. 1, Winter 1995, pp. 24-25.

• Schaefer, Steve. “The Mobile Bass: Which Cars are Best for Hauling Your Bass?” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 2, October – January 2012, pp. 28-33.

• Traeger, Charles. “The Repairman’s Corner.” International Society of Bassists Magazine. Vol. 4, No. 1, Fall 1977, p. 341.

Note: This text s both about how to transport basses properly and the damage that may be caused by improper transportation.

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• Traeger, Charles. “Transportation Survey, Including Airlines.” International Society of Bassists Magazine. Vol. 5, No. 4, Spring 1979, p. 527, continued on p. 529.

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Pedagogy

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Pedagogy

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• Amorim, George. “A Pyramid Scheme…the good kind!” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 9-12.

Note: An excellent article on how to establish and maintain successful bass class from at the institution where such has never before existed.

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• Aaron, Jeffrey and Diana Gannett. “Comprehensive Warm-Up Exercises for Bassists: A Key to Proficiency.” International Society of Bassists Magazine. Vol. 19, No. 3, Fall 1994, pp. 18-22.

Note: This article describes Diana Gannett’s Warm-Up Exercises for the Double Bass In Seven Phases, which themselves are derived in part, from (her) years of working with Gary Karr’s bass class exercises. The article describes in detail all the exercises and the benefits they provide to the practitioners.

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• Ballam, David. “How to Ignite Your Inner Teacher.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 59-60.

• Bergman, Mark Elliot. “E-portfolios as Learning Tools for Applied Double Bass Study; a Research-Based, Practice Oriented Approach.” Online Journal of Bass Research (OJBR). Vol. 18, February 2024. OJBR – Online View

• Bodman, Virginia. “Class String Bass for School Music Majors.” International Society of Bassists Magazine. Vol. 7, No. 2, Winter 1981, p. 701, p. 707.

Note: An overview of a 10 week bass course intended for music education students who are not double bass majors, and who intend to use their skills to teach bass in public schools or small colleges which can not afford a bass teacher.

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• Borém, Fausto and Guilherme Menezes Lage. “Intonation in the Performance of the Double Bass: The Role of Vision and Tact in Undershoot and Overshoot Patterns.” Online Journal of Bass Research (OJBR). Vol. 10, May 2019. OJBR – Online View

• Braun, Joel. “Exploring Eugene Levinson’s School of Agility.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 51-57.

• Coplin, Walther and unknown author. “Problems of the Left Hand.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 2) June 1967, pp. 3-5.

Note: This article presents an extended fingering practice of West Virginia Professor Coplin that are based on Karl Franke system, and the article presents this system as a starting thesis in order to engage other bass players to discuss fingering issues and practices. The article is not signed, yet it was likely written by Gary Karr himself.

Furthermore, it is likely that the mentioned Franke method is in fact the one written by Friedrich Christoph Franke published as “Anleitung, den Contrabass zu Spielen” c. 1820, as this method indeed uses the 1-2-3-4 system. Franke method online – Download Gallica  |  Download MDZ

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• Clute, James. “The Post’s Post – Concepts of the Double Bass (by Students).” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 2) June 1967, pp. 9-10.

Note: The title of this article may be better phrased as “the Preconceptions of Bass Students before Commencing the Collegiate Study.” This article is actually a letter by Prof. Clute in which he thanks Gary Karr on the opportunity to lecture at the First IISB conference in 1967 and also expounds further on the idea of what kind of knowledge and expectations students bring as freshman to the collegiate bass class.

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• Cross, Samuel G. “Paths to a Better String Bass Section.” Music Educators Journal. Vol. 75, No. 5, 1989, pp.  44-47. WorldCat – Article Record

• Daschle, Albert. “One Day in the ISB Bow Class.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, p. 29.

Note: The article describes the bass bow class lead by Prof. Paul Ellison during the 2017 ISB Convention in Ithaca, NY.

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• Dauthage, Max. “Zum Geleite.” Der Kontrabass. Nr. 1, Leipzig, Marz 1929, pp. 2-3. IA – Download Link

Title in English: Foreword (or Introduction)

Note: This is an important bass article since it takes the honor to be very first bass article printed in the very first dedicated bass journal ever made. It is also important to note that in this article Prof. Dauthage metions as his advisors maestros Gustav Mahler and Arthur Nikisch.

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• Davis, Richard. “How to Practice.” International Society of Bassists Magazine. Vol. 7, No. 2, Winter 1981, p. 699, p. 705, p. 707.

Note: Also cited under Pedagogy – Jazz

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• Dennis, Allan. “Improving Intonation by Using Relationship and Reference Point Shifting, Part I: Relationship Shifting.” International Society of Bassists Magazine. Vol. 8, No. 1, Fall 1981, pp. 749-751.

• Dillingham, Christian. “Pizzicato Practice: Expanding Your Approach” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 1, October – January 2020, pp. 23-25.

• Dixon¸ Scott. “3rd Finger in Low Positions: A “Hybrid” Fingering System for Improved Intonation and Increased Physical Ease.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 2, February – May 2019, pp. 13-20.

Note: This is a comprehensive article on how and when to use a third finger (instead of the common second finger) in lower positions. All approaches and combinations are presented in a very and systematic way. This system also and possibly by coincidence overlaps with an old Italian 1-3-4 system, yet whether and how much of the Dixon’s presentation may overlap with an old Italian practice as preserved in methods, is a matter for further consideration.

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• Doane, Caroline. “Intentional Tuning : An Exploration in Bass Balance.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 1, October – January 2023, pp. 53-55.

• Drew, Lucas. “Comparative Double Bass Fingering Systems.” International Society of Bassists Magazine. Vol. 5, No. 2, 1979, p. 480-481.

Note: This article presents the music charts of various fingering systems used by some eight major bass schools (methods) that were in common use prior to, and until 1979.

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• Fabian, Christian. “Learning as a Life Time Achievement.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, pp. 27-29.

• Findeisen, Theodor Albin. “Das Vibrato.” Der Kontrabass. Nr. 1, Leipzig, Marz 1929, pp. 3-4. IA – Download Link

Note: The article addresses the Vibrato in orchestra and solo use, as well as the views on how it can be taught and developed.

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• Findeisen, Theodor Albin. “Deutsche oder französische Bogenführung?” Der Kontrabass. Nr. 3, Leipzig, November 1929, pp. 29-30. IA – Download Link

Title in English: German or French Bow Hold?

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• Findeisen, Theodor Albin. “Ein Reform der Pädagogik des Kontrabaßspiels.” Der Kontrabass. Nr. 3, Leipzig, November 1929, pp. 27-28. IA – Download Link

Title in English: A Reform of the Pedagogy of the Double Bass playing.

Note: In this article Findeisen mentions an interesting detail about German bass schooling that may not be known today. Apparently, and already in the 18^th century, there were some German bass schools – assuming that he means methods, and not just the regional “styles of playing.” Cited: “Forschungen ergaben daß in 18. Jahrhundert schon eingehende Schulen für Kontrbaß in Deutschland worhanden waren …” Translated: “Research has shown that there were already established double bass schools in Germany in the 18th century …” Yet, if he has indeed meant by “Schulen” the German Bass Methods, whether handwritten or printed, of these there are no traces today since the earliest known bass method today is the one by Wenzel House from 1812.

The article otherwise suggest that perhaps a “universal and best” bass method may be created by taking the best parts from all existing ones and then creating an eclectic combination-method, which would then offer the highest benefit. The author also considers the efficiency of various methods and questions the principle of “isolating and working the problem out” as inefficient, while he believes that it may be possible to combine exercises in such ways to improve student’s ability on several fronts simultaneously. Yet at the end, it appears that all the text was leading to the introduction of his own school (method) as the one that may tackle all these problems most efficiently.

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• Findeisen, Theodor Albin. “Mein Werk “Der Lehrer des Kontrabaßspiels.”” Der Kontrabass. Nr. 4, Leipzig, Marz 1930, p. 37. IA – Download Link

Note: This is an overview of Findeisen’s new method book written by himself, where he explains the approaches applied in this manual and the general benefits it offers.

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• Gale, Thomas B. “Chromatic Fingerings in Half/First Positions.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 3, Winter 2000, pp. 26-27.

Note: This article presents several fingering options that enhance the clarity of playing in the low positions.

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• Gladstone, Robert. “Method, Values and Learning.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, pp. 14-16.

• Goilav, Yoan. “The Vibrato.” Translated by Lise Proto. International Society of Bassists Magazine. Vol. 2, No. 4, Spring 1976, pp. 207-208.

• Gold, Ira. “Meet Them Where They Are” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 1, October – January 2021, pp. 65-67.

• Gold, Ira. “The Qualities of Teaching that Influence our Work and Relationships.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 31-36.

• Green, Barry. “The Art of the Note” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 1, October – January 2021, pp. 39-45.

• Green, Barry. “The Inner Game, Let it Happen.” International Society of Bassists Magazine. Vol. 18, No. 3, Spring 1993, pp. 10-13.

Note: In this article Prof. Green explains the pedagogical and psychological concepts behind the “Inner Game of Music” system that enables a student to focus and perform their best during the audition or public performance.

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• Green, Barry. “The Inner Game, Stop Trying to be a Good Bassist.” International Society of Bassists Magazine. Vol. 18, No. 2, Fall 1992, p. 12.

• Green, Barry. “Learning and Practicing with a Purpose.” Probas. [ Publication of the International Institute for String Bass ] Vol. 1, Issue 1, Fall  1972, pp. 18-20.

• Green, Barry. “Musik Und Wettbewerb, gute Konkurrenz, schlechte Konkurrenz.” ; “Music and Competition, Good Competition vs. Bad Competition.” Magazin der Sperger Gesellschaft. Nr. 5, März 2022, pp. 38-41. IA – Download Page

Note: Article written in German and English in two parallel columns.

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• Green, Barry. “Nervous Tension.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, pp. 11-13.

Note: What happens with mind and body before the solo performance or an audition, and how to control it.

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• Green, Barry. “The Power of Will.” International Society of Bassists Magazine. Vol. 12, No. 1, Fall 1985, pp. 18-27.

• Grodner, Murray. “Creating A Competent Double Bassist, Analysis of Physical Performance Techniques and Solutions for Technical Performance Problems.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, pp. 17-19.

• Grodner, Murray. “Give Your Shoulder a Break.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 1, June – September 2013, pp. 20-23.

• Grodner, Murray.  “Measuring, A Tool for Success in All Things.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 2, February – May 2020, pp. 14-16.

• Grodner, Murray. “What It Is We Are Teaching?” International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, pp. 84-85.

• Guettler, Knut. “Electromyography and Muscle Activities in Double Bass Playing.” Music Perception: An Interdisciplinary Journal. Vol. 9, No. 3, 1992, pp. 303-309. JSTOR

• Guettler, Knut. “The Open Minded Bassist.” International Society of Bassists Magazine. Vol. 9, No. 2, Winter 1983, p. 28.

Note: This article presents some three profiles of stereotypical inflexible dogmatic teacher that Guetler believes should be offered a chance to “open their minds.” The topic of this article was also covered by Knut Guettler as an introduction to a panel discussion at the Isle of Man, 1982.

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• Haigh, Scott. “Are You Suffering from Burn-Out?” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 1, 1997, pp. 42-45.

Note: This article stresses the importance of setting the clear career priorities from the beginning of the collegiate bass studies, while it is advised to avoid the temptations of freelance job calls that may cause a serious “Burn-Out,” and which likewise may have strong impact on the later bass career prospects.

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• Halfpenny, Eric. “Foundations of Finger Technique on the Double Bass.” The Strad. November 1945, January 1946, pp. ? – ?.

• Hartmann, Erich. “Die Entwicklung des Kontrabasses und die Schule des Kontrabasses in Prag, Wien und  Leipzig : The Development of the Double Bass and The Schools of Double Bass in Prague, Vienna, and Leipzig.” Translated by Ruth Cantieny. International Society of Bassists Magazine. Vol. 9, No. 3, Spring 1983, pp. 9-13.

Note: This is a very valuable article that addresses the genealogies of Central European bass teachers and the development of the modern bass pedagogy in general. The article is printed with the original German text in the left column and the translated English text in the right column.

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• Heyes, David. “DIY Or Do It Yourself” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 2, February – May 2022, pp. 21-23.

Note: This article David Heyes explains his teaching principles and along presents a composition of his “George Visits Stonehenge” (p. 22) that is suitable for early instruction.

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• Hurst, Lawrence. “The Right Word(s) at the Right Time.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 19-23.

Note: An excellent article about thoughts, concepts and phrases used by various teachers, and the impact those have had on students’ playing.

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• Jaschke, Johann. “Das Kontrabaßspiel in den Ensembles oder Salonkapellen.” Der Kontrabass. Nr. 5, Leipzig, Anfang Februar 1931, p. 50. IA – Download Link

Title in English: The Bass Playing in Ensembles or Salon Orchestras.

Note: In this article the author reflects on the current state of bassists’ ability and vocational choices as witnessed in certain smaller ensembles and salon orchestras c. 1931.

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• Jaschke, Johann. “Über die Pflege des Solospiels auf dem Kontrabasse.” Der Kontrabass. Nr. 5, Leipzig, Anfang Februar 1931, pp. 49-50. IA – Download Link

Title in English: On the Cultivation of Solo Playing on the Double Bass.

Note: This may be one of the first articles where a study of the solo bass music is advocated in order to advance the general technical and musical standards on the bass. The author also strongly supports the idea of dedicated instrument study in order to remedy the (apparently) low playing standards that were witnessed among his colleagues at the time.

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• Janowsky, Max. “Theme and Variations, A Better Bass Practice Method.” International Society of Bassists Magazine. Vol. 10, No. 3, Spring 1984, pp. 13-19.

• Jensen, John. “Comments from Across the Sea.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 3) November, 1967, pp. 7-8.

Note: General observations on the bass size, posture, fingering systems and tuning (from 1967).

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• Jobelmann, Herman F. “Variations and Methods for Orchestral Pizzicato.” International Society of Bassists Magazine. Vol. 6, No. 3, Spring 1980, p. 601, continued p. 603.

• Jones, Kate. “Studying Spiccato: A Somewhat Scholarly Synopsis on the Springing Stick.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 13-14.

• Kamminga, Caitlyn. “Teaching in Trinidad: The Protégé Effect.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, pp. 11-12.

Note: An interesting article about efforts to establish the first bass class in the National Academy for the Performing Arts in Trinidad.

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• Karr, Gary. “Are Your Vibes Working?” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 15) Vol. 2, No. 5, October 1970, pp. 9-11.

Note: Gary Karr’s approach to vibrato. Recommended.

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• Karr, Garry. “Bass-ic Material.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, p. 31-32.

Note: This feature presents a letter of a student to Garry Karr with inquiries on Karr’s bass string height, his shifting technique and the question on Magic Flute excerpt fingering. Although the questions are eclectic, the replies are well worth noting as they present Karr’s approach to these specific topics.

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• Karr, Garry. “Bridge Playing.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, p. 22.

Note: Here is the recipe for the great “unimitable” tone from the great master himself. How does Garry Karr produces such a fantastic tone and what this has to do with the string bow placement. As you will see, it is essentially a principle and a process, rather then a straight out physical placement rule. This short article is highly recommended to every student and professional, as it addresses the most fundamental issue of how a solo playing (or actually any other type of playing) may do a justice to an image of a double bass and a bass profession in general.

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• Karr, Gary. “The Entire Fingerboard in One Easy Lesson.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 15) Vol. 2, No. 5, October 1970, pp. 18-27.

Note: In this article Karr presents harmonics as a tool that can help beginning students to get familiar with higher positions on fingerboard through harmonics, and by which they can also get a reference for intonation and be able to tune the bass relatively early instruction phase. This system is apparently designed to bypass the common methodology of progress from lower to higher positions, by offering instead the student the chance to get acquainted with harmonics right from the beginning of the instruction. The article cited also in Pedagogy – Juvenile section.

Cited also in Pedagogy – Juvenile heading.

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• Karr, Gary. “Extension Fingering.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, pp. 26-27.

Note: The author of this site was not aware that Prof. Karr has used or advocated extension fingerings, yet in this article he offers several simple and practical exercises on how to employ this system.

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• Karr, Gary. “Good Sound – Good Bowing.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, pp. 14-15.

Note: This article presents the tone production ideas of Prof. Karr, it also offers the most standard “professorial” description of what the term staccato means, and, how it should performed. So if this standard concept of staccato was by chance not familiar, please do revisit it, as this was a common scholarship at the time of printing, and it certainly predates 1970 by decades, if not centuries.

This article also precedes and complements the following article:
Karr, Garry. “Bridge Playing.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, p. 22.

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• Karr, Gary. “It’s What’s Up and Front that Counts.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, pp. 19-23.

Note: This feature presents Prof. Karr’s listing of preferred solo bass compositions based on an experience of performing “30 different works with about 100 orchestras throughout the United States, Canada, Mexico and Europe (in the last eight years).” Fascinating to note, but beside the Koussevitzky concerto one can also note a Dittersdorf concerto listed as well. Please take a note of the contemporary concertos on the list, since some of these compositions may not be known today, and they are on the list of the recommended ones.

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• Karr, Gary. “Karr Talk, Rosin – A Sticky Subject.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, p. 18.

Note: Prof. Karr present his views on past and present rosins he had used, and how he approaches the rosin use in his solo playing.

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• Karr, Gary. “Karr Talk, Simandlites, Beware.” International Society of Bassists Magazine. Vol. 20, No. 2, Spring/Summer 1995, p. 54-57.

Note: An article about Prof. Karr’s experience with Simandl’s bass pedagogy opus.

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• Karr, Gary. “Karr Talk, Straight Shooting about Bows.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 1, 1997, pp. 4-11.

Note: In this article Karr presents his views on bows and the need bows should fulfill for solo and orchestra performance. Prof. Karr has owned in vicinity of 80 (eighty) bows during his career and he indeed has much valuable advice to offer on the subject.

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• Karr, Gary. “Letters to the Editor.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 17) Vol. 3, No. 1-6, 1971, pp. 3-5.

Note: Although this feature presents only the questions directed to and answered by Gary Karr, the majority of questions concern the bass technique, so it is fitting to list this feature in the Pedagogy section. This feature also reflects well on Karr’s own thoughts on bass pedagogy and performance.

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• Karr, Gary. “Of the Record.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, p. 28.

Note: In this article Prof. Karr offers the details on his famous Koussevitzky recording with Oslo Philharmonic, upon which the author of this portal, and along many other bassists worldwide, have modeled their own understanding and interpretation of Koussevitzky’s concerto. Apparently, for this recording Prof. Karr did stand in an unusual off-stage place, and probably in order to get the clean bass-only sound that is separated from the orchestra. Yet, at the end it seems that the mixing had still allowed the orchestra to overpower the bass in some sections. The second part of the article describes Karr’s recording experience with the Alexander Brott’s Profundum Praedictum.

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• Karr, Gary. “On Bornoff.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 14) Vol. 2, No. 4, August 1970, pp. 14-15.

Note: In this article Karr offers an homage to Dr. George Bornoff, philosopher and presents how Bornoff’s thoughts have influenced his own approach to bass pedagogy.

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• Karr, Gary. “More on the Bow.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 6) (Vol. 6, No. 3) 1968, pp. 26-28.

Note: Prof. Karr’s thoughts on bow use.

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• Karr, Gary. “Sound and Intention: Four Steps to Stress-Free Practicing for Lifelong Results” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, pp. 15-16.

Note: This is a fascinating and condensed set of instructions on how to practice as Gary Karr, written by Gary Karr himself. So, all the advice is 100% authentic and may bring out some ideas that are not part of common collegiate practice routine.

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• Karr, Gary. “Technique for Soul.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 10) Vol. 1, No. 1, December 1969, pp. 19-21.

Note: An excellent article on how to practice and for what final purpose. The article addresses the scale practice and the general approach to increasing your technical skills without reaching the over-exhaustion stage.

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• Kesselman, Robin. “Bow Speed Geography: An Injury’s Guide to Improving Legato and Sustain.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 2, February – May 2024, pp. 31-35.

• Klaus, Günter. “Mein Weg – Betrachtungen zur Deutschen Bogenhaltung.” ; “My Way – Considerations on the German bow hold.” Magazin der Sperger Gesellschaft. Nr. 3, November 2020, pp. 29-31. IA – Download Page

Note: Article written in German and English in two parallel columns. This is an excellent article for those who wish to find out more on various German bow holds, both present and historical, since the article offers several images of various holds. The article also offers a unique and unknown photo of Gustav Laska that features his posture with the bass and bow.

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• Klinghoffer, Michael. “Excellence in the Age of Ratings.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 3, February – May 2012, pp. 9-11.

• Klinghoffer, Michael. “Exploring Related Areas of Learning.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, pp. 28-31.

• Klinghoffer, Michael. “What is a Master Teacher?” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, pp. 22-25.

• Koehler, William K. “Left Hand Technique and the Use of The Four Finger-System and Cello Extensions.” International Society of Bassists Magazine. Vol. 16, No. 3, Spring 1990, pp. 16-20.

• Kohn, Andrew. “How to Accompany Scales” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 1, October – January 2022, pp. 25-29.

Note: This article was published initially in American String Teacher. Vol. 72, No. 2, March 30, 2022, pp. 21-24, and reprinted in Bass World by permission.

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• Lambert, James. “Taking Aim at Good Intonation.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 1, July – September 2006, pp. 25-27.

• Lardin, Heather Miller. “Where Can You Study Historical Bass?” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 61-65.

Note: This article covers all the schools and conservatories that offer the programs in historical bass. Every institution is covered by a small paragraph that explains the institution profile, its program and the main teacher of historical bass.

Cited also under Performance Practice – General heading.

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• Larson, Jeff. “How Fast Does It Go?” International Society of Bassists Magazine. Vol. 20, No. 1, Winter 1995, pp. 26-36.

Note: This article presents the common tempi for the usual orchestra excerpts taught at the collegiate level. Featured is also a discography listing for all recordings consulted in the process of measuring the featured tempos.

Featured Tempi for:

Mahler, G. – Symphony No. 1, Movement 3, Solo
Prokofiev, S. – Lt. Kije Suite, Solo
Verdi, G. – Otello, Act IV, Solo
Strauss, R. – Ein Heldenleben
Strauss, R. – Don Juan
Mozart, W.A. – Symphony No. 35, Movement 1
Mozart, W.A. – Symphony No. 35, Movement 4
Mozart, W.A. – Symphony No. 40, Movement 1
Mozart, W.A. – Symphony No. 40, Movement 4
Beethoven, L. – Symphony No. 5, Movement 3 (Scherzo and Trio)
Beethoven, L. – Symphony No. 9, Movement 4, Recitativo
Beethoven, L. – Symphony No. 9, Movement 4, Ode to Joy

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• Laska, Gustav. “Willkür in Instrumentenbau, Besonder in bau des Kontrabasses .” Der Kontrabass. Nr. 5, Leipzig, Anfang Februar 1931, p. 51-52. IA – Download Link

Title in English: The Arbitrariness in Construction of Instruments, Particularly in the Construction of Double Basses.

Note: This article makes a very interesting read as it reflects on the state of instruments c. 1931 in German orchestras. The article emphasizes the benefit of coming to an orchestra rehearsal to play on an already present instrument, yet underlines the drawback that the multitude of sizes and setups of those orchestra-owned instruments was apparently mind boggling. The author then advises that it would be welcome if the instrument makers would produce instruments in only one optimal size and setup. The author also offers his own preference for the mid size four stringed instrument that can serve well in all settings (orchestra, chamber and solo role). Laska is very thorough in this requirement and he also offers the measurements for his ideal instrument. This article also presents many unique details on the bass practice in Germany in the early 30s of the last century.

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• Leavitt, Tod. “The State of the Bass: A Survey of Instruction in the US.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 3, (1998), pp. 56-59.

Note: This article presents a valuable historical information on how many bass teachers (instructors) were in 1998 in the US, and what methods and approaches did they use in their teaching.

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• Lewy, Rudolf. “More on Bass and Bassists’ Problems.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 3) November, 1967, pp. 9-11.

Note: This article by Rudolf Lewy, member of the Israel Philharmonic Orchestra and faculty of the Tel-Aviv University Academy was extracted from the letter to the editor.

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• Levy, Rudolf. “Our Ups and Downs.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 14) Vol. 2, No. 4, August 1970, pp. 16-17.

Note: An article about the use of up and down bow in present day practice (c. 1970) and from the historical perspective.

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• Levy, Rudolf. “Vibrato – Why, When and How.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 17) Vol. 3, No. 1-6, 1971, p. 15.

• Luboff, Abe. “Bricks and Mortar.” International Society of Bassists Magazine. Vol. 10, No. 1, Fall 1983, pp. 21.

Note: This article presents Abe Luboff’s teaching precepts and philosophy.

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• Luboff, Abe. “In my Opinion.” International Society of Bassists Magazine. Vol. 6, No. 2, Winter 1980, p. 593, continued on p. 597.

Note: In this article Luboff offers several thoughts on teaching.

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• Luboff, Abe. “Progressive Octave Series.” International Society of Bassists Magazine. Vol. 6, No. 2, Winter 1980, p. 591.

• Luboff, Abe. “Answer to The Sting Class Teacher’s Dilemma.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, pp. 20-21.

Note: This article presents Luboff’s teaching precepts to general bass class teachers and for the benefit of beginning students. The article was written in reply of the article by Spencer, Dorothy. “The String Class Teacher’s Dilemma.” Bass Sound Post. (Nr. 11) Vol. 2, No. 2, February 1970, pp. 10-11.

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• Lyman, Frederick. “Creative Hearing.” International Society of Bassists Magazine. Vol. 7, No. 3-4, Spring and Summer 1981 (Double Issue), p. 740, p. 744.

Note: An article on how we perceive the sound of double bass and what may be the objective expectations in that regard.

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• McClure, Theron. “A Bass Curriculum Sample.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 7) (Vol. 6, No. 4) 1968, pp. 12-14.

Note: This feature actually presents Prof. McClure’s Bachelor Degree Bass Curriculum at the Ohio State University c. 1968-69. All the method books, orchestra materials along with scales, sight reading, ear training and solos are well cited. Some pedagogy comments are presented as well. This curriculum may also serve today as a reference tool on what was taught some 55 years ago at the collegiate level.

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• McClure, Theron. “Circle of Minor Scales.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, pp. 16-17.

Note: This feature presents only a chart of scales and arppegiated 6^th chords for all minor keys. Assumed is that this chart may serve didactic or practicing purpose.

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• McClure, Theron. “Coaching a Bass Sectional.” International Society of Bassists Magazine. Vol. 15, No. 2, Winter 1989, p. 12.

• McClure, Theron. “Coax Bass Tone – Don’t Grind.” International Society of Bassists Magazine. Vol. 4, No. 3, 1977-78, p. 408.

• McClure, Theron. “Vibrato.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 10) Vol. 1, No. 1, December 1969, pp. 22-23.

Note: McClure’s article on vibrato has inspired Kenneth Winnstead to offer his own ideas on the subject in the following Bass Sound Post issue: Winnstead, Kenneth “Some Thoughts on Good Vibrations.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, pp. 24-26.

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• McCormick, Gaelen.  “Crunched for Time.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 2, February – May 2020, pp. 19-23.

• McCormick, Gaelen. “Embodying Flow State in Lessons.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 1, October – January 2018, pp. 15-17.

• McCormick, Gaelen. “Take Five.” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, pp. 25-27.

• McQuarters, Jesse. “So You’re Graduating from Music School … Now What? (Part One) Bass World : The Journal of International Society of Bassists. Vol. 30, No. 3, February – May 2007, pp. 5-6.

• McQuarters, Jesse. “So You’re Graduating from Music School … Now What? Part Two: Developing a Bass Studio.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007,  p. 5.

• Morton, Mark. “Affirmative Action – Low Down.” International Society of Bassists Magazine. Vol. 18, No. 2, Fall 1992, pp. 10-11.

Note: An article about the common perspectives of the expected success age in classical music and the justification, or inquiry on the imposed age limit in double bass competitions.

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• Morton, Mark. “… And the Bassist Actually Played in Tune.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, pp. 28-29.

Note: An article about playing in tune as a soloist, and the general challenges of solo bass playing.

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• Morton, Mark. “Going Solo in Educational Concerts.” International Society of Bassists Magazine. Vol. 20, No. 3, Winter 1996, pp. 22-26.

Note: An article about how to prepare and realize a solo performance for education purpose in schools, churches and other venues.

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• Morton, Mark. “Some of the Best Audiences Anywhere.” International Society of Bassists Magazine. Vol. 20, No. 2, Spring/Summer 1995, p. 38-41.

Note: An article how to prepare and realize a concert in a retirement community home.

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• Morton, Mark. “Steps to Memorization.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 3, 1997, pp. 32-33.

Note: An excellent article on how our musical memory works and how to address possible memory slips during the performance.

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• Murray, David. “I Have a Recital Date – Now What?” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 2, (1998), pp. 30-33.

Note: A well written article on recitals and recital preparation.

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• Murray, David. “Singing on the Bass.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, pp. 12-15.

• Nestler, Dona and Gary Karr. “Learning to Vibrate.” International Society of Bassists Magazine. Vol. 7, No. 2, Winter 1981, p. 699, p. 701.

• Obrecht, Eldon. “Positions, Anyone?” International Society of Bassists Magazine. Vol. 4, No. 1, Fall 1977, p.  337.

• O’Brien, Orin. “Some Thoughts on Teaching.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 13-14.

• Pedersen, E. “Yoga for Bass?” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 17) Vol. 3, No. 1-6, 1971, p. 15.

Note: This article features bass technique exercises that are based on both Yoga and Gary Karr teaching precepts.

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• Planyavsky, Alfred. “Kontabas w Aspectie Historycznym. Rozvój Wspólczesnej Pedagogiki Kontrabasowje.” Musikuniversität Wroclow (Breslau), Nr. 12, 1977, pp. 32-52.

Note: These are Polish translations of Planyavsky’s two lectures “Der historische Kontrabass” (Historical Double Bass) and “Zur Didaktik des Kontrabasses” (Didactic of the Double Bass Instruction) presented on April 7, 1974 at the Complete Polish Double Bass Symposium, 1974 at the Academy of Music in Breslau (Wroclav). For lecture details please see lectures entries in ABP Lectures : Bass History – General and ABP Lectures : Pedagogy listings.

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• Portnoi, Henry. “Nomenclature of Bow Technique.” International Society of Bassists Magazine. Vol. 7, No. 3-4, Spring and Summer 1981 (Double Issue), pp. 719-720, 722 (right column).

Note: This is an excellent article on bow strokes and their precise definition, or the lack of them. A subject that is not often discussed in our times, although the historical diversity and nomenclature of strokes certainly warrants a fresh look.

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• Portnoi, Henry. “Pedagogical Corner, Lets Talk Some Language .” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 114.

Note: This is a very brief article on what the term Legato means to Prof. Portnoi.

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• Raciti, Andrew. “Fundamental Practice = Fundamental Progress.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 3, June – September 2019, pp. 9-11.

• Rakov, Lev. “Contrabass, Realities of Profession, Paradoxes of Practice.” (Part 1) International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, pp. 30-32.

Note: This article presents historical information on the contrabass in respect to the present day use and perception, so technically the article belongs both here in the Pedagogy and in Bass History – General listings.

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• Reeves, Steve. “Dealing with Performance Anxiety.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 2, October – January 2007, pp. 53-55.

Note: This article was a part of Centerstage column.

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• Rowel, Tracy. “Building a Beautiful Bow Arm at Different Ages and Stages” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 3, June – September 2021, pp. 34-37.

• Ruggieri, Roger. “Harmonics.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 10) Vol. 1, No. 1, December 1969, p. 25.

Note: This feature presents a chart of harmonics on the bass. The chart was probably part of a presentation for a lecture at the Third Conference of the International Institute for the String Bass (1969) at Madison, WI.

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• Ruggieri, Roger. “Intervalic Patterns.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 10) Vol. 1, No. 1, December 1969, p. 24.

Note: This is just a chart for intervallic patterns fingerings that was probably part of a handout for a lecture at the Third Conference of the International Institute for the String Bass (1969) at Madison, WI.

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• Ruggieri, Roger. “Orchestral Techniques.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 13) Vol. 2, No. 3, June 1970, pp. 16-17.

Note: The title of this article may be misleading, as it is actually describes how to properly mark the bass parts before and during the rehearsal.

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• Sankey, Stuart. “On the Anticipation of Crossings by the Left Hand.” International Society of Bassists Magazine. Vol. 5, No. 2, 1979, p. 474-477.

• Sankey, Stuart. “On the Question of Minor Alterations in the Double Bass Parts of Beethoven.” International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, pp. 95-99.

Note: In this article Sankey presents the thoughts on how to approach the performance of those passages in Beethoven orchestra bass parts that go below the E String on instruments that do not have either the extension or the 5^th C string.

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• Sankey, Stuart. “Orchestra vs. Solo Tuning, A Forum.” International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, pp. 75-79.

Note: This article presents a survey on the subject of Orchestra vs. Solo Tuning that consists of the individual replies of some 12 leading bassists in 1975. Featured are the survey texts by Rodney Slatford, Gary Karr, Warren Benfield, Barry Green, Rudolf Malaric, Rudolf Lewy, Bertram Turetzky, Ludwig Streicher, Lucas Drew, Murray Grodner, Henry Portnoi and Alfred Planyavsky.

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• Schubert, Hermann. “Das Studium des Kontrabaßspiels.” Der Kontrabass. Nr. 4, Leipzig, Marz 1930, p. 37-38. IA – Download Link

• Schneider, Uli. “How to Organize a Bass Camp during the COVID-19 Crisis” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, pp. 23-26.

Note: An article on how it was possible to organize a bass camp in Germany right after the Covid restrictions started to be lifted.

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• Smith, Stephanie. “Tell it Like It Is …” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 10) Vol. 1, No. 1, December 1969, p. 26-27.

Note: This feature presents a listing of thoughts on pedagogy that were offered by presenters at the Third Conference of the International Institute for the String Bass (1969) at Madison, WI. Those thoughts are organized in random order and represent the US bass pedagogy ideas from 1969.

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• Stoll, Klaus. “Autographs from the Collection of Klaus Stoll.” International Society of Bassists Magazine. Vol. 3, No. 4, Spring 1977, pp. 302-303.

Note: This feature is not a standard article but a presentation of various bass related autographs from Klaus Stoll collection. They are all of importance to the bass history and it will be of service to list here each of them individually:

1. Autograph by Joseph Hrabe 1860. This is a small method-like autograph score which presents the fingerings for the first 6 positions. Yet, for those who wish for a challenge in deciphering the presented positions, these are not the common ascending chromatic positions to which we are accustomed today, but something different. One can actually decipher the range of notes played on E and G strings for orchestra bassist c. 1860 by examining this position chart (p. 302)

2. Autograph by Italo Caimi 1929 dedicated to Carl Schreinzer. Featured are two measures of Caimi’s unknown bass composition. Chances are that some information on this piece may be contained in the autograph note, if it could be deciphered.

3. Autograph by Giovanni Bottesini, incipit from his Garden of Olivet, 1889.

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• Sturm, Hans. “Applying Dounis to the Bass.” International Society of Bassists Magazine. Vol. 18, No. 2, Fall 1992, pp. 26-30.

Note: The article presents how the methods of music pedagogue Demetrios Constantine Dounis (1893-1954) can be applied to the bass.

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• Sunglao, Rey. “Making Double Bass Pedagogy Culturally Responsive.” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 3, June-September 2023, pp. 39-42.

• Swaim, Daniel. “Suggestions for a New College or University Double Bass Teacher.” International Society of Bassists Magazine. Vol. 2, No. 2, Winter 1976, p. 136.

Note: As the title implies this is not about student pedagogy, yet rather about the duties and organization of a new teacher/professor at the college level.

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• Thompson, Clyde H. “Some Suggestions on Holding the Double Bass.” Music Educators Journal, vol. 39, no. 1, 1952, pp. 72-73. JSTOR

• Tischer-Zeitz, Franz. “Kurze Beiträge zur Fachliteratur.” Der Kontrabass. Nr. 4, Leipzig, Marz 1930, pp. 42-43. IA – Download Link

Note: This article presents a Tischer-Zeitz’ overview of both the bass pedagogy and the solo bass literature suitable for instruction purposes. Some of the cited literature is not known today, but it may be of interest to explore it further, if nothing else then for historical documentation purpose.

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• Tolo, Leland. “Shifting Ten Commandments.” International Society of Bassists Magazine. Vol. 3, No. 1, Fall 1976, p. 220, 223.

• Vizachero, Rick. “Creating Goals for Successful Performance.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 46-47.

Note: This article presents both planning process for career development, as well as the bass pedagogy that goes along, so it is cited in both listings.

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• Vizachero, Rick. “Developing Muscular Symmetry for the Left Hand.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, pp. 38-39.

• Vizachero, Rick. “Getting It Together: My Teacher, Myself.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, pp. 45-47.

• Vizachero, Rick. “Major Arpeggios – Thumb Position Pivoting.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 2, October – January 2001, pp. 38-39.

• Vizachero, Rick. “Quick and Efficient Warm Ups.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 1, June – September 2001, pp. 32-33.

• Walker, Nicholas. “Reimagining Music Lessons, How a Hybrid Model Has Transformed My Teaching Forever” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, pp. 17-22.

Note: An article on how the author’s bass teaching had to adapt to the new reality of Covid online instruction and how even some unexpected benefits have emerged out of this change.

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• Walter, David. “Rostropovich and the Double Bass.” International Society of Bassists Magazine. Vol. 3, No. 4, Spring 1977, pp. 301-302.

Note: This is a very valuable article as it presents the views on double bass by famous cellist Mstislav Rostropovich.  It may not be that well know, yet Rostropovich was also the chair of the Cello and Bass department at the Moscow Conservatory early in his career, so he was familiar with the repertoire and technique of the bass, and was moreover personally interested in the instrument. This article also offers a historical retrospective on the encounter of bassists Manuel Verdeguer, Milton Kestenmaum, Homer Mensch, Fred Silva, Barry Gree and David Walter with Rostropovich. This encounter took place during the June ’76 Festival Casals in Puerto Rico where all the cited bassists were  members of the festival orchestra and had a nice chance to converse with Rostropovich.

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• Weitzel, Patricia. “Now and Later: Changing the Narrative on Repertoire Requirements” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, pp. 31-32.

Note: Due to unfortunate Covid pandemic and consequent closure of many orchestras and orchestra musicians’ jobs, the author of text considers the alternative paths for double bass majors in collegiate institutions.

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• Winnstead, Kenneth “Some Thoughts on Good Vibrations.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, pp. 24-26.

Note: An article on vibrato in response on McClure’s article on vibrato:  McClure, Theron. “Vibrato.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 10) Vol. 1, No. 1, December 1969, pp. 22-23.

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• Ziemann, Danny. “Sustaining the Early Teaching Magic.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 3, February – May 2018, pp. 13-16.

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Pedagogy – Left Hand – Vibrato

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• Findeisen, Theodor Albin. “Das Vibrato.” Der Kontrabass. Nr. 1, Leipzig, Marz 1929, pp. 3-4. IA – Download Link

Note: The article addresses the Vibrato in orchestra and solo use, as well as the views on how it can be taught and developed.

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• Goilav, Yoan. “The Vibrato.” Translated by Lise Proto. International Society of Bassists Magazine. Vol. 2, No. 4, Spring 1976, pp. 207-208.

• Guettler, Knut. “Electromyography and Muscle Activities in Double Bass Playing.” Music Perception: An Interdisciplinary Journal. Vol. 9, No. 3, 1992, pp. 303-309. JSTOR

Note: This article also addresses the physiology of vibrato.

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• Karr, Gary. “Are Your Vibes Working?” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 15) Vol. 2, No. 5, October 1970, pp. 9-11.

Note: Gary Karr’s approach to vibrato. Recommended.

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• Levy, Rudolf. “Vibrato – Why, When and How.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 17) Vol. 3, No. 1-6, 1971, p. 15.

• McClure, Theron. “Vibrato.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 10) Vol. 1, No. 1, December 1969, pp. 22-23.

Note: McClure’s article on vibrato has inspired Kenneth Winnstead to offer his own ideas on the subject in the following article: Winnstead, Kenneth “Some Thoughts on Good Vibrations.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, pp. 24-26.

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• Nestler, Dona and Gary Karr. “Learning to Vibrate.” International Society of Bassists Magazine. Vol. 7, No. 2, Winter 1981, p. 699, p. 701.

Note: Since this article is signed by Gary Karr, this may imply that some parts of this article may also show how to teach the famous Karr vibrato.

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• Winnstead, Kenneth “Some Thoughts on Good Vibrations.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, pp. 24-26.

• Note: An article on vibrato in response on McClure’s article on vibrato:  McClure, Theron. “Vibrato.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 10) Vol. 1, No. 1, December 1969, pp. 22-23.

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Pedagogy – Right Hand – Bow

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• Daschle, Albert. “One Day in the ISB Bow Class.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, p. 29.

Note: The article describes the bass bow class lead by Prof. Paul Ellison during the 2017 ISB Convention in Ithaca, NY.

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• Findeisen, Theodor Albin. “Deutsche oder französische Bogenführung?” Der Kontrabass. Nr. 3, Leipzig, November 1929, pp. 29-30. IA – Download Link

Title in English: German or French Bow Hold?

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• Grodner, Murray. “Energy and the Bow Arm.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, pp. 24-25.

• Gilbert, Linda M. and Hans Sturm. “The Art of Bow DVD Project.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 41-42.

Note: An in depth study DVD project presenting the 3D motions of a bow arm based on the bow technique of Francois Rabbath.

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• Jones, Kate. “Studying Spiccato: A Somewhat Scholarly Synopsis on the Springing Stick.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 13-14.

• Portnoi, Henry. “Nomeclature of Bow technique.” International Society of Bassists Magazine. Vol. 7, No. 3-4, Spring and Summer 1981 (Double Issue), pp. 719-720, 722 (right column).

Note: This is an excellent article on bow strokes and their precise definition, or the lack of them. A subject that is not often discussed in our times, although the historical diversity and nomenclature of strokes certainly warrants a fresh look.

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• Rowel, Tracy. “Building a Beautiful Bow Arm at Different Ages and Stages” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 3, June – September 2021, pp. 34-37.

• Unzicker, Jack. “S.W.A.P. – A Better Sounding Bass Section.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 41-46.

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Pedagogy – Methods

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• Borém, Fausto ; Ribeiro, Alfredo ; Neves, Gustavo ; Campos, João Paulo and Rodrigo Olivarez. “Lino José Nunes’s 1838 Methodo: Historical, Analytical and Editorial Aspects of an Afro-Brazilian Double Bass Jewel.” Online Journal of Bass Research (OJBR). Vol. 5, April 2015. OJBR – Online View

• Findeisen, Theodor Albin. “Ein Reform der Pädagogik des Kontrabaßspiels.” Der Kontrabass. Nr. 3, Leipzig, November 1929, pp. 27-28. IA – Download Link

Title in Englsih: A Reform of the Pedagogy of the Double Bass playing.

Note: In this article Findeisen mentions an interesting detail about German bass schooling that may not be known today. Apparently, and already in the 18^th century, there were some German bass schools – assuming that he means methods, and not just the regional “styles of playing.” Cited: “Forschungen ergaben daß in 18. Jahrhundert schon eingehende Schulen für Kontrbaß in Deutschland worhanden waren …” Translated: “Research has shown that there were already established double bass schools in Germany in the 18th century …” Yet, if he has indeed meant by “Schulen” the German Bass Methods, whether handwritten or printed, of these there are no traces today since the earliest known bass method today is the one by Wenzel House from 1812.

The article otherwise suggest that perhaps a “universal and best” bass method may be created by taking the best parts from all existing ones and then creating an eclectic combination-method, which would then offer the highest benefit. The author also considers the efficiency of various methods and questions the principle of “isolating and working the problem out” as inefficient, while he believes that it may be possible to combine exercises in such ways to improve student’s ability on several fronts simultaneously. Yet at the end, it appears that all the text was leading to the introduction of his own school (method) as the one that may tackle all these problems most efficiently.

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• Findeisen, Theodor Albin. “Mein Werk “Der Lehrer des Kontrabaßspiels.”” Der Kontrabass. Nr. 4, Leipzig, Marz 1930, p. 37. IA – Download Link

Note: This is an overview of Findeisen’s new method book written by himself, where he explains the approach applied in this manual and the general benefits it offers.

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• Freeman, Tiffany. “Bass Teaching Philosophies: Two ‘Seemingly’ Different Worlds, Part 1.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 3, June – September 2024, pp. 9-12.

• Freeman, Tiffany. “Bass Teaching Philosophies: Two ‘Seemingly’ Different Worlds, Part 2.” Bass World : The Journal of International Society of Bassists. Vol. 47, No. 1, October – January 2024, pp. 15-18.

• Krolick, Edward. “Creative Bass Technique by Henry Portnoi.” International Society of Bassists Magazine. Vol. 6, No. 2, Winter 1980, p. 577, continued at p. 579.

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Pedagogy – Etudes

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• Moore, David Allen. “Überleben.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, pp. 7-10.

Note: This article consists of an introduction (p. 7) and an etude – exercises (pp. 8-10) that consist of three sections labeled A, B, C. The exercises are titled Überleben (Survival) and are loosely based on Strauss’ Ein Heledenleben bass excerpts, which also served as an inspiration to Moore for this presentation. However, the exercises by themselves are not intended as a direct preparation for the Ein Heldenleben pasages, but rather meant to provide a good didactic material for improving the general technique, while the introduction offers several ideas on how to approach difficult technical passages in general.

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• Neubert, David. “Twenty One Modern Etudes by Frank Proto.” International Society of Bassists Magazine. Vol. 11, No. 3, Spring 1985, p. 43.

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Pedagogy – Online

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• Gassiott, Kyle. “Lessons in the Clouds.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 2, October – January 2012, pp. 50-51.

Note: An article about how to incorporate SoundCloud streaming service in your teaching routine.

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• Heath, Jason. “The Newbie’s Guide to Teaching Online Music Lessons” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, pp. 13-16.

Note: A nice article about the online platforms that are suitable for teaching, and the technical knowledge and equipment required for online work. The article also covers the skills and other adjustments that are needed for online bass lessons.

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• McCormick, Gaelen. “The Heart of Online Teaching” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, pp. 27-28.

Note: A nice source of information for anyone who wishes to prepare for online teaching.

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• Premo, Evan. “Telebass: Bass Lessons by Satellite.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, p. 35.

Note: This article explains how the ITV (Internet Television) lessons were organized in Michigan and how to set your space and monitors for a remote teaching session.

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Pedagogy – Teaching Jobs

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• Baguyos, Jeremy. “Joining The Professoriate.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 3, February – May 2012, p. 4-5.

Note: An article on what kind of qualifications and skills are sought for collegiate bass teaching positions.

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Pedagogy – Juvenile

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• Asberg, Nicoline. “A New Young Bassists Project in Holland.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 1, July – September 2006, pp. 17-18.Bates, James. “Hope for the Future.” International Society of Bassists Magazine, Vol. 13, No. 3, 1987, pp. 42-43.

• Benfield, Warren. “Practice Tips.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, pp. 74-75.

Note: This sub article was printed within the “Young Bassists Page” column dedicated to the juvenile bass audiences, yet it contains advice of service to collegiate and professional players as well.

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• Brauninger, Eva. “Integrating the Bass into the Total Suzuki Program.” International Society of Bassists Magazine. Vol. 12, No. 3, Spring 1986, pp. 38-45.

• Brine, Patricia. “Starting them Young in Edmonton.” International Society of Bassists Magazine. Vol. 11, No. 3, Spring 1985, pp. 26-27.

• Coolman, Todd. “The Young Bassist and Jazz Music a Perfect Match!” (Part 1) International Society of Bassists Magazine. Vol. 19, No. 3, Fall 1994, pp. 60-62.

• Coolman, Todd. “The Young Bassist and Jazz Music a Perfect Match!” (Part 2) International Society of Bassists Magazine. Vol. 20, No. 1, Winter 1995, pp. 70-71.

• Dixon, Virginia. “Across the Board.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 4-5.

• Dixon, Virginia. “Learning to Teach.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 1, Spring / Summer 1999, pp. 22-25.

• Dixon, Virginia. “More Young Bassists!” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, pp. 23-25.

• Dixon, Virginia. “Toward a Balanced Bow Hold.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 3, February – May 2006, pp. 19-20.

• Ellison, Paul. “A Conversation with Lise Elson.” International Society of Bassists Magazine. Vol. 19, No. 3, Fall 1994, pp. 40-43.

• Elliott, Catherine. “Chamber Music: The Way Forward.” International Society of Bassists Magazine. Vol. 19, No. 2, Spring 1994, pp. 26-27.

Note: An article about the benefits of using the chamber music with instruction of the young bassists and the available chamber music for this level of instruction.

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• Elliott, Cathy. “A New Initiative for Young Bassists.” International Society of Bassists Magazine. Vol. 19, No. 3, Fall 1994, pp. 38-40.

Note: Article features Cathy Elliott’s teaching approaches and experience with young bassists’ programs.

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• Emery, Caroline. “An Introduction to “Bow Works.”” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, pp. 43-44.

• Emery, Caroline. “Getting it Right.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, pp. 51-53.

• Emery, Caroline and Rodney Slatford. “The Possibilities of Applying Suzuki and Roland Ideas to Double Bass Teaching.” International Society of Bassists Magazine. Vol. 11, No. 1, Fall 1984, pp. 14-19.

Note: Introduction by Rodney Slatford.

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• Emery, Caroline. “Review of Methods for teaching Young Bassists.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 3, 1997, pp. 38-41.

• Eversmeier, Nele. “Nele Eversmeier and the Minibass Project in Germany.” Translated by Virginia Dixon. Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 17-18.

• Heyes, David. “Two New Duets for ISB Members!” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 3, (1998), pp. 60-63.

Note: This article presents the music of two easy duets intended for beginning instruction by Paul Ramsier.

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• Horvath, Kathleen A. “Bass Performance – It’s All In the Body, Part I: The Problem.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 29-30.

Note: The article printed under “Child’s Play” column, thus cited here in the Pedagogy – Juvenile listing. Cited also in the Physiology  listing.

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• Horvath, Kathleen A. “Bass Performance – It’s All In the Body, Part II: Some Solutions.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 1, June – September 2001, pp. 27-29.

Note: The last page features a nice bibliography of sources that concern musician’s health.

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• Karr, Gary. “The Entire Fingerboard in One Easy Lesson.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 15) Vol. 2, No. 5, October 1970, pp. 18-27.

Note: In this article Karr presents harmonics as a tool that can help beginning students to get familiar with higher positions on fingerboard through harmonics, and by which they can also get a reference for intonation and be able to tune the bass relatively early in instruction phase. This system is apparently designed to bypass the common methodology of progress from lower to higher positions, by offering instead the student a chance to get acquainted with harmonics right from the beginning of the instruction. The article cited also in Pedagogy – Juvenile #41 heading.

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• Katrama, Jorma. “Practice Tips.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, p. 74.

Note: This sub article was printed within the “Young Bassists Page” column dedicated to juvenile bass audiences, yet it contains advice of service to collegiate and professional players as well.

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• Kennedy, John. “Becoming Better Teachers.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 61-62.

Note: Although the article is featured within the “Child’s Play” column edited by Virginia Dixon some elements of presented pedagogy appear quite suitable for teaching “adult” students as well.

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• Macmillan, Pippa. “A Young Teacher Teaching Young Bassists.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 3, February – May 2010, p. 5.

• McCann, Karen. “Colors.” International Society of Bassists Magazine. Vol. 16, No. 3, Spring 1990, pp. 23-25.

Note: Article on the use of colors to assist in teaching young bassists.

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• McCormick, Gaelen. “The Young Bassists Program at the 2017 ISB Convention.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, p. 32.

• McCormick, Gaelen. “ABC of Bass Basics.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 78-79.

Note: The article featured within the column “Young Bassist’s Page.”

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• Montgomery, Michael. “Training as a Teacher in Argentina, Ways to Teach Young Bassists – Where to Turn for Ideas.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 5-8.

• Naish, Bronwen. “Bartholemew The Bass.” International Society of Bassists Magazine. Vol. 4, No. 3, 1977-78, p. 385.

Note: A general overview of what to expect in work with children.

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• Neilson, Sara. “Game Changer” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, pp. 23-24.

Note: Neilson presents her experience and methods in leading bass classes for young players.

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• O’Grady, Terence J. “A Beginning Bassist’s Viewpoint.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 7) (Vol. 6, No. 4) 1968, pp. 8-11.

Note: This article from 1968 may not offer much of a useful information to the present-day knowledge of juvenile bass pedagogy, yet it is a testament to an early article on the subject that covers Gluck’s arrangement of “Paris and Hellen” in low positions. Page 11 features the solo part for this piece.

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• Osborne, Tony. “Starting Them Young: A Report on A New English Initiative.” International Society of Bassists Magazine. Vol. 11, No. 1, Fall 1984, pp. 20-21.

• Paradise, Paul. “Twenty Five Proven Methods for Ruining Your Child’s Music Education.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 15) Vol. 2, No. 5, October 1970, pp. 6-8.

Note: Although written in humorous style, this article indeed offers some food for thought on what not to do as a parent and teacher when approaching young bass players.

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• Peretto, Antonello. “Starting a Class of Young Bassists.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 3, February – May 2012, p. 7.

• Pillinger, Franz. “Bassetl – Spassettl/Kontrabass für Kinder.” Musik & Jugend ; AGMÖ, Arbeitsgemeinschaft d. Musikerzieher Österreichs. Wien, 1999, pp. 134- ? ONB Record Link  |  OBVSG – Record Link

Note: Musik & Jugend neue Jugendkulturen – eine musikpädagogische Herausforderung ; 5. Internationaler AGMÖ-Bundeskongress ; 20. – 23. Oktober 1998, BORG Bad Radkersburg ; Bericht

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• Reinfranck, Stephen. “Greetings and Salutations, Young Bass Players!” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 3, February – May 2008, p. 63.

Note: An article about Gamut Strings and how the gut strings are made.

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• Reinfranck, Stephen. “Greetings and Salutations, Young Bass Players!” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 3, February – May 2010, p. 67.

• Reinfranck, Stephen. “Greetings and Salutations, Young Bass Players!” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 1, July – September 2009, p. 55.

Note: An article on how to audition for young bass players.

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• Reinfranck, Stephen. “Greetings and Salutations, Young Bass Players!” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 2, October – January 2008, p. 57.

Note: An article on how to tune the bass for young bass players.

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• Reinfranck, Stephen. “Student Bass Sizing Chart.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, p. 79.

Note: Printed is a Student Bass Sizing Chart that can help you determine the proper size of instrument for a young bass player.

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• Reinfranck, Stephen. “Young Bassists’ Page.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 3, (1998), p. 60.

Note: This is a Stephen Reinfranck’s introductory column as a new editor of the to Young Bassist column.

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• Rowel, Tracy. “Young Bassists Program.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 1, October – January 2019, pp. 36-39.

Note: A report on “Young Bassists Program” which took place during the ISB Indiana University, Jacobs School of Music Convention and involved special programs, lectures and ensembles of young bassists during the event.

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• San, Julide. “Going Solo.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 1, February – May 2015, pp. 58-59.

• San, Julide. “How To Release Your Inner Soloist.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, pp. 51-52.

• Sharp, Jennifer. “New Kids on the Block” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 1, October – January 2021, pp. 69-70.

Note: This article describes an interesting project by bassists May Halyburton who has conceived a juvenile series of books with music titled Around the World with Bessy for all children up to age 12. In these books, the young Scottish double bass loves to travel and has adventures with other musical instrument family and friends. The other part of the article describes Halyburton’s teaching projects with young bassists.

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• Skriver, Peter Strom. “Suzuki Double Bass in Europe for the First Time.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 3, February – May 2009, pp. 27-29.

• Slatford, Rodney. “Practice Tips.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, p. 75.

Note: This sub article was printed within the “Young Bassists Page” column dedicated to juvenile bass audiences, yet it contains advice of service to collegiate and professional players as well.

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• Stert, Wolfgang. “The Double Bass’s Role, Junior Musical Education.” International Society of Bassists Magazine. Vol. 3, No. 2, Winter 1977, p. 269.

Note: This article presents the ideas on young bassist education in Germany of 1977.

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• Vance, George. “Balanced Posture is Fundamental.” International Society of Bassists Magazine. Vol. 17, No. 1, Fall 1990, pp. 32-35.

• Vance, George. “Dr. Suzuki Teaches Contrabass.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, pp. 52-55.

• Vance, George. “The Gary Karr Double Bass Book with Music by Paul Ramsier, Book I.” International Society of Bassists Magazine. Vol. 14, No. 3, Spring 1988, pp. 26-28.

• Vance, George. “Instruments for the Young.” International Society of Bassists Magazine. Vol. 12, No. 2, Winter 1986, pp. 45-47.

• Vance, George. “Learn the Bow Hold Away From the Bass.” International Society of Bassists Magazine. Vol. 15, No. 2, Winter 1989, p. 26.

• Vance, George. “Practice Charts.” International Society of Bassists Magazine. Vol. 15, No. 3, Spring 1989, p. 55.

• Vance, George. “Preview of Methods for Teaching Young Bassists.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, p. 40.

Note: This short article presents an overview of Vance’s teaching precepts.

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• Vance, George. “Recruiting New Students for the Private Studio.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 2, (1998), pp. 18-22.

Note: an excellent article on how to recruit – motivate – select young students, and also their parents, for a productive study of bass at the very young age. Written by one of the most respect pedagogues in the area of early bass teaching, and with plenty of advice that even collegiate teaching may utilize.

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• Vance, George. “Suzuki Bass, The Second Revolution.” International Society of Bassists Magazine. Vol. 12, No. 1, Fall 1985, pp. 38-43.

• Vasconcellos, Ricardo. “A Report from Brazil: Cool Mind, Warm Heart!” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, pp. 27-29.

• Weller, Derek. “Keeping the Balance.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 3, (1998), pp. 22-25.

• Wilson-Smith, Hanna. “30 Things Your Teacher Wants You to Know But Doesn’t Teach You.” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, pp. 44-47.

Note: This is an excellent article on everything you may expect in the orchestra environment for a novice bassists and much more. Yet, although dedicated to the juvenile audience of bass players, this article can be a good reminder to professionals as well on the both the rules of orchestra rehearsals and how to properly address you colleagues in the section.

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• Wyrick, Inez. “Bass Players Taking Over The World!” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, p. 67.

• Wyrick, Inez. “Bass Players Taking Over The World! Entering Your Bass Community.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 1, June – September 2012, p. 61.

Note: An article about how to involve young bassists in the activities outside the local class, and which may be summer camps and courses, bass clinics and conventions.

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• Wyrick, Inez. “Preparing for the Competition Experience.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 2, October – January 2010, p. 79.

• Wyrick, Inez. “Take Over the World!” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 1, June – September 2010, p. 75.

Note: A nice article about the orchestral etiquette and what are the duties of the principal and what of the section players.

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• Wyrick, Inez. “World Peace Through Low Tones.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, p. 63.

• Yao Lin, and Pramote Danpradit. “Double Bass Workbook for Children Focusing on Critical Thinking.” Gagasan Pendidikan Indonesia, Vol. 2, No. 1, 2021, pp. 27-38 WorldCat – Article Record  |  Download Page

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Pedagogy – Public Schools

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• Brine, Patricia. “Teaching Bass in the Public Schools.” International Society of Bassists Magazine. Vol. 16, No. 3, Spring 1990, pp. 25-31.

• Cichanowicz, Katrya. “It Takes Two Or More: Collaboration in the Public School Orchestra Classroom.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 1, October – January 2019, pp. 45-47.

• Lardin, Heather Miller. “Why My iPhone is Essential to My Public School Suzuki Bass Program.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 2, February – May 2019, pp. 21-22.

• Luboff, Abe. “Answer to The Sting Class Teacher’s Dilemma.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, pp. 20-21.

Note: This article presents Luboff’s teaching precepts to general bass class teachers and for the benefit of beginning students. The article was written in reply of the article by Spencer, Dorothy. “The String Class Teacher’s Dilemma.” Bass Sound Post. (Nr. 11) Vol. 2, No. 2, February 1970, pp. 10-11.

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• Schimek, John. “Top 10 Suggestions for Non-Bassist Classroom Teachers Working with Bass Students.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 1, June – September 2012, p. 60.

• Spencer, Dorothy. “The String Class Teacher’s Dilemma.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, pp. 10-11.

Note: The reply on all the dilemmas presented in this article were addressed promptly by Abe Luboff in:
Luboff, Abe. “Answer to The Sting Class Teacher’s Dilemma.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, pp. 20-21.

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Pedagogy – Collegiate Auditions

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• Amorim, George. “From School to College: Bridging the Gap.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 2, October – January 2004, pp. 11-13.

Note: Besides offering the advice on college auditions, this article also offers good overview of the activities and expectations that await incoming bass major freshman in any collegiate environment.

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• Campbell, Jeff. “Getting Ready for College as a Jazz Bassist.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 2, October – January 2004, pp. 26-28.

Notes: About the auditions and preparations for a collegiate jazz bass program.

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• Reinfranck, Stephen. “Greetings and Salutations, Young Bass Players!” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 1, July – September 2009, p. 55.

Note: An article on how to audition for young bass players.

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• Stokes, Donovan. “College Auditions.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 3, February – May 2012, pp. 56-58.

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Pedagogy – Jazz

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• Adams, John. “Deep Tune Knowledge.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 1, Spring / Summer 1999, pp. 42-47.

• Adams, John. “Developing Your Melodic Sense for Improvisation.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, pp. 40-42.

• Adams, John. “The End and The Means.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, pp. 34-35.

Note: An article about the relation between the technical and the musical and how to balance them.

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• Campbell, Jeff. “The Jazz Bass Player as Accompanist.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 1, June – September 2005, p. 39-44.

Note: This article examines the bass lines of several great jazz bass players and along presents them printed for further study.

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• Campbell, Jeff. “Making or Breaking the Band: The Relationship Between Bassist and Drummer.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, pp. 33-35.

• Clayton, John Jr. “Solos” International Society of Bassists Magazine. Vol. 7, No. 1, Fall 1980, p. 677.

• Coco, Pete. ““Rules” for Walking: Teaching jazz bass students how to effectively improvise walking bass lines.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 1, October – January 2018, pp. 29-33.

• Coolman, Todd. “The Young Bassist and Jazz Music a Perfect Match!” (Part 1) International Society of Bassists Magazine. Vol. 19, No. 3, Fall 1994, pp. 60-62.

• Coolman, Todd. “The Young Bassist and Jazz Music a Perfect Match!” (Part 2) International Society of Bassists Magazine. Vol. 20, No. 1, Winter 1995, pp. 70-71.

• Davis, Richard. “Introductory Lecture on Jazz Bass.” Probas. [ Publication of the International Institute for String Bass ] Vol. 1, Issue 1, Fall  1972, pp. 30-32.

Note: Aside from the jazz lecture, this article also features a small biography of Davis.

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• Fink, David. “Bringing Bass Lines to Life.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 1, June – September 2012, p. 62-63.

Note: Featuring a transcription of Ron Carter’s bass line from the Wayne Shorter composition “Miyako,” from the 1967 album Schizophrenia.

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• Fisher, Al. “Unaccompanied Pizzicato String Bass.” Probas. [ Publication of the International Institute for String Bass ] Vol. 1, Issue 1, Fall  1972, pp. 11-17.

Note: In this article Al Fisher describes the setup of his 5 stringed bass with High C string that offers special acoustical benefits for his virtuoso pizzicato technique. Furthermore, the article presents an overview of Fisher’s pizzicato performing technique and pedagogy. The end of the article features a short biography of Al Fisher as well.

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• Formanek, Michael. “Concepts for Improvising on the Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 2, October – January 2010, pp. 15-19.

• Gertz, Bruce. “Building A Jazz Vocabulary Part 1: Rhythm Changes.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 65-69.

• Gertz, Bruce. “Building A Jazz Vocabulary Part 2.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, pp. 39-43.

• Gertz, Bruce. “Building a Jazz Vocabulary Part 3.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 41-43.

• Gertz, Bruce. “Building a Jazz Vocabulary Part 4, Be-bop Vocabulary, II/7 to V7.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 3, February – May 2018, pp. 49-52.

• Gertz, Bruce. “Building a Jazz Vocabulary Part 5, “If the shoe fits,” Modal Improvisation and how it relates to playing on chord changes where key centers exist” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 1, October – January 2018, p. 45.

• Gertz, Bruce. “Building a Jazz Vocabulary Part 6, The Minor Modes as Substitutes.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 2, February – May 2019, pp. 52-55.

• Gertz, Bruce. “Building a Jazz Vocabulary Part 7, Demystifying the Symmetric Diminished Scale and Its Applications.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 3, June – September 2019, p. 36-38.

• Gertz, Bruce. “Building a Jazz Vocabulary Part 8, Diminished Melodies and Their Relationship to Blues Scales.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 1, October – January 2019, pp. 60-62.

• Gertz, Bruce. “Building a Jazz Vocabulary, Part 9, Pentatonic Scales and Melodies.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 2, February – May 2020, pp. 38-40.

• Gertz, Bruce. “Building a Jazz Vocabulary, Part 10, Giant Steps Bass Lines” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, pp. 36-38.

• Gertz, Bruce. “Building a Jazz Vocabulary, Part 11, How Composition and Improvisation Relate” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 1, October – January 2020, pp. 36-37.

• Gertz, Bruce. “Cross Rhythms” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, pp. 23-25.

• Gertz, Bruce. “Using Triads in Jazz Vocabulary.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 3, June – September 2024, pp. 20-21.

• Goldsby, John. “Basic Bebop Blues Solos.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 3, 1997, pp. 10-17.

• Goldsby, John. “Bowing Techniques for the Improvising Bassist.” International Society of Bassists Magazine. Vol. 17, No. 2, Winter/Spring 1991, pp. 16-20.

• Goldsby, John. “Improvising in the Thumb Position.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 3, (1998), pp. 10-17.

• Grimes, William, F. “The Solo Vocabulary of Jazz Bassist Red Mitchell circa 1957.” International Society of Bassists Magazine. Vol. 15, No. 3, Spring 1989, pp. 44-45, pp. 48-49, p. 52.

• Holland, Oliver. “The Development of a Personalized Method for Right-Hand Jazz Bass Pizzicato.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 21-30.

Note: An excellent article about different concepts and techniques used in jazz bass pizzicato.

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• Lahasky, Sarah. “The Downbeat Bites the Dust: Learning and Teaching Bass Grooves in Cuban Popular Music.” Online Journal of Bass Research (OJBR). Vol. 11, December 2019. OJBR – Online View

• Mickman, Herb. “Confessions of A Bass Teacher.” International Society of Bassists Magazine. Vol. 9, No. 3, Spring 1983, p. 17.

• Mickman, Herb. “Interval Practice for Bassists.” International Society of Bassists Magazine. Vol. 10, No. 1, Fall 1983, pp. 22-23.

• Mickman, Herb. “Practice Routines for the Jazz Bassist.” International Society of Bassists Magazine. Vol. 9, No. 2, Winter 1983, pp. 16-17.

• Morris, Danny. “A Teaching Perspective.” International Society of Bassists Magazine. Vol. 17, No. 2, Winter/Spring 1991, p. 24.

Note: This article was printed under the column “ISB Electric Bass,” yet it does not appear that there is any content offered that is specifically related to jazz on electric bass, so for now the article is classified here under Pedagogy – Jazz  listing.

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• Morris, Danny. “Less is More.” International Society of Bassists Magazine. Vol. 17, No. 1, Fall 1990, p. 52.

Note: This article was printed under the column “ISB Electric Bass,” yet it does not appear that there is any content offered that is specifically related to jazz on electric bass, so for now the article is classified here under Pedagogy – Jazz  listing.

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• Ousley, Jamie. “Alone Together, An Unaccompanied Jazz Bass, Solo Workshop.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 17-22.

• Pena, Ralph. “Pizzicato.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 5) (Vol. 6, No. 2) 1968, pp. 3-7.

Note: This is a very well written article that details Pena’s own pizzicato style and along the pizzicato technique in general.

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• Reed, Scott. “An Examination of Jazz Pizzicato Technique.” International Society of Bassists Magazine. Vol. 9, No. 3, Spring 1983, pp. 20-21.

Note: Inserted just in the middle of this article is the centerfold section featuring the Dominicus Busan 1750 Double Bass.

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• Reid, Rufus. “Jazz Pizzicato (Walking Bass) Technique.” International Society of Bassists Magazine. Vol. 19, No. 1, Fall 1993, p. 61.

Note: A concise and well written article on jazz pizzicato.

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• Richmond, Mike. “Modern Walking Bass Techniques.” International Society of Bassists Magazine. Vol. 10, No. 3, Spring 1984, pp. 21-25.

• Voigt, John. “How to Construct Jazz Bass Lines.” International Society of Bassists Magazine. Vol. 10, No. 2, Winter 1984, pp. 25-27.

• Yasui, Byron K. “Concepts in Creating Walking Bass Lines.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, pp. 30-31.

• Yasui, Byron K. “Constructing the Jazz Walking Bass Line: A Basic Guide for Beginners.” International Society of Bassists Magazine. Vol. 3, No. 4, Spring 1977, p. 304, 307.

• Zieman, Danny. “Recognizing Our Ghosts” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 3, June – September 2021, pp. 15-16.

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Pedagogy – Electric Bass

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• Appleman, Rich. “Electric Bass, So You (Maybe, Possibly, Might) Want to Try EBass?” International Society of Bassists Magazine. Vol. 15, No. 3, Spring 1989, pp. 26-29.

• Bailey, Steve. “Double Trouble” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, pp. 42-44.

Note: This is an interesting article about teaching and performing perceptions on those players that play both electric bass (bass guitar) and the standard double bass (upright bass). Many exceptional jazz bassists are versatile on both instruments and this article offers some thoughts on their experience.

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• Morris, Daniel. “Contemporary Electric Bass Acumen.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, pp. 44-45.

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Technique

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Bass Technique – Orchestra Repertoire

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• Oppelt, Robert J. “Paralell Fingering.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 31-32.

Note: Also cited at Bass in Orchestra – Excerpts where all the articles on orchestral excerpts are cited.

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• Walker, Nicholas. “Different Strokes Convention Seminar.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, p. 30.

Note: This article describes the The Different Strokes Orchestral Seminar class lead by Prof. Harold  Robinson during the 2017 ISB Convention in Ithaca, NY. This seminar, which took place over several days, has also presented several leading players from the world prominent orchestras.

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Bass Technique – Period Music – Classical Period

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• Focht, Josef. “Solo Music for the Viennese Double Bass and Mozart’s Compositions with Obbligato Passages for Double Bass.” International Society of Bassists Magazine. Vol. 18, No. 2, Fall 1992, pp. 45-52.

• Le Compte, Korneel. “Viennese Tuning.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, pp. 74-75.

• Meier, Adolf. “Der Wiener Kontrabaß und seine Spieltechnik in der Zeit der Wiener Hochklassik”  Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 97-108.

Title in English: The Viennese Double Bass and its Playing Technique at the time of High Viennese Classicism.

Cited also in Bass History – Classical Period

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• Pecevski, Igor. “The Double Bass Playing Technique of Johann Matthias Sperger” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 139-143. WorldCat Record

Cited also in Bass History – Classical Period heading and Bass Players – Classical  – J. M. Sperger  sub heading.

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Bass Technique – Contemporary Music

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• Daino, Eric. “Percussive Performance Techniques on the Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 1, June – September 2010, pp. 13-25.

• Turetzky, Bertram. “The Bass as a Drum.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 10) Vol. 1, No. 1, December 1969, pp. 4-18.

Note: In this article Turetzky also presents many examples that utilize percussive techniques on bass.

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• Turetzky, Bertram. “Vocal and Speech Sounds – A Technique of Contemporary Writing for the Contrabass.” (Part 1)  Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, pp. 23-30.

• Turetzky, Bertram. “Vocal and Speech Sounds – A Technique of Contemporary Writing for the Contrabass.” (Part 2) Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 13) Vol. 2, No. 3, June 1970, pp. 10-15, continued on pp. 25-26.

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Bass Technique – Ethnic / Folk / Popular Music

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• Stokes, Donovan. “Introduction to Slap Bass: History, Setup and Technique.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 2, October – January 2008, pp. 9-13.

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Performance Practice

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This section is designed to feature all articles that relate to the field of Period Performance Practice and the use of old specialty bass instruments in recreating the playing style of the past centuries. The Period Performance Practice has emerged itself during the late ’70s and ’80s of the 20^th century and has grown into a specialist field during the ’90s and onward in to the 21^st century. This movement has in essence emerged at the time when it has become apparent that the modern orchestra and chamber music practice has become something different from what the contemporaries were hearing in the halls during the Baroque, Classical and even Romantic periods. Thus a class of musicians and musicologists have emerged that was ready to research and recreate those styles of playing, and along reintroduce the original instruments with their tunings in order to present again the lost colors and senses of the music from the past.

Many of the articles presented here will also feature the particular views that have been explored or defended at the time the articles were written, and may have been altered to extent in our time. So, this section may serve also as a historical overview of various perceptions and reconstruction practices within the Period Performance movement itself.

Furthermore, you may note hat besides the Performance Practice section, this page features also the Technique section with the Bass Technique – Period Music – Classical Period heading, and which may appear as a duplicate subject that should belong here in the Performance Practice section. However, such a division was thought more prudent as the Technique section covers strictly the technique of bass performance from all styles, including the modern contemporary bass technique, while the Performance Practice covers wider set of subjects with focus on general understanding on how the music was interpreted in the past.

Lastly, further information that may complement the Performance Practice section may also be located at the Organology  section under the Organology – Instruments , Organology – Bows  and Organology – Tunings and certainly Instruments -Violone  heading that features contributions on Baroque and Classical period bass instruments called Violone at the time.

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Performance Practice – General

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• Ackerman, Andrew. “Historical Bass Playing Practice, or “Bass Function in the Jungle”.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 1, October – January 2018, pp. 41-44.

• Dunham, Deborah. “Awakening the Past.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, pp. 37-39.

• Fink, Bernhard. “The History of Double Bass and its Separation from the ’Cello in the Orchestral Instrumentation.” Translated by Fritz Manczyk. International Society of Bassists Magazine. Vol. 2, No. 4, Spring 1976, pp. 201-206.

Note: This article has also elicited two responses from the readers in “Letters to the Editor.” International Society of Bassists Magazine. Vol. 3, No. 1, Fall 1976, p. 241.

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• Fuller, Jerry. “Rumblings.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 3, February – May 2007, p. 25.

Note: A farewell article for the Rumblings column by Jerry Fuller, a column dedicated to the performance practice. In this article Fuller offers few thoughts on the period practice and instruments.

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• Lardin, Heather Miller. “Early Bass at the 2017 ISB Convention.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, pp. 73-75.

• Lardin, Heather Miller. “Early Bass Resources on the Web: Joelle Morton’s greatbassviol.com.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 67-68.

• Lardin, Heather Miller. “Where Can You Study Historical Bass?” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 61-65.

Note: This article covers all the schools and conservatories that offer the programs in historical bass. Every institution is covered by a small paragraph that explains the institution profile, its program and the main teacher of historical bass.

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• Markey, Todd. “Don’t Repeat It – Ornament It!” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 49-51.

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Performance Practice – Romantic Period

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• Miller, Heather Lardin. “Brandon McLean.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, p. 60.

• Nachtergaele, Shanti. “Examination of Mid-Nineteenth Century Double Bass Playing, Based on A. Müller and F.C. Franke’s Debate in the Neue Zeitschrift für Musik, 1848 – 1851.” Online Journal of Bass Research (OJBR). Vol. 6, August 2015. OJBR – Online View

• Nachtergaele, Shanti. “From Divisions to Divisi Improvisation, Orchestration and the Practice of Double Bass Reduction.” Early Music. Volume 46, Issue 3, August 2018, pp. 483-500.  WolrdCat – Article Record  |  Early Music – Article Summary

Note: The subject of bass part reduction covers both the 18^th and 19^th centuries, thus cited both in Performance Practice – Classical Period  and here at Performance Practice – Romantic Period.

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Performance Practice – Classical Period

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• Baines, Francis. “The Five String Fretted Double-Bass.” The Galpin Society Journal. Vol. 41, 1988, pp. 107-109. JSTOR

• Boucher-Browning, Renaud. “Sperger’s Cadenzas for his Contrabass Concertos: A Study of Compositional Techniques and Improvisational Strategies for Creating Cadenzas.” Online Journal of Bass Research (OJBR). Vol. 13, August 2021. OJBR – Online View

• Focht, Josef. “Solo Music for the Viennese Double Bass and Mozart’s Compositions with Obbligato Passages for Double Bass.” International Society of Bassists Magazine. Vol. 18, No. 2, Fall 1992, pp. 45-52.

• Lardin, Heather Miller. “Mind the Gap: John Feeney Puts the Basso in Classical Music.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 59-60.

• Le Compte, Korneel. “Viennese Tuning.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, pp. 74-75.

• Nachtergaele, Shanti. “From Divisions to Divisi Improvisation, Orchestration and the Practice of Double Bass Reduction.” Early Music. Volume 46, Issue 3, August 2018, pp. 483-500.  WolrdCat – Article Record  |  Early Music – Article Summary

Note: The subject of bass part reduction covers both the 18^th and 19^th centuries, thus cited both here in Performance Practice – Classical Period and Performance Practice – Romantic Period heading.

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• Schultz, Michael J. “The Tuning of the Viennese Double Bass: An Indication of it’s Effect on the Articulation of Form in a Dittersdorf Concerto.” International Society of Bassists Magazine. Vol. 15, No. 3, Spring 1989, pp. 58-61.

• Oppelt, Robert J. “Advice for Playing Mozart’s “Per questa bella mano” in Orchestra Tuning.” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, pp. 37-43.

Note: Although this article offers an advice on Playing Mozart’s “Per Questa” in standard orchestra tuning, it is still an excellent article on the very composition and the demands it puts on the bassist. Furthermore, the article also offers the complete solo part with fingerings, and those can certainly be of help when planning your own performance in standard tuning.

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• Sankey, Stuart. “On the Question of Minor Alterations in the Double Bass Parts of Beethoven.” International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, pp. 95-99.

Note: In this article Sankey presents his thoughts on how to approach the performance of those passages in Beethoven orchestra bass parts that go below the E String on instruments that do not have either the extension or the 5^th C string.

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Performance Practice – Baroque Period

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• Bacciagaluppi, Claudio, ““Primo violoncello al cembalo”: L’accompagnamento del recitativo semplice nell’Ottocento”, Rivista italiana di musicologia: Periodico della Società Italiana di Musicologia. Vol. 41, No. 1, Firenze, Italy, 2006, pp. 101-134.

Note: This article also contain information on the use of period Violone and likewise the statistical data on period use of double bassi (contrabassi)

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• Borem, Fausto. “Improvisatory Styles in the Music of Bach.” International Society of Bassists Magazine. Vol. 18, No. 2, Fall 1992, pp. 54-62.

Note: An article about how to consider adding an improvisation to the music of Bach in general, and to his violoncello suites on double bass in particular.

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• Dunham, Deborah. “Monody is Anarchy, and Other Continuo Practice Perspectives.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 3, February – May 2006, pp. 37-41.

• Freiberg, Sarah. “Baroque Performance Basics, Performing Early Music Requires Changes to Your Attitude and Your Ear.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, pp. 54-55.

• Freiberg, Sarah. “Continuo Collaboration From the Cellist’s Chair” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 1, October – January 2020, pp. 33-35.

Note: This article elaborates on the cooperation between the cellists and bassists in a typical period ensemble continuo section, and presents the cellist’s view on continuo practice.

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• Fuller, Jerry. “In Our Mind’s Ear: Playing Baroque Music on Baroque Instruments.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, pp. 12-15.

Note: This article also presents a nice bibliography of all modern Gut String Makers and modern Period Bow Makers on p. 15.

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• King, Richard G. “Who Does What? On the Roles of the Violoncello and Double Bass in the Performance of Handel’s Recitatives.” Early Music. No. 44, 2016, pp. 45-58.

• McClure, Theron. “High on the Bass.” International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, p. 82.

Note: This article addresses the issue of register use within the early stringed bass instruments and argues that the lower portion of available registers was not of much use due to the inadequate period string technology that could not produce well sounding strings for the lower register.

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• Nairn, Rob. “Basso Continuo 101” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 2, February – May 2022, pp. 25-28.

Note: This is a very well written article on a bass continuo practice in our modern period ensembles which also covers a number of issues that every modern performer of period music needs to consider.

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• Serna, Philip. “Taking a Walk on the Viol Side: The ‘Great Double Bass’ at ISB 2019.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 1, October – January 2019, pp. 57-59.

Note: This article covers the Philip Serna and Jessica Powel Eig lecture Take a Walk on the Viol Side and the recital The Great Dooble Bass – Music for Violone and Viols, both of which took place at the ISB 2019 Indiana Convention at Jacobs School. The photos from both events along with guest participants from both events are presented as well.

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• Urquhart, Margaret S. “The Seventeenth Century Violone.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 3, 1997, pp. 18-25.

• Wolf, Thomas. “Baroque Set-up” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 3, June – September 2021, pp. 23-25.

Note: This article overviews the setup concepts and their practical realization on modern period bass instruments.

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Education

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Education section is designed to feature the broader set of subjects that pertain to music education of a bassist in general, thus you will find here headings on bass related Competitions , Conventions ,  Journals , Organizations , Schools / Conservatories  and Summer Schools’  programs.

However for the articles on bass pedagogy and teaching, please visit the Pedagogy  section where you will find many articles of practical nature that can help you with bass teaching and methodology.

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Competitions

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This heading is designed to feature all competitions that relate to bass, whether performance competitions, bass compositions’ competitions, or bass makers’ competitions. At this stage of development the collected articles are arranged simply by the year of the competition within the type of competition. In general, these articles commonly feature the reports on the competitions that may have been organized either independently or within a bass conference.

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• Bass Performance Competitions

• Bass Makers’ Competitions

• Bass Compositions’ Competitions

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Bass Performance Competitions

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2019

• (author not cited) “A Sold Out Final for the 2019 Bottesini Competition.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 2, February – May 2020, p. 50.

Note: A short overview of the Bottesini Competition in Crema along with report on 2019 contest and its winners.

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2007

• Rakov, Lev. “St. Petersburg Conservatory and the Koussevitzky Competition.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 1, June – September 2008, p. 35.

P stye 80

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• Parry, Tony. “My ISB Orchestra Competition Experience.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 3, February – May 2008, p. 27.

Note: Tony Parry explains how the ISB Convention Orchestra Competition 2007 was similar or dissimilar to the standard professional orchestra auditions.

–2005

• Bradetich, Jeff. “Markneukirchen 2005.” The Bass Line. [ Publication of the International Society of Bassists ] Winter 2006, p. 1.

Note: A report from Markneukirchen 2005 Competition which took place during May 19-28, 2005 and presented 46 contestants from twenty countries.

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2003

• Vizachero, Rick. “A Good Ole Fashioned Brain-Pickin’!”  Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, pp. 48-51.

Note: This article presents the jury members of the ISB 2003 Virginia Convention Orchestral Competition and their thoughts on the parameters of performance among competitors and also what was the committee listening for. All the jury members are the accomplished professional bassists.

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1989

• Walter, David. “The Giovanni Bottesini Centenary.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, pp. 14-15.

Note: An overview of the Giovanni Bottesini Centenary meeting in Parma during 22-29 October, 1989, which presented the concerts, lectures and a competition.

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1987

• Trumpf, Klaus. “Johann Matthias Sperger Symposium 9-13 May, 1987, Michaelstein, East Germany (GDR).” International Society of Bassists Magazine. Vol. 14, No. 3, Spring 1988, pp. 6-8.

Note: An overview of Sperger 1987 Symposium with highlights on the competition, independent performances and lectures offered during the event.

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1985

• Slatford, Rodney. “Burying Our Warhorses, A Report on the World’s Biggest Contest – Munich 1985.” International Society of Bassists Magazine. Vol. 12, No. 1, Fall 1985, pp. 11-13.

Note: A report from the Munich, September 5-14, 1985 Competition, that apparently was the biggest one to date, since the first modern solo bass competition, which took place at Geneva in 1969.

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1984

• (author not cited) “1984 Double Bass Composition Contest.” International Society of Bassists Magazine. Vol. 11, No. 1, Fall 1984, pp. 28-33.

Note: This is a report from the ISB 1984 Double Bass Composition Contest. The article offers a brief history of this competition and presents the 1984 winners and their compositions.

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1983

• Slatford, Rodney. “39th International Competition For Musical Performers, Geneva, 28 August – 9 September,  1983.” International Society of Bassists Magazine. Vol. 10, No. 2, Winter 1984, pp. 15-16.

Note: An overview of the 1983 Geneva Competition.

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1982

• Dunn, David. “Isle of Man International Double Bass Competition and Workshop August 18-26 (1982).” International Society of Bassists Magazine. Vol. 9, No. 2, Winter 1983, pp. 11-13.

Note: Isle of Man 1982 meeting was a successor to the famous Isle of Man 1978 event, and although it featured the competition and workshop, it also offered many fine solo and chamber performances so in that respect it was a also a convention of bassists.

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1981

• Gajdos, Miloslav. “Kromeriz Competition.” International Society of Bassists Magazine. Vol. 7, No. 2, Winter 1981, p. 709, continued on p. 708 (yes, it goes backward).

• Gellert, Karen Hansen. “The 1981 I.S.B. Zimmermann/Mingus Double Bass Competition & Workshop November 19-22, 1981 Cincinnati, Ohio.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, p. 1 (pages not numbered, page number assumed)

Note: This entire ISB Magazine issue was dedicated to the 1981 I.S.B. Zimmermann/Mingus Double Bass Competition & Workshop, however, although the title implies a competition and workshops, this was in fact a small ISB conference as well, although not titled so.

The pages of this issue of ISB Magazine were not numbered (?), so the numbering was assumed starting with the first page with the official text (“International society of Bassists” logo, issue data and the article featured above).

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• Trumpf, Klaus. “The 1981 International Double Bass Competition (Markneukirchen).” Translated by David Walter. International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, pp. 12-13.

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1979

• Slatford, Rodney and Klaus Trumpf “Two Competitions from 1979, A Review of Markneukirchen and Munich.” International Society of Bassists Magazine. Vol. 7, No. 1, Fall 1980, pp. 662-663.

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1978

• (author not cited) “Czech Bass Competition.” International Society of Bassists Magazine. Vol. 5, No. 3, 1979, p. 503.

Note: This short review points that “The first Czechoslovakian Bass Competition took place at the Kromeriz Conservatory on January 28-30, 1978.”

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• (author not cited) “Double Bass Competition in Geneva, Sept. 16-30, 1978.” International Society of Bassists Magazine. Vol. 5, No. 3, 1979, p. 505.

Note: A report from the Geneva Double Bass competition in 1978.

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• Krysta, Edward. “The Second All-Poland Adam Bronislaw Ciechanski’s Double-Bass Competition in Poznan.” International Society of Bassists Magazine. Vol. 5, No. 4, Spring 1979, p. 531.

Note: The competition took place in 1978

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• Scelba, Anthony. “1978 International Double Bass Competition and Workshop, Cat with a Tale.” International Society of Bassists Magazine. Vol. 5, No. 1, Fall 1978, pp. 439-447.

Note: This article actually presents a review of the First Isle of Man Convention and Competition which took place in 1978.

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1975

• Trumpf, Klaus. “International Competition at Markneukirchen.” International Society of Bassists Magazine. Vol. 2, No. 2, Winter 1976, p. 133 (jury member’s picture), p. 135 (text in English), p. 152 (text in German)

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Bass Makers’ Competitions

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At this stage of development the articles are listed chronologically by the year of Bass Makers’ competition. You may note that at the present all of the listed competitions took place under the patronage of the International Society of Bassists. However, further development will focus also on all profiles of general string maker’s competitions where bass makers may have participated.

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2013

• (auhtor not cited) “ISB Makers Competition Celebrates Tenth Anniversary.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 2, October – January 2013, pp. 51-53.

Note: 2013 ISB Convention, Makers Competition report.

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2011

• (auhtor not cited) “Fifth ISB Maker’s Competition.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, pp. 30-31.

Note: 2011 ISB Convention, Maker’s Competition report.

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2009

• (author not cited) “2009 Maker’s Competition Report.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 2, October – January 2009, pp. 45-47.

Note: 2009 ISB Convention, Maker’s Competition Report.

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2007

• Williams, Dustin Art. “2007 ISB Makers’ Competition.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 2, October – January 2007, pp. 41-43.

Note: 2007 ISB Oklahoma Convention, ISB Makers’ Competition report. This was the 3^rd Bi-annual ISB Makers’ Competition.

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2005

• Williams, Dustin. “2005 ISB Makers’ Competition.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 30-31.

Note: ISB 2005 Michigan Convention, ISB Makers’ Competition report which covered both the double bass competition and double bass bows competition.

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2003

• Reiley, Steven. “2003 ISB Luthier’s Competition.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, pp. 41-43.

Note: 2003 ISB Virginia Convention Luthier’s Competition report.

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• Williams, Dustin Art. “2003 ISB Makers’ Competition.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, pp. 77, (cont.) 79-81.

Note: 2003 ISB Virginia Convention, ISB Makers’ Competition overview which presented of a double bass competition and double bass bow competition.

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Bass Compositions’ Competitions

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At this stage of development the articles are listed chronologically by the year of Composition Competition organized by the International Society of Bassists. Further development will try to collect all articles about world composition competitions where the bass-related compositions (solo and chamber music) have been featured.

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2002

• Strum, Hans. “2002 ISB Composition Competition.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, p. 56-63.

Note: This is a report on the ISB 2003 Composition Competition and its winners. The title however mentions the “2002 ISB Composition Competition,” thus a little clarification will be of help here – when available.

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1977

• Deak, Jon. “ISB Composition Contest.” International Society of Bassists Magazine. Vol. 4, No. 2, 1977, pp. 379-382.

Note: An article about ISB 1977 Composition Contest and the variety of compositions it has brought out and which numbers in total some 225 manuscripts. The sample scores of some of these compositions were also presented in the article.

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• Deak, Jon. “1977 Composition Contest Index.” International Society of Bassists Magazine. Vol. 4, No. 3, 1977-78, p. 391, 393, 403.

Note: This article lists all the compositions which were entered in the 1977 composition contest that was sponsored by International Society of Bassists.

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Conventions and Meetings (Gatherings)

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This listing is designed to feature all the articles about Conventions, Conferences, Symposia and other official Meetings where bass players have gathered to lecture, perform and edify for the general benefit. The events considered may be of any kind, whether scholarly, educational, local or international, while the only requirement for the event to be listed is a report that conforms to an article format. In this heading all the articles are listed chronologically by the year of event and then alphabetically by the author. The Note section will commonly offer the details on the event.

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2019

• Johnson, C. Douglas. “2019 ISB Convention: A View Through Haiku.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 1, October – January 2019, pp. 8-12.

Note: ISB 2019 Convention overview as told through the individual Haiku poetry snippet reviews.

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2018

• Urquhart, Margaret. “Viennese Bass Days, Amsterdam.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 2, February – May 2019, pp. 49-50.

Note: A report from the Viennese Bass Days festival held in Amsterdam during September of 2018. This event was started in 2016.

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2017

• Freundstein, Claus. “A Trip Into a Mysterious World, Third Central American Bass Festival in Guatemala, and Masterclasses and Concert in Teguigalpa, Honduras.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 23-26.

Note: An overview of Third Central American Bass Fest 2017 held during August in Antigua, Guatemala.

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• Johnson, Douglas. “The 2017 ISB Convention as Told in Haiku.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, pp. 10-11, 16-17.

Note: ISB 2017 Ithaca Convention overview as told through the individual Haiku poetry snippet reviews.

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• Karr, Gary. “50th Anniversary ISB Convention, We’ve Come a Long Way, Brothers and Sisters!” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, pp. 5-9.

Note: A report on the 50^th Anniversary Convention (ISB 2017 Ithaca) which took place literally fifty years after the first IISB conference in June of 1967 (see Karr’s article under 1967)

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• Lardin, Heather Miller. “Early Bass at the 2017 ISB Convention.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, pp. 73-75.

Note: A report on Early Bass mini conference that was part of the 2017 ISB Ithaca convention.

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2015

• (auhtor not cited) “New Members-Only Benefit: 2015 Convention Videos.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, p. 53.

Note: The announcement for the availability of videos from the ISB 2015 Colorado Convention.

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• Appelt, Ken. “Young Bassist Program – A Parents Perspective.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, p. 30.

Note: This article offers an overview and compares the Young Bassist Program from 2001 ISB Convention to the Young Bassist Program of 2015 ISB Colorado Convention and along presents several other events that took place during the same convention.

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• Freundstein, Claus. “Mini Basses in Mexico.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 17-18.

Note: This article presents Freundstein’s visit to Encuentro Latinoamericano de Contrabajos (Meeting of Latinamerican Double Bass ) held during August of 2015 in Tijuana, Mexico.

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• Harshbarger, Jeff. “The New Music Summit: One Listener’s Overview.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 36-38.

Note: An article about the New Music Summit activities during the 2015 ISB Colorado Convention.

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• Martin, Connie, Daniel Meyers, Madeleine Crouch and Ed Marshall. “The 2015 ISB Convention at Colorado State University.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 5-17.

Note: 2015 ISB Colorado Convention overview.

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• Meyers, Daniel. “The Future is in Good Hands: The 2015 Young Bassist Program.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 31-33.

Note: 2015 ISB Colorado Convention Young Bassists program report.

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• Pappas, Lou. “Noontime Bass Ensembles – New Name, Same Great Music.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 34-35.

Note: An article about the Noontime concerts during the 2015 ISB Colorado Convention.

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2013

• Amatneek, Bill, Madeleine Crouch, Mark Dresser, Ed Marshall, Heather Miller Lardin, Lou Pappas and David Young. “The 2013 ISB Convention at the Eastman School of Music.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 2, October – January 2013, pp. 5-23.

Note: An overview of the 2013 ISB Convention held at Eastman School of Music, Rochester, NY.

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• Amatneek, Bill. “The “Other” ISB Convention.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 2, October – January 2013, pp. 34-35.

Note: An overview of the 2013 ISB Eastman Convention concerts by Adam Ben-Ezra, Haggai Cohen-Milo, Juan Pablo Navarro and Larry Gray.

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• (auhtor not cited) “ISB Makers Competition Celebrates Tenth Anniversary.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 2, October – January 2013, pp. 51-53.

Note: 2013 ISB Eastman Convention, Makers Competition report.

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• Lardin, Heather Miller. “Historically Informed Performance at the ISB.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 2, October – January 2013, pp. 54-58.

Note: A report on the 2013 Historically Informed Performance (HIP) Summit that took place as a part of the 2013 ISB Eastman Convention.

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• Marshall, Ed. “2013 ISB Convention: Daily Spotlights.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 2, October – January 2013, p. 25, (cont.) pp. 27-33.

Note: In this article the author spotlights a single event from every day of the 2013 ISB Eastman Convention.

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• Pappas, Lou. “Amateur Players Forum 2013.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 2, October – January 2013, pp. 66-67.

Note: 2013 ISB Eastman Convention, Amateur Players Forum report.

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• Young, David. “A Look Back at the 2013 ISB Young Bassists Program.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 2, October – January 2013, pp. 72-75.

Note: 2013 ISB Eastman Convention, Young Bassists Program report.

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2012

• Korb, Kristin. “Velkommen til København!” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 3, February – May 2012, p. 51.

Note: Bass 2012 Copenhagen Conference, introduction and announcement article.

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2011

• Atwood, Jody, Ed Marshall, Sam Loeck, Lou Pappas, Paul Pearce, Madeleine Crouch and Jeremy Baguyos. “The 2011 ISB Convention at San Francisco State University.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, pp. 5-29.

Note: 2011 ISB San Francisco Convention report.

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• (auhtor not cited) “Fifth ISB Maker’s Competition.” (ISB 2011 San Francisco) Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, pp. 30-31.

Note: 2011 ISB San Francisco Convention Maker’s Competition report.

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• Hamil, Johnny “San Fran Jam 2011.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, pp. 81-82.

Note: A personal testimony on leading young bassists’ sessions during the 2011 ISB San Fracisco Convention.

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• Pappas, Lou. “Amateur Bassists Forum in San Francisco.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, p. 83.

Note: 2011 ISB San Francisco Convention Amateur Bassists Forum report.

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• Baguyos, Jeremy C. “A Spontaneous Bass Club in Nebraska.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 3, February – May 2012, p. 45.

Note: This is an inspiring article about how Nebraska bassist have joined forces and had started to organize local state bass meetings in the period from 2009 to 2011.

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2010

• Sharp, Jennifer. “Bass Clubs: Scottish Bass Day.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 2, October – January 2010, p. 55.

Note: An overview of Scottish Bass Day an event organized by Scottish Bass Trust for young bass players. The gathering took place in Edinburgh on September 18, 2010.

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2009

• Beckendorf, Andi, Madeleine Crouch, Lloyd Goldstein, Elisabeth Guerriero, Jason Heath, Matt Heller, Rebecca Hooper, Kathryn Jursik, Ed Marshall, Lewsi Martinez, Lisa Riddering, Michael Ryle, Elisabeth Steves, Janette Welch and David Young. “The International Bass Lion: A Look Back at the 2009 ISB Convention at Penn State University.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 2, October – January 2009, pp. 7-31.

Note: 2009 ISB Penn State Convention overview.

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• (auhtor not cited) “2009 Convention Gallery.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 2, October – January 2009, pp. 33-34.

Note: 2009 ISB Penn State Convention feature.

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• (auhtor not cited) “2009 Maker’s Competition Report.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 2, October – January 2009, pp. 45-47.

Note: 2009 ISB Penn State Convention Maker’s Competition Report.

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• McGregor, Colin. “The Uplifting Top.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 2, October – January 2009, pp. 70-71.

Note: A personal testimony of McGrgor who was 14 year old at the time he attended 2009 ISB Penn State Convention, and where by chance he got a real hands-on experience in lifting the top plate of a bass with a help of luthiers Steve and Aaron Reiley.

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• Pappas, Lou. “Noontime Playtime at the ISB Convention.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 2, October – January 2009, p. 32.

Note: 2009 ISB Penn State Convention Noontime concerts report.

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• Sharp, Jennifer,  “The Bass Fest In at the Deep End.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 1, July – September 2009, pp. 5, 7.

Note: An overview of 2009 Scottish Bass Trust and Royal Scottish Academy of Music bass gathering organized for bass professionals, teachers, students and competitors.

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2008

• Dixon, Virginia. “XXIII Suzuki Festival in Peru.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 1, June – September 2008, p. 41.

Note: This article presents the bass related information from the XXIII Festival International Suzuki de Musica in Lima, Peru, held on January 5-24, 2008.

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2007

• Beckendorf, Andi. “Bass Love: The 2007 ISB Convention.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 2, October – January 2007, pp. 5-32.

Note: 2007 ISB Oklahoma Convention report.

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• (author not cited) “First Ever Historically Informed Performance Mini-Conference Was Totally “HIP”!” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 2, October – January 2007, pp. 33-35.

Note: A report on Historically Informed Performance Mini-Conference that took place at the 2007 ISB Oklahoma Convention.

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• Williams, Dustin Art. “2007 ISB Makers Competition.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 2, October – January 2007, pp. 41-43.

Note: 2007 ISB Oklahoma Convention, ISB Makers’ Competition report.

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2006

• Perera, Erika. “The Double Bass in Venezuela.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 2, October – January 2006, pp. 39-40.

Note: A report from the first National Festival of Bass 2006, Caracas, Venezuela.

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2005

• Beckendorf, Andi. “Bassapalooza: The 2005 ISB Convention.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 5-24.

Note: 2005 ISB Michigan Convention report.

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• Campbell, Jeff. “Options for the Modern Double Bassist.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 37-38.

Note: ISB 2005 Michigan Convention personal report.

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• Goldstein, Abe. “A Parent’s-Eye View of the 2005 ISB Young Bassists Program, My Son, the Bassist.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, p. 27.

Note: A testimony of a young bassist’s parent on the ISB 2005 Michigan Convention experience.

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• Hutchinson, Marshall “Larry.” “Convention Report: Panel on Orchestral Issues.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, p. 67.

Note: ISB 2005 Michigan Convention report on the “Orchestral Issues” panel event.

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• McGovern, Barbara. “A Special Meeting Place.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 3, February – May 2006, p. 5. (2005 ISB Convention)

Note: A story about an encounter of the two old musicians after 47 years of lapsed contact at the ISB 2005 Convention. One of them was bassist Dick Kriz.

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• Moncrieff, Scott. “Diary of a Convention Attendee Two Days With The ISB.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 28-29.

Note: A visitor’s testimony on the ISB 2005 Michigan Convention events.

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• Williams, Dustin. “2005 ISB Makers’ Competition.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 30-31.

Note: ISB 2005 Michigan Convention, ISB Makers’ Competition report which covered both the double bass competition and double bass bows competition.

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2003

• Beckendorf, Andi. “Virginia is for Bassists: ISB Convention 2003.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, pp. 6-26.

Note: 2003 ISB Virginia Convention report.

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• Reiley, Steven. “2003 ISB Luthier’s Competition.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, pp. 41-43.

Note: 2003 ISB Virginia Convention Luthier’s Competition report.

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• Soukup, Betsy. “The Little Program That Could!” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, pp. 31-32.

Note: 2003 ISB Virginia Convention Young Bassists’ Program report.

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• Villaflor, Marcel, Norman Ludwin, Ture Dumhus and Catherine Sides. “Amateur Bassist Program Report.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, p. 30.

Note: 2003 ISB Virginia Convention, Amateur Bassist Program report.

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• Vizachero, Rick. “A Good Ole Fashioned Brain-Pickin’!”  Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, pp. 48-51.

Note: This article presents the jury members of the ISB 2003 Virginia Convention Orchestral Competition and their thoughts on the parameters of performance among competitors and also what was the committee listening for. All the jury members are the accomplished professional bassists.

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• Williams, Dustin Art. “2003 ISB Makers’ Competition.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, pp. 77, (cont.) 79-81.

Note: 2003 ISB Virginia Convention, ISB Makers’ Competition overview which covered both the double bass competition and double bass bows competition.

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2002

• Duranceau, Anne. “Second Hawaii Contrabass festival.” The Bass Line. [ Publication of the International Society of Bassists ] Spring 2002, pp. 1, 3-4.

Note: 2002 HASTA Second Hawaii Contrabass Festival overview.

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• (author not cited). “Results of 2002 ISB Composition Competition.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, p. 28.

Note: The announcement of the 2002 ISB Composition Competition winners and an information that the winning works will be performed at the 2003 ISB Virginia Convention.

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2001

• Beckendorf, Andi. “Indianapolis 2001.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 2, October – January 2001, pp. 6-24.

Note: 2001 ISB Indianapolis Convention report.

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• Dixon, Virginia. “Convention Review – The Young Bassists’ Program.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 2, October – January 2001, pp. 32-34.

Note: An overview of the Young Bassists Program at the ISB 2001 Indianapolis convention.

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• (author not cited) “A New Musical Currency: Euro Bass In Graz.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, pp. 20-22.

Note: A report on Bass Encounters November 2001 gathering in Graz, Austria.

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2000

• Green, Barry. “Kudos to “ISB” Heros.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, pp. 32-33.

Note: This article presents a joint report on Hawaii Contrabass Festival 2000 which took place at Honolulu, Hawaii during March 25 – April 2 2000, and 7th Annual Bass Conference in Madison, Wisconsin during April of 2000.

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• Payne, Karla. “Bass News From Hawai.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, pp. 40, 43.

Note: (First) Hawaii Contrabass Festival 2000 report.

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1999

• Dixon, Virginia. “Child’s Play.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 2, Fall 1999, pp. 36-39.

Note: An overview of the Young Bassists Program at the ISB 1999 Iowa Convention.

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• Morton, Joelle. “The Heart of the Bass, International Society of Bassists, 1999 Convention, University of Iowa.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 2, Fall 1999, pp. 10-33.

Note: ISB 1999 Iowa Convention report.

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• Murray, David. ““Suites Week” in Iowa City.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 2, Fall 1999, p. 34.

Note: A report on a collective effort to perform all six of Bach’s Violoncello suites during the ISB 1999 Iowa Convention.

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• Reiley, Steven. “Centerfold.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 2, Fall 1999, pp. 40-43.

Note: An overview of the attending luthiers and their backgrounds at the ISB 1999 Iowa Convention. Pages 42-43 also feature the photos of Pollman and Gruenert instruments that were displayed at the convention.

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1997

• Appleman, Rich and Ture Damhus. “The 1997 ISB Convention, Rice University Shepherd School of Music, Houston, Texas.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 1, 1997, pp. 16-33.

Note: 1997 ISB Rice Convention report.

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1996

• Ray, Sonia and David Murray. “Words and Music by . . .” The Bass Line. [ Publication of the International Society of Bassists ] December 1996, p. 1, 8.

Note: A report on Fourth Brazilian Double Bass Symposium, held in Federal Minai Gerais University on August 12-16, 1996.

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1995

• Appleman, Rich. “Convention ′95, A Personal Diary by Rich Appleman.” International Society of Bassists Magazine. Vol. 20, No. 3, Winter 1996, pp. 28-37.

Note: 1995 ISB Convention report.

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1994

• Duranceau, Anne. “Memories of Avignon.” International Society of Bassists Magazine. Vol. 20, No. 1, Winter 1995, pp. 50-55.

Note: An overview of Bass `94, The International Double Bass Festival held during August 5-12, 1994 at Palais des Papes, Avignon, France.

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• Barre, Phillips. “Preview: Bass `94, The International Double Bass Festival, August 5-12, 1994, Palais des Papes, Avignon, France.”ISB Magazine Vol. 19, No. 2, Spring 1994, pp. 10-15.

Note: The announcement of Bass `94, The International Double Bass Festival to be held on August 5-12, 1994 at Palais des Papes, Avignon, France.

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1993

• Appleman. Rich. “Interlochen 93: Convention Memories.” International Society of Bassists Magazine. Vol. 19, No. 1, Fall 1993, pp. 8-15.

Note: 1993 ISB Interlochen Convention report.

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• Brine, Patricia. “The Saga of the Young Bassists Program, (Notes from the 1993 ISB Convention in Iterlochen).” International Society of Bassists Magazine. Vol. 19, No. 1, Fall 1993, pp. 18-19.

Note: 1993 ISB Interlochen Convention Young Bassists Progam report.

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• Neubert, David. “Interlochen `93, ISB Convention.” International Society of Bassists Magazine. Vol. 18, No. 3, Spring 1993, pp. 4-8.

Note: 1993 ISB Interlochen Convention announcement with planned program and presenters.

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• Stevenson, Helen. “Child’s Play.” International Society of Bassists Magazine. Vol. 19, No. 1, Fall 1993, p. 18.

Note: 1993 ISB Convention Young Bassists Convention Progam report.

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1991

• Greenberg, Michael. “Mittewald `91, First ISB International Bass Week.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, pp. 8-19.

Note: An overview of Mittenwald `91, ISB International Bass Week.

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• Schruff, Klaus. “Mittenwald, The First International Double Bass Week ISB/Mittenwald.” International Society of Bassists Magazine. Vol. 17, No. 1, Fall 1990, pp. 14-15.

Note: The ISB Mittenwald 1991 International Bass Week announcement.

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1990

• Jacobson, Harry. “ISB 90, A Review of the 1990 ISB Convention.” International Society of Bassists Magazine. Vol. 17, No. 1, Fall 1990, pp. 20-25.

Note: 1990 ISB New York City Convention report.

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• (author not cited) “Arizona Double Bass Symposium.” International Society of Bassists Magazine. Vol. 17, No. 1, Fall 1990, p. 11.

Note: 1990 Arizona Double Bass Symposium report.  (ADBS 1990)

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1989

• Walter, David. “The Giovanni Bottesini Centenary.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, pp. 14-15.

Note: An overview of the Giovanni Bottesini Centenary meeting in Parma during 22-29 October, 1989, which presented the concerts, lectures and a competition.

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1988

• (author not cited) “The LA `88 ISB Convention.” International Society of Bassists Magazine. Vol. 15, No. 1, Fall 1988, pp. 12-21.

Note: 1988 ISB LA Convention report. Aside from the congratulatory note of Barry Green to Paul Zibits on p. 12, this “article” consists only of the 1988 ISB Convention photos accompanied with short descriptions.

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• (author not cited) “The Netherlands, Amsterdam International Bass Week.” International Society of Bassists Magazine. Vol. 14, No. 3, Spring 1988, pp. 10-12.

Note: An overview of Amsterdam International Bass Week held during 3rd-9th of April, 1988 at De Ijsbreker Concert Hall in Amsterdam.

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1987

• (author not cited) “J. M. Sperger Symposium.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, pp. 4-5.

Note: The announcement for J. M. Sperger Symposium to be held from May 9-13, 1987 in Blankenburg, East Germany.

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• Trumpf, Klaus. “Johann Matthias Sperger Symposium 9-13 May, 1987, Michaelstein, East Germany (GDR).” International Society of Bassists Magazine. Vol. 14, No. 3, Spring 1988, pp. 6-8.

Note: An overview of Sperger 1987 Symposium with highlights on the competition, independent performances and lectures offered during the event.

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• (author not cited) “20^th Annual Midwest Double Bass Symposium.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, p. 6.

Note: The announcement for the 20^th Annual Midwest Double Bass Symposium to be held at the University of Illinois on April 4, 1987.

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1986

• (author not cited) “Austin ’86 Convention.” International Society of Bassists Magazine. Vol. 13, No. 1, Fall 1986, pp. 9-11.

Note: 1986 ISB Austin Convention report. A brief overview of the convention is presented on p. 9, while the pages 10-11 present only the photos.

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• Green, Barry. “A Plea for New Directions.” International Society of Bassists Magazine. Vol. 13, No. 1, Fall 1986, pp. 14-16.

Note: This article overviews the pros and con’s of the ISB Austin ’86 Convention and suggests the new directions (projects) to increase the attendance in the upcoming conventions.

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• (author not cited) “International Bass Symposium at the Bundesakademie in Trossingen.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, pp. 8-9.

Note: This was apparently the 4^th Kontrabass Symposium that took place at the Bundesakademie Trossingen during the early summer of 1986.

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• (author not cited) “Violone Workshop in Austria.” International Society of Bassists Magazine. Vol. 12, No. 3, Spring 1986, p. 12.

Note: A announcement for Violone Workshop planned in Weinviertal, Austria during August 25-29, 1986.

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• Slatford, Rodney. “Bass 86, International Concert Platform Awards, Yorke Mini-Bass Project, World Bass Fair.” International Society of Bassists Magazine. Vol. 11, No. 1, Fall 1984, p. 10.

Note: This article makes an announcement, and elaborates on upcoming Bass 86 Meeting at South Wales, which would consist of the International Concert Platform Competition, Yorke Mini-Bass Project and World Bass Fair. Thus in technical terms this was a multifaceted event that consisted of a young bassists’ summer school, a solo bass competition and a bass fair.

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• (author not cited) “2^nd International Double Bass Event.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, p. 8.

Note: The report on the Freiburg Event 1986. This report also indicates that the First Freiburg event took place in the summer of 1975.

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• Stert, Wolfgang. “Second Contrabass Freiburg Event 86.” International Society of Bassists Magazine. Vol. 13, No. 3, Spring 1987, p. 6-7.

Note: An overview of Second International Freiburg Contrabass Event 86, a gathering organized to promote the contemporary bass music.

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1985

• Dorner, Jane. “Cinderellas Complex.” International Society of Bassists Magazine. Vol. 12, No. 1, Fall 1985, pp. 6-9.

Note: A report from the Manchester Bass Week, which took place at the Royal Northern College of Music in Manchester from April 15-19, 1985. The focus of this event was training of young bassists within the Yorke Mini-Bass Project managed by Rodney Slatford and his team.

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1984

• (author not cited) “1984 Innsbruck Double Bass Conference.” International Society of Bassists Magazine. Vol. 11, No. 1, Fall 1984, p. 8.

Note: A report from the Kontrabass und Bassfunktion conference held in Innsbruck, Austria during August 28-30, 1984.

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• (author not cited) “Chicago 84 Convention.” International Society of Bassists Magazine. Vol. 11, No. 1, Fall 1984, pp. 4-7.

Note: 1984 ISB Chicago Convention report.

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1983

• (author not cited). “University of Southwestern Louisiana Hosts Southern Bass Symposium.” International Society of Bassists Magazine. Vol. 9, No. 3, Spring 1983, p. 16.

Note: A report on University of Southwestern Louisiana Southern Bass Symposium held on January 26, 1983.

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1982

• Brun, Paul. “Stage International De Contrebasse De Firminy.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, p. 11.

Note: An overview of the Second International Summer School for Double Bass at Firminy (near Lyons) that took place from July 17th to August 5th, 1982. This event was a combination of a summer school with individual master classes and public concerts presented by Jean Marc Rollez, Yoan Goilav and Francesco Petracchi. Apparently Wolfgang Gutller of the Berlin Philharmonic was also involved, although the text is not specific if indeed he also offered master classes and a solo concert. Lastly, Paul Brun gave two conferences (as cited, likely lectures) on the history of the double bass in a preview of his forthcoming bass history book.

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• Dunn, David. “Isle of Man International Double Bass Competition and Workshop August 18-26 (1982).” International Society of Bassists Magazine. Vol. 9, No. 2, Winter 1983, pp. 11-13.

Note: Isle of Man 1982 (2^nd) meeting was a successor to the famous Isle of Man 1978 event, and although it featured the competition and workshop, it also offered many fine solo and chamber performances so in that respect it was a also a convention of bassists.

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• Robinson, Paul. “Symposium for the Future.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, pp. 8-9.

Note: An overview of the 1982 Mid-West Bass Symposium held in Ohio State University. This article also features a copy of the solo performances program for this symposium, and if you check the featured repertoire, you may be surprised by the variety of composers in comparison to the standard repertoire we observe today at the recitals.

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1981

• Gellert, Karen Hansen. “The 1981 I.S.B. Zimmermann/Mingus Double Bass Competition & Workshop November 19-22, 1981 Cincinnati, Ohio.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, p. 1 (pages not numbered, page number assumed)

Note: This entire ISB Magazine was dedicated to the I.S.B. Zimmermann/Mingus Double Bass Competition & Workshop. However, although the title implies a competition and workshop, this was in fact a small ISB conference as well, although not titled so. Besides the competition and workshop, this event has also featured (as cited): “classical music seminars were given by bassists: Lucas Drew. Stuart Sankey, Roger Ruggeri, Murray Grodner, Paul Ellison, Eldon Obrecht and Robert Gladstone. Topics discussed related to orchestral and solo playing, practicing techniques and the history of bass literature to mention a few.” In addition this event has also presented a Frank Proto concerto premiere. The full program that lists presentations and presenters for this event is printed on pages 19-20.

Pages of this issue of ISB Magazine were not numbered (?), so the numbering was assumed starting with the first page with the official text (“International society of Bassists” logo, issue data and the article featured above).

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1980

• Clark, David. “Fourth Annual ISB School for The Double Bass.” International Society of Bassists Magazine. Vol. 7, No. 1, Fall 1980, pp. 653-661.

Note: 1980 Fourth Annual ISB School for The Double Bass overview.

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• Krolick, Edward. “Midwest Bass Symposium.” (International Society of Bassists Magazine. Vol. 6, No. 3, Spring 1980, p. 615.

Note: A report on the 13^th Annual Midwest Double Bass Symposium held on March 29, 1980 at the University of Illinois.

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1979

• (author not cited) “(First Double Bass Consultation [ Debrecen, Hungary, 1979 ] ).” International Society of Bassists Magazine. Vol. 6, No. 3, Spring 1980, p. 619.

Note: This joint Hungarian-Czechoslovakian bass gathering is probably the first such a gathering that took place in these countries. The event overview is neither signed nor titled and it appears only as a few paragraphs long general information within the News Nuggets section of the cited ISB Magazine. Yet apparently this gathering has offered both solo performances and public lectures, so in that respect this meeting could be perceived also as a local international bass conference. The featured performers and presenters were Karoly Sary, Peter Lokos, Janos Korber, Istvan Enreiter and Laszlo Szigray.

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• Tomlinson, Deborah. “Third Annual School for Double Bass.” International Society of Bassists Magazine. Vol. 6, No. 1, Fall 1979, pp. 547-555.

Note: An overview of the 1979 ISB Third Annual School for Double Bass.

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1978

• (author not cited) “Cincinnati Contemporary Bass Festival.” (1978 1^st) International Society of Bassists Magazine. Vol. 4, No. 4, April 1978, p. 436.

Note: The First Annual Contemporary Double Bass Festival, under the direction of Barry Green, was held at the University of Cincinnati College-Conservatory of Music, April 21-22, 1978.

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• Hansen, Karen. “Second ISB Summer School.” International Society of Bassists Magazine. Vol. 5, No. 1, Fall 1978, p. 439, continued on pp. 449-453.

Note: 1978 ISB (2^nd) International School for Double Bass overview. The International School for Double Bass was a type of an ISB educational bass gathering that was a precursor to the traditional ISB Conventions which commenced with ISB 1984 Chicago Convention.

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• Scelba, Anthony. “1978 International Double Bass Competition and Workshop, Cat with a Tale.” International Society of Bassists Magazine. Vol. 5, No. 1, Fall 1978, p. 439, (cont.) pp. 441-447.

Note: Isle of Man 1978 (the 1^st) convention overview. The Isle of Man Convention / Competition, which took place during August of 1978, could be considered the first major international bass convention in a modern sense of the word, and in that respect it has set the standards to follow for all subsequent bass gatherings. It was a one of a kind event that would be difficult to replicate or surpass, both in spirit and diversity.

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1977

• Hansen, Karen. “1977 International School for Double Bass.” International Society of Bassists Magazine. Vol. 4, No. 1, Fall 1977, p. 327, (cont.) pp. 331-337.

Note: 1977 ISB (1^st) International School for Double Bass overview. The International School for Double Bass was a type of an ISB educational bass gathering that was a precursor to the traditional ISB Conventions which commenced with ISB 1984 Chicago Convention.

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• Stoll, Klaus. “Rodney Slatford’s Double Bass Forum.” International Society of Bassists Magazine. Vol. 3, No. 2, Winter 1977, p. 252.

Note: A report from the Second Rodney Slatford’s Double Bass Forum, which took place in London, Manchester and Aldenburgh during three days in of June 15-17, 1977. The first Rodney Slatford’s Double Bass Forum took place in 1975.

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1976

• (author not cited) “Great Plains Bass Symposium.” International Society of Bassists Magazine. Vol. 3, No. 3, Spring 1977, p. 273.

Note: A report on Great Plains Bass Symposium that took place at Wichita State University during December 4-5, 1976.

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• Green, Barry. “I.S.B. Aspen Bass Workshop.” International Society of Bassists Magazine. Vol. 3, No. 1, Fall 1976, pp. 212-216.

Note: The article presents an overview of 1976 I.S.B. Aspen Bass Workshop, which took place on August 16-20, 1976 in Aspen, CO. This was a type of an ISB educational event that can be considered a precursor to the traditional ISB Conventions which commenced with ISB 1984 Chicago Convention.

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1975

• Hutchinson, Marshall. “Midwest Symposium.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 113.

Note: A report on the Eighth Annual Midwest Double Bass Symposium held on April 19, 1975 at Bowling Green State University in Bowling Green, Ohio.

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• Schöen, Hans. “Bass Symposium at Freiburg University.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 112.

Note: This is a report from Freiburg University Symposium, which appears to have been one of the first,  if not actually the very first bass gathering of bassists jointly organized in Germany and Switzerland. Judging by the content of the article it appears that all featured compositions were by contemporary composers, while some jazz bass lectures and performances were also featured. The entire event was related to the 1975 Boswil (Switzerland) Event that took place just days ago, so the audience and the performers were essentially the same with few noted exceptions that are mentioned in the article. In some respects both Boswil and Freiburg meetings may be considered as a joint event that was divided over two cities in two different countries (Switzerland and Germany).

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• Slatford, Rodney. “Event 1975 Boswil and Freiburg.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 111.

Note: This is a report from what appears to be one of the first contemporary solo bass music gatherings on record that took place in Boswil, Switzerland and Freiburg, Germany. The gathering in Boswil Switzerland consisted mostly of Freiburg Hochshule für Musik bass students from the class of Wolfgang Stert. Otherwise the report cites and offers comments on all the contemporary compositions featured during the event. This gathering was followed within the few days by the Freiburg University Bass Symposium with almost identical presenters and the audience.

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1974

• Benvenuti, Adriane. “1974 Mid-West Double Bass Symposium.” International Society of Bassists Magazine. Vol. 1, No. 1, Fall 1974, p. 15.

Note: An overview of the Seventh Annual Mid-West Double Bass Symposium held at Ball State University in Muncie, Indiana on April 27, 1974.

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• Krysta, Edward. “The Complete Polish Double Bass Symposium.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, pp. 108-109.

Note: An overview of the 1974 Polish Double Bass Symposium held at Breslau / Wroclaw, Poland during April 6-8, 1974.

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1968

• Dougherty, Pat. “Orchestral Bass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 8) Vol. 7, No. 5, 1968-69, pp. 7-8.

Note: IISB 1968 2^nd Conference report. This article offers an overview of Batchelder’s orchestra sessions at the Second International Institute for the String Bass Conference, 1968. Batchelder led both the lecture-discussions and a mass bass masterclass consisting of some 25 bassists during this event.

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1967

• Karr, Gary. “Our First Conference.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 2) June 1967, pp. 1-2.

Note: This feature presents the IISB 1967 1^st Conference report written by Gary Karr, the founder of IISB, later to become ISB.  This was a historical conference in every aspect of this word, as not only was it the first bass conference we have a record of, but it was also the first conference organized by IISB (later ISB), that has set in place the tradition and a model for all later ISB Conventions.

Please, check also Gary Karr article “50th Anniversary ISB Convention, We’ve Come a Long Way, Brothers and Sisters!” under year 2017, as this article/speech was written in honor of this very 1967 meeting.

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• McClure, Theron. “Madison String Bass Conference.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 6) (Vol. 6, No. 3) 1968, pp. 6-9.

Note: This is an overview of the First International Institute for the String Bass  Conference, 1967, which was an initial meeting that started a tradition of all other IISB and ISB conferences.

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Bass Journals

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• Karr, Gary. “Our Purpose.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 1) February 1967, pp. 3-4.

Note: In this article Prof. Karr describes the mission and goals of the Bass Sound Post as a voice of the International Institute for String Bass (later International Society of Bassists). This is the first article in the first issue of the longest lasting bass publication in the world and within the bass society that still thrives and serves the bassists today.

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Bass Organizations & Societies

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Bassists’ Hall of Fame

• Campagna, Joe. “The Bassists’ Hall of Fame.” International Society of Bassists Magazine. Vol. 16, No. 1, Fall 1989, pp. 31-32.

Note: The Bassists’ Hall of Fame was apparently an electric bass association with interest in double bass. This society has apparently published a journal called First Bass International as well.

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Brazilian Bass Society

• Sonia, Ray. “The Brazilian Society of Bassists: Towards a Virtual Future!” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 43-45.

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Dansk Kontrabasselskab (Danish Double Bass Society)

• Damhus, Ture. “Happy Birthday Dansk Kontrabasselskab.” The Bass Line. [ Publication of the International Society of Bassists ] April 1998, p. 5.

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English Bass Clubs

• Damhus, Ture. “Spotlight on English Bass Clubs.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 3, Winter 2000, pp. 34-38.

Note: The article offers more details on The Scottish Bass Trust and The British and International Bass Forum.

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The Chinese Society of Bassists

• Zheng, Wei Bao. “The Chinese Society of Bassists and the ISB: 20 Years of Friendship.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, pp. 51-54.

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The Danish Double Bass Society – Dansk Kontrabasselskab

• Damhus, Ture. “The Danish Double Bass Society.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 42-43.

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The Double Bass Society of New Zealand

• Botham, Harry. “The Double Bass Society of New Zealand.” International Society of Bassists Magazine. Vol. 4, No. 1, Fall 1977, pp. 352-353.

Note: This feature presents the orchestras, bassist and the bass activities (concerts, guests and lectures) in New Zealand.

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The Hellenic Double Bass Society (Greece)

• Politis, Evgenios. “The Hellenic Double Bass Society.” Translated and edited by Christina Sidiropoulou. Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, p. 41.

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Los Angeles Bass Club

• (author not cited) “Los Angeles Bass Club Holds Charter Meeting.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 3) November, 1967, pp. 14-15.

• (author not cited) and Mayland, Marilyn. “Los Angeles Bass Club.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 7) (Vol. 6, No. 4) 1968, p. 6.

Note: This feature consists of an introduction printed on a typewriter and a pasted article from an unknown journal by Marilyn Mayland. Both are titled “Los Angeles Bass Club” and both address the formation and activities of the club in 1968 (possibly 1969). The pasted journal article also covered the Abe Luboff classical performance and Bill Plumber jazz performance at the club meeting.

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• Green, Barry. “Los Angeles Bass Club.” International Society of Bassists Magazine. Vol. 5, No. 1, Fall 1978, p. 465.

Note: The article states that the Los Angeles Bass Club was at “eleven years of its existence” in 1978.

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• Siegel, Ray and Abe Luboff. “Sound Post Saulte.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, p. 6.

Note: The Bass Sound Post salute to the two year old Los Angeles Bass Club. Cited are the founders and also the club foundation time as “Early 1968 on Bill Torello’s pad.” The club membership at the time of printing was stated as “one hundred and fifty men strong.”

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Vienna Double Bass Archive

• (author not cited) “Wiener Kontrabass Archiv.” International Society of Bassists Magazine. Vol. 11, No. 1, Fall 1984, p. 9.

Note: The Innsbruck Conference on Bass and Bass Function (Kontrabass und Bassfunktion) was arranged in celebration of the 10 year anniversary of the Wiener Kontrabass-Archiv (Vienna Double Bass Archives) that have been collected and organized by Alfred Planyavsky. This article features a small report of the Wiener Kontrabass Archiv initial 10th anniversary celebration in Vienna on June 14, 1984 at the Gesellschaft der Musikfreunde in Vienna, and which preceded the Kontrabass und Bassfunktion conference held during August 28-30, 1984 in Innsbruck, Austria.

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• Barket, James. “Music in the Vienna Double Bass Archive,” part of the “Rumblings” column edited by Jerry Fuller. Bass World, The Journal of International Society of Bassists. Vol. 24, No. 1, Fall 1999, p. 52-53.

Cited also in Bass History – General

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• Barket, James. “Music in the Vienna Double Bass Archive.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, pp. 52-53.

• Planyavsky, Alfred. “Wozu ein Kontrabass-Archiv?” Mitteilungen der Österreichischen Gesellschaft
  für Musikwissenschaft. Nr. 11, März 1980, pp. 12-15.

Cited also in Bass History – General

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• Planyavsky, Alfred. “Zehn Jahre Wiener Kontrabaßarchiv” Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 7-16. Universität Wien – Article Record Citation  |  WorldCat – Book Record

Cited also in Bass History – General

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• Szmolyan, Walter. “Das Wiener Kontrabass-Archiv.” Österreichische Musikzeitschrift. Vol.33, no. 3, 1978,  p.138-139. Universität Wien – Article Record

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Internationale Johann-Matthias-Sperger Gesellschaft

• Planyavsky, Alfred. “Zur Gründung der Johann-Matthias-Sperger-Gesellschaft.” Sperger-Forum: Mitteilungsblatt Der Internationalen Johann-Matthias-Sperger-Gesellschaft. Nr. 1, Mai 2002, pp. 10-15.

• Planyavsky, Alfred. “On the Founding of the Johann Matthias Sperger Society.” Sperger-Forum: Mitteilungsblatt Der Internationalen Johann-Matthias-Sperger-Gesellschaft. Nr. 1, Mai 2002, pp. 15-19.

Note: this is a translation of Zur Gründung der Johann-Matthias-Sperger-Gesellschaft article from the Sperger-Forum Nr. 1.

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• Trumpf, Klaus. “Nikolaus Harnoncourt als Mitglied der Sperger-Gesellschaft.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, p. 65-66.

Note: An interesting article on Nikolaus Harnoncourt as a member of the Sperger Society, which also presents Harnoncourt’s thoughts on the strings’ transition form gut to steel types on the bass instrument.

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• Trumpf, Klaus. “Warum Internationale Johann-Matthias-Sperger-Gesellschaft?” Sperger-Forum: Mitteilungsblatt Der Internationalen Johann-Matthias-Sperger-Gesellschaft. Nr. 1, Mai 2002, pp. 3-5.

• Trumpf, Klaus. “Why The International Johann Matthias Sperger Society?” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 3, February – May 2012, p. 43.

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International Society of Bassists (ISB)

• (author – interviewer not cited)  “A 50th Anniversary Interview with ISB Founder Gary Karr.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 19-22.

Note: Part of this interview also covers the founding and history of the International Society of Bassists.

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• (author not cited) “This is Our Story: The History of the ISB.” Bass World : The Journal of International Society of Bassists. Vol. 47, No. 1, October – January 2024, pp. 7-11.

Note: This article presents a chronological overview of ISB history in which one can easily observe all the important dates and milestones in the ISB development.

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• Heath, Jason. “An Interview with ISB President Douglas Mapp.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 29-33.

Note: Much of the conversation featured in this article actually concerns the ISB conference organization and what the ISB has to offer to its members, thus the article is listed also here under “International society of Bassist” heading.

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• Karr, Gary. “50th Anniversary ISB Convention, We’ve Come a Long Way, Brothers and Sisters!” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, pp. 5-9.

• Schneider, Uli. “Building the ISB’s International Infrastructure” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, pp. 13-17.

Note: This article is structured in a form of an open interview lead by Uli Schneider and featuring ISB’s international correspondents Gabriele Ragghianti, Thierry Barbé, Diego Zecharies, Simon García and Gjorgji Cincievski.

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Western New England Double Bass Society (WNEDBS)

• Lovell, Lynn. “Western New England Double Bass Society.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, pp. 43-45.

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Bass Organizations – General Articles

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• Green, Barry. “Bass Clubs Were There to Share.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 2, October – January 2001, p. 46.

Note:  A general article on how to start and manage bass clubs and their activities.

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• Green, Barry. “Creativity: Getting Started with Ideas for Club Functions.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, pp. 47-48.

Note: This article presents various ideas on how to start and develop bass clubs and bass events. As examples of such activities cited are Paul Erhard’s Rocky Mountain Bass Club, also Texas and MidWest Bass Symposia, then Richard Davis Symposium (held annually in Wisconsin), and Los Angeles Bass Club.

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Bass Surveys

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• White, Catherine B. “Working to be More International: A European Survey Suggests.” International Society of Bassists Magazine. Vol. 17, No. 2, Winter/Spring 1991, pp. 30-33.

Note: This is a report on ISB’s European Questionary Survey undertaken by Klaus Schruff in order to explore the needs and interests of European bass colleagues for the sake of ISB Magazine improvement.

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Schools and Conservatories

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Conservatory of Guarulhos, São Paulo, Brazil

• Sousa, Miranda de. “The Double Bass Class of the Conservatory of Guarulhos, São Paulo.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 1, June – September 2010, pp. 7-8.

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Vorarlberger Landeskonservatorium in Feldkirch, Austria

• Scelba, Anthony. “Masterclasses in Austria.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 2, October – January 2010, pp. 7-9.

Note: Anthony Scelba presents his performing and teaching experiences as a guest of Prof. Francisco Obieta at Vorarlberger Landeskonservatorium, Feldkirch, Austria.

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Paris Conservatory

• Greenberg, Michael. “The Double Bass Class at the Paris Conservatory, 1826-1832.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 17-19.

• Larson, Gale Trudy. “National Superior Conservatory of Music Paris.” International Society of Bassists Magazine. Vol. 7, No. 3-4, Spring and Summer 1981 (Double Issue), p. 736.

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Summer Schools

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Aspen Music Festival

• Arfman, Steve. “The Aspen Music Festival and the Double Bass.” International Society of Bassists Magazine. Vol. 1, No. 3, Spring 1975, p. 61.

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Domaine Forget
Quebec, Canada

• Wager, Sarah. “Going Back to Domaine” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, pp. 8-10.

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Martinborough Bass Camp – New Zealand – January 25-27, 2008

• Jones, Victoria and Richard Hardie. “Way Down South: Bass Camp 2008, New Zealand Style.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 3, February – May 2008, pp. 29-33.

Note: Although January is commonly Winter season for most the planet, on the southern side of the globe it is summer.

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Tanglewood

• Crocker, Lee. “Summer at Tanglewood.” International Society of Bassists Magazine. Vol. 1, No. 2, Winter 1974-1975, p. 35.

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Music Business

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Bass & Music Business

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• Adams, John. “Know Your Business: Practical Advice a Better Working on Being Bassist.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, pp. 19-20.

• Kanigel, Sonia. “Crowd-Funding: Artists and Their Fans Take Charge.” (Part I) Bass World : The Journal of International Society of Bassists. Vol. 36, No. 3, February – May 2013, pp. 21-24.

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Bass & Financial Planning

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• Gallagher, Peter. “Five Life Stages: Paths to Saving for Retirement.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, pp. 63-65.

• Gallagher, Peter. “How A Major Career Change Still Brings Music to My Ears.” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, pp. 34-35.

Note: An article how to approach financial planning for the retirement in bass field.

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Careers in Bass Field

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• Haigh, Scott. “Are You Suffering from Burn-Out?” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 1, 1997, pp. 42-45.

Note: This is an important article as it stresses the importance of setting the clear career priorities with the onset of collegiate bass studies, and trying to avoid the temptations of freelance job calls that may cause a serious “Burn-Out.” The article points to a disadvantage of the student’s extra free lance work in respect to the later bass career prospects.

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• Harrison, Travis. “Perspective as a Catalyst for Creativity: The Canadian School of Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 47, No. 1, October – January 2024, pp. 31-33.

Note: This article presents the concepts featured in “Canadian School of Double Bass” technique book manual that is co-authored by Travis Harrison and Joel Quarrington.

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• Kosky, Chris. “It’s Showtime! Meet Mary Ann McSweeney” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, pp. 40-42.

Note: An interview with a Broadway musicals’ bassist Mary Ann McSweeney. This article offers many insights on the life and practice in Broadway musical profession.

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• Ludwin, Norman. “The Do’s and Don’ts of Classical Recording Work.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 20-23.

Note: This article describes the expectations and norms for the work for a hired professional in the recording studio, whether in classical or pop music recording sessions. Pages 21-23 feature some of the more demanding bass excerpts from the motion pictures’ scores.

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• McReynolds, Michael A. “Inside the Military Band.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, p. 91.

• Morton, Joelle. “Careers for Bassist in the 21^st Century.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 1, June – September 2005, pp. 7-9.

• Vizachero, Rick. “Creating Goals for Successful Performance.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 46-47.

Note: This article presents both planning process for career development, as well as the bass pedagogy that goes along, thus cited in both listings.

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Promotion

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• Adams, John. “Know Your Business: Practical Advice a Better Working on Being Bassist.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, pp. 19-20.

Note: Also cited in Bass & Music Business

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• Allison, Ben. “The Socially Networked Musician.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 2, October – January 2009, pp. 5-6.

Note: A nice article about how to set and network your accounts in various social networking sites. However, given that the article was written in 2009 some update to its content is certainly possible.

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Publishing

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Bass Music – Publishing Companies

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• (author not cited) “Liben Music Publishers – A Short Story.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, pp. 15-16. (pages not numbered, page numbers counted)

Note: This article by Frank Proto presents a short history of his bass music publishing company “Liben Music Publishers.” The article is written in first person, so assumed to be written by Frank Proto, although his name is not cited.

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Copyright

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• Lewine, Alan. “Copyright – Some “Bass-ics.”” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, pp. 17-19.

Note: This is a well written and useful article on all issues related to Copyright and of concern bassists in their composing, arranging, publishing and performing efforts.

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Medicine

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Medicine section features two headings: Health Issues in Bass Field  and Physiology. Future developments may necessitate additional headings.

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Health Issues in Bass Field

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Please take a note that some articles may be cited in both the “Health Issues in Bass Field” and “Physiology” headings, due to the fact that they cover both subjects. Otherwise, you will find that all articles are cited alphabetically by the author, while the specialty subject index of aliments and treatments is in plans the future.

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• (author not cited) “Promoting Health in schools of Music.” The Bass Line. [ Publication of the International Society of Bassists ] Fall 2004, pp. 1, 3.

• Barber, Richard. “The Physical Musician and the Inner Musician: Bringing Them into Balance.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 1, June – September 2008, p. 33.

Note: In some cases Yoga may help, please read for more info.

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• Dunham, Deborah. “Facing Focal Dystonia.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, pp. 33-35.

• Dunham, Deborah. “Opening to Un-Doing.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, p. 63-65.

Note: An article about stress release, decreasing tension and relaxation.

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• Gilbert, Linda. “A Few Practical Ideas for Stress Reduction.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, pp. 41-42.

• Gilbert, Linda. “Awaken Your Feet, Strengthen Your Foundation.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 3, February – May 2009, pp. 33-34.

Cited also in Physiology heading.

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• Gilbert, Linda. “Books on Musicians’ Health, Part One.”  Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, pp. 43-44.

• Gilbert, Linda. “Books on Musicians’ Health, Part Two.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, pp. 43-44.

• Gilbert, Linda. “Breathing.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 3, February – May 2008, p. 25.

• Gilbert, Linda. “Balancing the Use of Large and Small Muscles: Playing with Minimal Tension and Maximum Ease.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, p. 41.

Cited also in Physiology heading.

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• Gilbert, Linda. “Book Review: The Bassists Guide to Injury Management, Prevention and Better Health, by Randall Kertz, D.C.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 3, February – May 2006, p. 35.

• Gilbert, Linda. “Creating Relaxation in the Jaw and Neck.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 2, October – January 2004, pp. 43-44.

• Gilbert, Linda. “Definitions of Diagnosed Conditions of Bassists.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 3, February – May 2010, p. 43.

• Gilbert, Linda. “Descriptions of Selected Bodywork Modalities.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 1, June – September 2010, pp. 51-52.

Note: This article offers a summary of all medical methods, treatments and therapies for body ailments that bassists may encounter.

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• Gilbert, Linda. “Relieving Tension in the Forearms.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 1, June – September 2005, p. 47-48.

Note: This article also offers warm up exercises for relieving the tension.

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• Gilbert, Linda. “Relieving Tension in the Fronts of the Shoulders.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 1, July – September 2006, pp. 39-40.

• Gilbert, Linda. “Relieving Tension in the Lower Back.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, pp. 55-56.

• Gilbert, Linda. “Relieving Tension in the Middle and Upper Back.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, pp. 51-52.

• Gilbert, Linda. “Results from “A Survey of, for and about Bassists”.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 1, July – September 2009, pp. 29-33.

• Gilbert, Linda. “Rotator Cuff, Part one.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 2, October – January 2006, p. 43.

• Gilbert, Linda. “Rotator Cuff, Part Two.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 3, February – May 2007, pp. 27-29.

• Gilbert, Linda. “The Importance of Rest and Relaxation.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, pp. 24-26.

• Gilbert, Linda. “The Use of Ice and/or Heat.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 3, February – May 2012, pp. 37-39.

Note: A well written article on how applied ice or heath may remedy certain conditions.

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• Gilbert, Linda. “What is That Terrible Ringing in My Ears? Tinnitus: Causes and Treatment.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 3, February – May 2013, pp. 47-53.

• Gordon, Glenn N. “The Feldenkreis Method: From Pain to Pleasure.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 24-26.

• Grenough, Forest. “Recovering from Injury and Exploring the Surgical Option.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 35-38.

• Harrison, Bill. “Taking Care of Your Inner Bassist” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, pp. 25-26.

• Hartley, Bill. “To Yours Health!” International Society of Bassists Magazine. Vol. 20, No. 2, Spring/Summer 1995, p. 14.

• Hickling, Gary. “Back Aches and Pains.” International Society of Bassists Magazine. Vol. 4, No. 4, April 1978, p. 433.

• Kertz, Randall. “Arthritis” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 1, October – January 2022, pp. 11-12.

• Kertz, Randall. “Bassist as Athlete” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 2, February – May 2022, p. 13.

• Kertz, Randall. “Bow Tie.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, p. 11.

Note: About the use of bass bow and the areas of concern that its use may bring.

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• Kertz, Randall. “Carpal Diem?” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, pp. 15-16.

• Kertz, Randall. “Day of the “Locus”.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 17-18.

Note: Thoughts on returning to playing after time off, commonly after an injury or overuse.

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• Kertz, Randall. “Ergo, Luthiernomics!” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, pp. 47-49.

Note: Although written for his “Body and Bass” column, this article by Dr. Ketz is not about the health issues related to bass splaying, but rather an exploration of possibilities to make bass more comfortable instrument to play by considering input and solutions offered by leading instrument makers – David Gage and Barrie Kolstein. In that respect this article is also cited in the Basses – Construction & Luthiere heading.

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• Kertz, Randall. “Everyday People.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 13-15.

Note: An article about our every day activities that may influence our bass-health in a long term.

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• Kertz, Randall. “Exercise, Working Out, and Strengthening” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, pp. 19-20.

• Kertz, Randall. “Friends Don’t Let Friends Do Sit-ups!” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 2, February – May 2019, p. 23.

• Kertz, Randall. “Focal Dystonia.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 2, February – May 2024, pp. 19-20.

• Kertz, Randall. “Frozen Shoulder” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, p. 29.

• Kertz, Randall. “Get the Point: Acupuncture and the Bassist” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 1, October – January 2021, pp. 47-48.

• Kertz, Randall. “Hand Jive.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, p. 15.

• Kertz, Randall. “How You Start is How You Finish.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 1, June – September 2013, pp. 25-27.

• Kertz, Randall. “In a Pinch.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 3, June – September 2024, pp. 13-14.

Note: About pinched nerves and how to treat them.

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• Kertz, Randall. “Mind & Matter” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 3, June – September 2021, p. 17.

• Kertz, Randall. “Mind Does Matter” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 2, February – May 2020, pp. 25-26.

• Kertz, Randall. “Now What?” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 1, February – May 2015, pp. 23-24.

Note: Article about various treatment methods that are used to remedy conditions encountered by bassists.

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• Kertz, Randall. “Position the Thumb?” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 3, June-September 2023, p. 28.

• Kertz, Randall. “Posture & the Double Bassist.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 2, October – January 2010, pp. 41-42.

• Kertz, Randall. “Tendonitis: What It Is and Why It Matters!” Bass World : The Journal of International Society of Bassists. Vol. 47, No. 1, October – January 2024, p. 23.

• Kertz, Randall. “Trigger (Un)happy.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, p. 45.

• Kertz, Randall. “Seated Position” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 1, October – January 2020, pp. 27-28.

• Kertz, Randall. “Stress.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 1, October – January 2023, pp. 36-37.

• Kertz, Randall. “The “Planer” Truth.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 1, October – January 2018, pp. 19-21.

Note: This article is actually a report on the events R. Kertz visited at the 2018 Double Bass Workshop by the Violin Society of America (VSA) at Oberlin College. The report also includes an overview of his own lecture he presented to the luthiers and in respect to safe working habits while repairing and making basses.

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• Kertz, Randall. “Thoracic Outlet Syndrome.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 1, October – January 2019, pp. 49-50.

• Kertz, Randall. “Thumbs Up?” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 3, February – May 2018, p. 17.

• Kertz, Randall. “Unorthodoxy” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, p. 17.

• Kertz, Randall. “Warming Up.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 3, June – September 2019, p. 13.

• Kesselman, Robin. “Bow Speed Geography: An Injury’s Guide to Improving Legato and Sustain.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 2, February – May 2024, pp. 31-35.

• Kopper, Krista. “Callus Development and Maintenance.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 1, October – January 2018, pp. 35-36.

• Kosky, Chris. “Lloyd Goldstein: A Noble Path on Our Noble Instrument.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 1, October – January 2023, pp. 62-63.

Note: An article interview with Goldstein about training and practice as a Certified Music Practitioner in a medical field.

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• Mandel, Steven, Stephanie Patterson and Caryn Johnson. “Overuse Syndrome in a Double Bass Player.” Medical Problems of Performing Artists. Vol. 1, No. 4, 1986, pp. 133-134. JSTOR

• Neeper, Cary, and Robert Schrei. “Rolfing, To Save a Career.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, pp. 48-53.

Note: The Article describes Rofling and the benefits it can bring.

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• Peck, Kathy. “Your Dog Will Never Hear Mahler’s Symphony No.2 ‘Resurrection’.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 2, October – January 2012, pp. 21-24.

Note: A very important article about hearing loss among musicians who are exposed to unacceptable levels of loudness.

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• Reeves, Steve. “Dealing with Performance Anxiety.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 2, October – January 2007, pp. 53-55.

Note: This article was a part of Centerstage column.

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• Slatford, Rodney. “Emergency! Emergency!” International Society of Bassists Magazine. Vol. 7, No. 3-4, Spring and Summer 1981 (Double Issue), p. 742, p. 744.

Note: Please take a not of this article and Slatford’s experience with an actual hand injury emergency and along the aftermath of the event and the recovery. This is a very telling article on how careful we have to be with our hands as bassists, since we depend on them to play our instruments and make music (and a living) with our hands as well.

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• Szczechowicz, Jakub and Marta Kania. “Pain in The Spine and Upper Limbs Among Double Bass Players.” Health Promotion & Physical Activity. Vol. 9, No. 4, Dec. 2019, pp. 27-39. HPPA – Article View & Download

• Vincent, Felicity. “Pilates for the Bassist.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 53-54.

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Physiology

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• Crow, Aileen. “Every Body’s Natural State: A Laban Movement Analyst’s Point of View.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, pp. 15-17.

• Dennis, Allan. “The Effect of Three Methods of Supporting the Double Bass on Muscle Tension.” Journal of Research in Music Education. Vol. 32, No. 2, 1984, pp. 95-103. JSTOR  |   WorldCat – Article Record (summary presented)

• Dennis, Allan. “The Effect of Three Methods of Supporting the Double Bass on Muscle Tension.” International Society of Bassists Magazine. Vol. 10, No. 1, Fall 1983, pp. 25.

Note: This article appears to be the summary of the article presented at the Journal of Research in Music Education 1984 (see above), while it is based on author’s dissertation:

Dennis, Allan Walter. The Effect of Three Different Methods of Supporting the Double Bass on Muscle Tension. D.M.Ed. Thesis, Indiana University, 1981. Record Link

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• Gilbert, Linda. “Awaken Your Feet, Strengthen Your Foundation.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 3, February – May 2009, pp. 33-34.

Cited also in Health Issues in Bass Field heading.

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• Gilbert, Linda. “Balancing the Use of Large and Small Muscles: Playing with Minimal Tension and Maximum Ease.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, p. 41.

Cited also in Health Issues in Bass Field heading.

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• Gilbert, Linda and Robert Boustany. “Body and Bass.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 1, Spring / Summer 1999, pp. 34-41.

Note: This article presents an introduction on a proper body posture and then follows with some of 12 exercises that can keep our posture safe and sound.

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• Gilbert, Linda. “Body and Bass.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 3, Winter 2000, pp. 6-10.

• Gilbert, Linda. “Energy in Motion.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, pp. 56-57.

• Gilbert, Linda. “Lower Back Alignment and Healthy Bass Playing.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 2, October – January 2001, pp. 50-52.

• Gilbert, Linda. “Reassessing Patterns of Movement, Listening And Thought.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 2, October – January 2007, pp. 49-51.

• Gilbert, Linda. “Stretching the Piriformis Muscle.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, p. 45.

• Gilbert, Linda. “The Benefits of Cross Training.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 1, June – September 2012, p. 48.

• Gilbert, Linda. “The Relationship Between Your Body and Your Bass.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, pp. 16-18.

• Gilbert, Linda. “The Younger Bassist.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 1, June – September 2001, pp. 48-51.

• Gordon, Glenn N. “The Feldenkreis Method: From Pain to Pleasure.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 24-26.

• Horvath, Kathleen A. “Bass Performance – It’s All In the Body, Part I: The Problem.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 29-30.

• Horvath, Kathleen A. “Bass Performance – It’s All In the Body, Part II: Some Solutions.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 1, June – September 2001, pp. 27-29.

Note: The last page features a nice bibliography of sources that concern musicians’ health.

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• Illek, Karel. “Playing Contrabass, Psychophysiological Aspects.” International Society of Bassists Magazine. Vol. 6, No. 2, Winter 1980, p. 587, continued p. 589.

Note: The basis for this article was Illek’s lecture Physiological Aspects of Playing the Double Bass presented at Isle of Man, International Double Bass Competition and Workshop, 1978 on September 1, 1978.

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• Kertz, Randall. “Posture & the Double Bassist.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 2, October – January 2010, pp. 41-42.

• Levenderis, Frances and Bridget Rennie-Salonen. “Musculoskeletal Symptoms of Double Bassists: A Literature Synthesis.” Online Journal of Bass Research (OJBR). Vol. 14, January 2022. OJBR – Online View

• Lloyd, Peter. “Body and Bass.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 2, Fall 1999, pp. 60-63.

Note: This article offers Lloyd’s personal experiences on the use of yoga and martial arts.

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• Nesmith, David. “How Body Mapping and the Alexander Technique Will Improve Your Playing.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, pp. 24-27.

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Luthiere

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Please take a note that under the Luthiere section page you will find two separate headings, one for craftsmen who primarily build basses, and the other for those who repair bass instruments. These headings are cited respectively as Bass Makers and Luthiers. The Bass Makers is designed to feature only craftsmen who build, or have built bass instruments in the past. In technical terms that means that only one produced instrument is sufficient for a luthier to be listed here. The Luthiers – Restoration & Repair heading, on the other side, presents the shops and craftsmen who are specialists in instrument restoration, repair and maintenance, but do not have the record of building a bass instrument on their own.

The author of this site however acknowledges the fact that the general understanding of the term Luthier also implies a bass maker. Yet in this particular listing, those who make basses will always be listed separately from those who exclusively repair & restore instruments. Please consider that this division does not imply a qualification on anyone’s skills, but simply offers an easy way to distinguish between those two classes of luthiers.

For those interested in specialty articles on individual bass instruments, please consult the Instruments – Basses  heading.

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Bass Makers

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At the bottom of the Bass Makers you will also find the sub heading of Bass Makers – General, which presents the articles on several bass makers in broader terms, and which are not dedicated to a single bass builder.

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Arvi, Vilho (1911-1997)

• Hill, Jack. “The Finnish Connection” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 2, February – May 2020, pp. 27-29. (Vilho pp. 27-28)

Note: The introduction of this article makes an excellent summary:  “This story is about Vilho Arvi, a self-taught luthier, and his son Kai, who have created more than 389 instruments, 230 of which were double basses.”

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Arvi, Kai

• Hill, Jack. “The Finnish Connection” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 2, February – May 2020, pp. 27-29. (Kai pp. 28-29)

Note: The introduction of this article makes an excellent summary:  “This story is about Vilho Arvi, a self-taught luthier, and his son Kai, who have created more than 389 instruments, 230 of which were double basses.”

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Ashley, Hammond (1902-1993)

• Bradetich, Jeff. “A Remebrance of Hammond Ashley.” International Society of Bassists Magazine. Vol. 19, No. 1, Fall 1993, p. 34.

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Auray, Jean  (1957)

• Auray, Jean. “Creative Collaboration: The Bass I made for Charlie Haden.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, pp. 13-15.

• Goldsby, Robin Meloy. “The Apricot Tree.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, pp. 23-28.

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Carletti, Carlo (1873-1941)

• Reiley, Steven. “Carlo Carletti 1873-1941, Pieve de Cento, Italy.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 1, Spring / Summer 1999, pp. 30-33.

Note: This article presents both a biography of Carlo Carletti and his 1913 bass instrument.

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Ceruti, Giuseppe (c.1785-1860)

• Rosengard, Duane. “The c.1830s Giuseppe Ceruti Double Bass.” International Society of Bassists Magazine. Vol. 14, No. 2, Winter 1988, (centerfold section, 6 pages, no pagination, inserted between pages 40 and 41).

Note: Although the focus of this article is a Giuseppe Ceruti c.1830 instrument, it also presents a nice biography of Giuseppe Ceruti and the Ceruti family.

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Charton, Patrick (1954-2020)

• Gage, David. “A Conversation with Patrick Charton.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 3, June – September 2019, p. 25-29.

• (author not cited) “Patrick Charton (1954 – 2020)” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, p. 7.

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Davis, Trevor

• Davis, Trevor. “Building a Decorated Bass” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 1, October – January 2022, pp. 13-17.

Note: In this article luthier Trevor Davis describes the process of building the bass and along offers some details from his career.

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Eckland, Don G.

• Eckland, Don G. “Eckland Moves to Miami.” International Society of Bassists Magazine. Vol. 1, No. 3, Spring 1975, p. 45.

Note: The article cites Don Eckland as a luthier but also as a bass maker.

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Farotti, Celeste (1864-1928)

• Rosengard, Duane. “The 1906 Celeste Farotti Double Bass.” International Society of Bassists Magazine. Vol. 14, No. 3, Spring 1988, (centerfold section, 6 pages, no pagination, inserted between pages 36 and 37).

Note: Although the focus of this article is a Farotti 1906 instrument, it also presents a nice biography of Celeste Farotti.

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Fiorini, Raffaelle (1828-1898)

• Rosengard, Duane. “The Raffaelle Fiorini Double Bass.” International Society of Bassists Magazine. Vol. 15, No. 1, Fall 1988, (the article starts on p. 34 and follows on centerfold section without pagination, inserted between pages 34 and 35)

Note: Although the article is presented in the “Centerfold” section dedicated to Fiorini bass instrument, it also features an excellent biography of Raffaelle Fiorini.

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Forster II, William “Old Forster” (1739-1808)

• Rosengard, Duane. “Centerfold Sequel” (re. King George III Bass).” International Society of Bassists Magazine. Vol. 15, No. 3, Spring 1989, p. 34.

Note: This small article cites the full genealogy of Forster instrument maker family, with four Forsters cited in chronological order.

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Gass, Lisa

• Gage, David. “Pioneer Luthier Lisa Gass sets her stake and raises the bar out West.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 2, February – May 2019, pp. 25-29.

Note: Although this article is about Gass’ luthier skills she has also made one bass, thus cited here under Bass Makers.

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Gemunder, George (1816-1899)

• Rosengard, Duane . “George Gemunder, 1852.” International Society of Bassists Magazine. Vol. 15, No. 2, Winter 1989, (centerfold section – no pagination, inserted between pages 32 and 33)

Note: Although presented in the “Centerfold” section dedicated to the Gemunder 1852 instrument, this article also features an excellent biography of George Gemunder.

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Goffriller, Matteo (1659-1742)

• (author not cited) “The 1740 Matteo Goffriller Double Bass.” International Society of Bassists Magazine. Vol. 10, No. 2, Winter 1984, (centerfold section, 6 pages, no pagination, inserted between pages 22 and 23).

Note: This article features a small biography of Milt Hinton, who owned the featured instrument at the time of printing, and also a small biography the maker Matteo Goffriler.

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Hachez, Daniel (1950)

• Reiley, Steven. “2003 ISB Luthier’s Competition.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, pp. 41-43.

Note: Gold Medal Winning Double Bass by Daniel Hachez featured on p. 42, Daniel Hachez text  p. 41.

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Jakstadt, Albert

• Jakstadt, Albert. “114 Basses Made and Counting: Albert Jakstadt.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 1, June – September 2013, pp. 31-33.

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Jensen, Harry

• Anderson, John Robert. “Interview: John Robert Anderson talks to Dutch Luthier Harry Jansen.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 1, October – January 2023, pp. 39-43.

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Kimmel, Seth

• Gage, David. “An American Luthier’s Journey: Seth Kimmel, from Bauhaus to Doghouse.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 13-15.

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Kolstein, Samuel (1915-1999)

• (author not cited) “Samuel Kolstein.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, p. 12. (pages not numbered, page numbers counted)

• Kolstein, Barrie. “Luthier’s Corner, Samuel Kolstein – May 26, 1915 – May 23, 1999.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 2, Fall 1999, pp. 46-51.

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Krahmer, Michael  [ Pöllman Basses ]

• Gage, David. “Krahmer Brothers, Pöllman Tradition Brought up to Date.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 33-35.

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Krahmer, Günter (1938 – 2020)  [ Pöllman Basses ]

• Gage, David. “Krahmer Brothers, Pöllman Tradition Brought up to Date.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 33-35.

• (author not cited). “Günther Khramer – Pöllman, 100 Years of Tradition in Doublebass-Making.” International Society of Bassists Magazine. Vol. 15, No. 1, Fall 1988, p. 8.

Note: A report on the centenary of the firm “Khramer – Pöllman” that took place on the 28^th and 29^th of May 1988 in Mittenwald, West Germany.

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• Drucker, Gerald. “Philharmonia Orchestra of London. New Acquisitions.” International Society of Bassists Magazine. Vol. 7, No. 1, Fall 1980, p. 681.

Note: An article about the acquisition of eight new basses by Philharmonia Orchestra of London that were ordered by Gerald Drucker and made by Guenter Kramer, of Pollmann firm.

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Krahmer, Ralph  [ Pöllman Basses ]

• Gage, David. “Krahmer Brothers, Pöllman Tradition Brought up to Date.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 2, October – January 2018, pp. 33-35.

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Krutz, Anton

• Gage, David. “Everything’s is Looking Up in Kansas City: An Interview with Anton Krutz.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 3, February – May 2018, pp. 37-42.

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Lloyd, Nick

• Gage, David. “An Interview with American Bass Maker Nick Lloyd.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 2, October – January 2016, pp. 55-60.

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Lott, John Fredrick (1775-1853)

• Gass, Lisa and Chris Poehler. “The John Lott Bass Formerly Owned by Art Davis.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, pp. 31-40.

Note: There are several advertisement pages inserted in this article that also cover the career of jazz bassist Art Davis.

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Lyman, Frederick (1925-2011)

• Lyman, Frederick. “Piccolo Progress Report.” International Society of Bassists Magazine. Vol. 6, No. 3, Spring 1980, p. 601, continued p. 607.

Note: A report on the evolution and upgrades to Lyman’s Piccolo bass used by Ron Carter. The new redesigned and somewhat thicker front plate was installed and the result was an improvement in sound. The article also mentions a work on “Piccolino” bass that is even smaller than the Piccolo model.

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• Lyman, Frederick. “The Underwood Bass Pickup.” International Society of Bassists Magazine. Vol. 6, No. 3, Spring 1980, p. 601, continued p. 605.

Note: An article about the evolution of acoustic bass amplification and the Underwood Bass Pickup.

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Marchetti, Enrico (1855-1930)

• Rosengard, Duane. “Enrico Marchetti.” International Society of Bassists Magazine. Vol. 17, No. 2, Winter/Spring 1991, pp. 35-37.

Note: Although presented in the “Centerfold” section which is dedicated to a particular instrument, this article also features an excellent biography of Enrico Marchetti (1855-1930).

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Naeger, Joey

• Naeger, Joey. “Fingerboard Geometry.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, pp. 31-34.

Note: Besides presenting an excellent information on fingerboard geometry, this article also offers biographical information on Joey Naeger.

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Nolli, Marco (1964)

• Anderson, John Robert. “A Workshop Tour and Conversation with Cremonese Luthier Marco Nolli.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 3, June – September 2024, pp. 15-18.

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Pöllman [ Family & Bass Manufacture Company ]

• Plüddemann, Maja. “Pöllmann-Contrabass: Geschichte eines Unternehmens.” ; “Pöllmann-Contrabass: History of a Company.” Magazin der Sperger Gesellschaft. Nr. 4, August 2021, pp. 24-26. IA – Download Page

Note: Article written in German and English in two parallel columns.

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Pöllmann, Herman Alexander (1864-1937)
Pöllmann, Erich Max (1897-1963)
Khramer, Günther (1938)
Khramer, Michael
Khramer, Ralph

• Reiley, Steven. “The Pöllmann Workshop.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 2, October – January 2001, pp. 41-43.

The introduction section presents the entire history of the Pöllmann and Khramer shops.

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Prescott, Abraham (1789-1858)

• Shain, Steve “The c. 1825 Abraham Prescott Double Bass.” International Society of Bassists Magazine. Vol. 10, No. 3, Spring 1984, (centerfold section, 6 pages, no pagination, inserted between pages 20 and 21).

Note: A small biography of Abraham Prescott is presented at the 2^nd page of the centerfold.

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• Wall, Edward. “Abraham Prescott: Bass Viol Maker of Deerfield and Concord.” Historical New Hampshire, Vol. 42, No. 2, Summer 1987, pp. 101-123. New Hampshire Historical – Article Record

• Wall, Edward. “Notes on Abraham Prescott.” International Society of Bassists Magazine. Vol. 5, No. 3, 1979, p. 497.

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Schnitzer, Arnold

• Gage, David. “Interview with Arnold Schnitzer.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, pp. 67-71.

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Scipioni, Cristiano

• Anderson, John Robert. “An Interview and Luthier Profile with Cristiano Scipioni, September 13, 2022, Montanara, Italy.” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 3, June-September 2023, pp. 29-32.

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Stainer, Jacob (1617-1683)

• Planyavsky, Alfred. “Baßgeigen zwischen M. Praetorius und J. Stainer.” Jakob-Stainer-Tagung Innsbruck 1983, Innsbruck, pp. 95-100.

Note: This article is based on the lecture presented at the Jakob-Stainer-Tagung Innsbruck 1983 conference that took place in Insbruck, Austria during September 30 – October 2, 1983.

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Suzuki, Tetsu

• Gage, David. “International Luthier Tetsu Suzuki.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 1, October – January 2019, pp. 53-55.

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Tait, Andrew

• Tait, Andrew. “A Career in Making and Playing by Andrew Tait” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 1, October – January 2022, pp. 31-34.

Note: This article features Andrew Tait as classical bass player, violonist and bass maker.

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Toenniges, Paul (1908-?)

• Rosengard, Duane and Toenniges, Paul. “Paul Toenninges.” International Society of Bassists Magazine. Vol. 15, No. 2, Winter 1989, pp. 28-32, 35, 37.

Note: The first part of an article was written by Toenniges in autobiographical style. The section on Toenniges’ basses written by Duane Rosengard.

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Williams, Dustin

• Meyers, Daniel. “Build a Bass in a Week, An Interview with Dustin Williams.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, pp. 22-23.

Note: This article present the project of building a bass on the location during the ISB 2015 Convention.

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Bass Makers – General

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• Shain, Steve. “The American BassMaker.” International Society of Bassists Magazine. Vol. 10, No. 2, Winter 1984, p. 31.

Note: This is a very brief article which overviews the history of American bass makers and also announces future reviews of American basses in the “Centerfold Section” column.

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Luthiers – Restoration & Repair

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Please take a note that the ABP Articles page offers two headings that presents craftsman who produce and repair bass instrument. The Luthiers – Restoration & Repair features only the craftsman and shops that specialize in instrument restoration, repair and maintenance; and who do not have the record of building a bass instrument. The Bass Makers  heading features only the craftsmen who build the basses, or have built them in the past. This said, however, many of the bass makers certainly have worked on restoration and repair projects as well, but these activities may be classified one day in detail within the separate ABP pages dedicated to individual Bass Makers and Luthiers.

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Cilicek, Joe

• Daugherty, Robert. “A Magic Touch.”Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, pp. 9-10.

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DiLeone, Louis (1921-2021)

• (author not cited). “Lou DiLeone” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 2, February – May 2022, p. 7.

• Gage, David. “Lou DiLeone: A Special Mentor to Many.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 1, February – May 2015, pp. 25-28.

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Gass, Lisa

• Gage, David. “Pioneer Luthier Lisa Gass sets her stake and raises the bar out West.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 2, February – May 2019, pp. 25-29.

Note: Although this article is mostly about Gass’ luthier skills she has also made one bass.

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Horine, David C. (1917-1986)

• Green, Barry. “C. David Horine – A Tribute.” International Society of Bassists Magazine. Vol. 13, No. 1, Fall 1986, pp. 30-35.

Note: D. Horine was a beloved and respected luthier, yet it would be of interest to find if he actually made any basses as well?

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• Horline, Jack. “The Bass Viol Shop.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, p. 22. (pages not numbered, page numbers counted)

Note: “Horline” as cited for the author’s name in the article is probably a misspelled, yet the story is indeed about David Horine’s “Bass Viol Shop” in Cincinnati.

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Wiliams, Dustin

• Kosky, Chris. “Is there a (bass) doctor in the house?” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 3, June – September 2021, pp. 28-30.

Note: This article is written in an interview form between editor Chris Kosky and luthier Dustin Williams. Should it be know that Maestro Williams have also made basses, the author of this portal will promptly include him at the Bass Maker’s listing.

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Bow Makers

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If a cited luthier is both a bass maker and a bow maker, they are cited both as a Bow Maker (here) and in the Bass Makers listing.

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DeLuccia, Vincenzo (1882-1966)

• Chris, Brown. “Bow Art Corner, Vincenzo DeLuccia.” International Society of Bassists Magazine. Vol. 20, No. 2, Spring/Summer 1995, p. 36.

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Dignan, Thomas

• Reiley, Steven. “2003 ISB Luthier’s Competition.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2, October – January 2003, pp. 41-43.

Note: Gold Medal Winning Bow by Thomas Dignan featured on p. 43, Thomas Dignan text  p. 41.

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Fetique, Victor (1872-1933)

• Brown, Chris. “Three Bass Bow Makers from Mirecourt.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 36-40. (Fetiqe biography, p. 40, Fetique Bow Photos pp. 38-39)

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Kolstein, Samuel (1915-1999)

• (author not cited) “Samuel Kolstein.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, p. 12. (pages not numbered, page numbers counted)

• Kolstein, Barrie. “Luthier’s Corner, Samuel Kolstein – May 26, 1915 – May 23, 1999.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 2, Fall 1999, pp. 46-51.

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Lee, John Norwood

• Lee, Beverly Manasse. “Me and My Beau.” International Society of Bassists Magazine, Vol. 13, No. 3, 1987, pp. 46-47.

Note: An article about bow maker John Norwood Lee and pernambuco wood.

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Lynn & George Rubino

• (author not cited) “Rubino Bowmaking Shop.” International Society of Bassists Magazine. Vol. 2, No. 2, Winter 1976, p. 143.

Note: This is a half a page overview of Rubino’s bow shop and their life stories. Although the article does not indicate it precisely it appears that their bows are a result of a joint effort between Lynn and George, both also double bassists.

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Morizot, Louis (1874-1957)

• Brown, Chris. “Three Bass Bow Makers from Mirecourt.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 36-40. (Morizot biography, p. 37, Morizot Bow Photos pp. 38-39)

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Poulsen, Boyd (1935-2023)

• (author unknown) “Boyd Poulsen (1935-2023).” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 3, June-September 2023, p. 33.

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Sartory, Eugene (1871-1946)

• Brown, Chris. “Three Bass Bow Makers from Mirecourt.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 36-40. (Sartory biography, p. 37, Sartoru Bow Photos pp. 38-39)

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String Makers

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Dlugolecki, Damian

• Hanani, Hanah. “Modern Gut Strings: Damian Dlugolecki Offers Musicians a Choice.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 3, (1998), pp. 4-8.

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Savarez Company of Lyon, France

• Proto, Frank. “Corelli Double Bass Strings by Savarez.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, pp. 28-29.

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Basses – Construction & Luthiere

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• (author not cited) “Price Survey on Bass Repairs.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 122.

Note: This survey was undertaken by ISB in 1975, so the fees for repair procedures are certainly not valid today, yet they may serve as a historical reference on what they used to be.

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• Brown, Andrew W. “An Acoustical Study on Bass Bridge Adjusters.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 10-14.

• Campbell, Edward C. “Sellection of Wood.” International Society of Bassists Magazine. Vol. 2, No. 2, Winter 1976, p. 139, 143.

• Davis, Trevor. “Build a Bass 2019.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 1, October – January 2019, pp. 28-29, 31, 33, 35.

Note: A report on “Build a Bass 2019” luthiers’ project which took place during the ISB Indiana University, Jacobs School of Music Convention.

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• Davis, Trevor. “Building a Decorated Bass” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 1, October – January 2022, pp. 13-17.

Note: In this article luthier Trevor Davis describes the process of building the bass and along offers some details from his life.

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• Dazler, Ted. “Bass Repairs.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 6) (Vol. 6, No. 3) 1968, pp. 12-16.

Note: This article features an overview of five sessions on bass repair presented by luthiers Lawrence LaMay and Harry Gillingham at the  First International Institute for the String Bass Conference, 1967, Madison, Wisconsin.  The subjects covered were humidity, cracks, bridge function, size, and fitting, and other items.

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• Drucker, Gerald. “Philharmonia Orchestra of London. New Acquisitions.” International Society of Bassists Magazine. Vol. 7, No. 1, Fall 1980, p. 681.

Note: An article about the acquisition of eight new basses by Philharmonia Orchestra of London that were ordered by Gerald Drucker and made by Guenter Kramer, of Pollmann firm.

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• Duffney, Wiliam. “[ A String Length of 46 Inches ].” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 2) June 1967, p. 14.

Note: This is a letter of William Duffnay to the editor of Bass Sound Post in which he corrects the previously printed statement that “the bass string lengths vary from 35 to 44 inches,” and since his own instrument that he uses in the orchestra presents a 46 inch string length. Mr. Duffnay does not offer information on what bass he plays, but he does suggest a survey to the Bass Sound Post that should reveal the actual string lengths of the basses used in the professional orchestras.

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• Fisher, Al. “Logarithmic Fingerboard.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 14) Vol. 2, No. 4, August 1970, pp. 10-13.

Note: This article written by Al Fisher, pizzicato bass virtuoso, may appear as a surprise entry in the Luthiere and Construction section. However, the content presented in this feature appears well presented and scientifically based. The article is about planing the fingerboard longitudinally (from top to bottom) in a way that can afford the string the same angle between the pressed note and the fingerboard, regardless of the place where it is played. Al Fisher calls such a fingerboard, the “Logarithmic Fingerboard.” It certainly would be of interest to see if the best planed (easiest to play) fingerboards by the present-day luthiers follow this system, or perhaps, if even a better curvature model has been invented since 1970?

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• Fisher, Al. “Unaccompanied Pizzicato String Bass.” Probas. [ Publication of the International Institute for String Bass ] Vol. 1, Issue 1, Fall  1972, pp. 11-17.

Note: In this article Al Fisher describes the setup for his 5 stringed bass with High C string that has special acoustical benefits and is specially adjusted for his virtuoso pizzicato technique.

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• Gage, David. “Choosing the Right Equipment: Endpins and Tailpieces.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 1, July – September 2009, pp. 35-39.

• Gage, David.  “Do Bridge Adjusters Affect the Bass Sound?” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 3, February – May 2009, pp. 43-47.

• Gage, David. “The Blockless Wonder.” International Society of Bassists Magazine. Vol. 12, No. 1, Fall 1985, pp. 50-51.

Note: An interesting article about the special construction feature common on 19th century Bohemian basses, which do not have a neck block and where instead the neck wood extends into the body in a peninsular or ‘shoe’ shape. Some of these instruments may have structural problems and it well advised to check them well before purchasing them.

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• Gage, David, Jim Ham and Arnold Schnitzer. “Ask the Luthiers.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 3, February – May 2012, pp. 41-42.

Note: The following questions commonly asked to luthiers are answered:
What is meant by the term re-graduation? Is it a good or bad thing? – and – Thoughts from the glue pot.

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• Gage, David, Jim Ham and Arnold Schnitzer. “Ask the Luthiers.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 2, October – January 2011, pp. 32-33.

Note: In this article the featured luthiers answer the following questions:
1. What emergency repairs can be learned (or should be learned) by a working bassist?
2. My bass top has a lot of rosin on it from my bow playing. How do I clean it off?”
also “New Thoughts from the Glue Pot” (some interesting thoughts that may be worth reading)

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• Gage, David, Jim Ham and Arnold Schnitzer. “Ask the Luthiers.”Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, pp. 7-8.

Note: In this article the featured luthiers answer the following questions:
1. From least expensive to most expensive, what are the various ways of solving the problem of too much string tension?
2. Due to the lack of traditional tone woods, what is the likely future of the string bass?

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• Gage, David, Jim Ham and Arnold Schnitzer. “Ask the Luthiers.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 3, February – May 2011, pp. 13-14.

Note: In this article the featured luthiers answer the following questions:
1. My neck is bowing from the torque of the strings and has become hard to play. What should I do?
2. The lower bout of my bass top has a depression at the end of my bass bar, just to the E string side of the tailpiece. What should be done?

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• Gage, David, Jim Ham and Arnold Schnitzer. “Dancing with Wolf Tones.” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 2, October – January 2012, pp. 25-26.

• Gage, David, Jim Ham and Arnold Schnitzer. “Luthier Q&A.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 3, February – May 2010, pp. 31-34.

Note: In this article the featured luthiers answer the following questions:
1. What is your approach or goal when shaping a curve, or relief, in the fingerboard in the direction from the nut toward the bridge, the direction the hand moves while on one string?
2. What are your ideas on string gapping at the bridge and at the nut in relation to string?
3. What are the various adhesives that you use and why?

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• Gage, David, Jim Ham and Arnold Schnitzer. “Luthiers, What’s On Your Mind?” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 1, June – September 2010, pp. 37-38.

Note: In this article the featured luthiers answer the following questions:
1. What considerations do you make when selecting a bridge for a certain bass?
2. What are your ideas regarding sound post installation with respect to wood type, location, and fit?
3. How important are the various qualities and types of tailpieces and tailpiece wires? Why?

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• Graue, William Jacque. “Obnoxious Noises.” International Society of Bassists Magazine. Vol. 18, No. 2, Fall 1992, p. 32.

Note: An article about the variety of unwanted noises that may appear on the bass, what causes them, and the procedures that can eliminate them.

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• Gilbert, Edward and Barry Green. “Bass Description and Measurement Guide.” International Society of Bassists Magazine. Vol. 2, No. 4, Spring 1976, pp. 199-200.

Note: This feature presents the fill-in data sheet for bass properties and dimensions that may serve as a basis for personal registry of bass instruments. These sheets can be found useful also when considering several instruments for purchase, or if there is a need to catalog an existing bass instrument collection. Also, the sheets may be of service to bass makers and luthiers should they wish to keep a record of instruments they have made or have worked on. Lastly, these data sheets can be of service for insurance purposes, and for ordering the custom soft cases as well.

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• Grünert, Horst. “Erfahrungen beim Kopieren alter Violoneinstrumente”  Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 67-70. Universität Wien – Article Record Citation  |  WorldCat Book Record

Title in English: An Experience Gained by Copying old Violone Instruments.

Cited also in Instruments – Violone  and Bass History – Baroque Period

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• Hannings, Lynn Armour. “Bassists, We Have a Problem!” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, pp. 8-10.

Note: This article addresses the pernambuco as endangered species of wood, and which is due to its overuse, illegal cutting and illegal trade.

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• Hannings, Lynn. “Pernambuco Update: Time to Take Action!” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 3, June-September 2023, pp. 25-27.

• Hannings, Lynn. “Uniting for the Conservation and Restoration of Pernambuco.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 2, October – January 2006, pp. 21-22.

• Hill, Jack. “Joey Naeger’s Home Depot Bass” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 3, June – September 2021, pp. 19-22.

Note: This is an interesting article about how one may make a legitimate bass instrument by using only the wood from the local lumber store. This project is described in the form of an interview between the editor Jack Hill and the project leader Joey Naeger.

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• Hill, Jack. “Seams” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 3, June – September 2022, pp. 19-20.

• Holz, Dietrich. “Frühere und heutige Materialprobleme beim Bau von Streichinstrumenten der tiefern Tonlagen” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 155-166. WorldCat Record

Title in English: The Former and Present Issues with Wood Material in Construction of Low Register Stringed Instruments.

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• Horline, Jack. “The Bass Viol Shop.” International Society of Bassists Magazine. Vol. 8, No. 2, Winter 1982, p. 22. (pages not numbered, page numbers counted)

Note: “Horline” as cited for the author’s name in the article is probably a misspelled, yet the story is indeed about David Horine’s “Bass Viol Shop” in Cincinnati.

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• John, Horst. “The Extinction of the Brazilwood Tree.” International Society of Bassists Magazine. Vol. 19, No. 1, Fall 1993, p. 22.

• Karr, Garry. “About the Double Bass.” Violin Society of America Jorunal. Vol. 16, No. 3, 2000, pp. 173-184.

Note: This article presents a transcript of an interview with Garry Karr during the 26^th Annual Violin Society of America Convention held at Salt Lake City held on November 3, 1998.

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• Kappelmeyer, Oskar. “Der Wiener Kontrabass im 18. Jahrhundert – bautechnische Merkmale und Besonderheiten” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 145-147. WorldCat Record

Title in English: The Viennese Double Bass in the 18^th Century – Construction Features and Peculiarities.

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• Karr, Gary and Jim Ham. “In Search of the Perfect Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 1, June – September 2001, pp. 20-25.

Note: This interview was presented by Gary Karr and James Ham on November 3, 1998 at the Violin Society of America International Competition for New Instruments and Bows, held in Salt Lake City, Utah.

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• Kertz, Randall. “Ergo, Luthiernomics!” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, pp. 47-49.

Note: Although written for his “Body and Bass” column, this article by Dr. Kertz is not about the health issues related to bass splaying, but rather an exploration of possibilities to make bass more comfortable instrument to play by considering input and solutions offered by leading instrument makers – David Gage and Barrie Kolstein. Here you will find here information on Gage’s Czech Ease Bass, which has the lower bout cut out, thus making it much easier to transport and carry – and – Kolstein’s copy of Testore bass with asymmetrical shoulders, and which offers easier access to higher positions.

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• Kolstein, Barrie. “The Art of Fingerboard Dressing.” International Society of Bassists Magazine. Vol. 6, No. 4, Spring 1980, pp. 628-629.

• Kolstein, Barrie. “Luthier’s Corner.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, pp. 28-32.

Note: This article of the “Luthier’s Corner” column features the following questions and subsequent answers:
1. Are there books on how to build and repair the double bass?
2. What is the difference between a flat and round back? Is one better than the other?

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• Kolstein, Barrie. “Luthier’s Corner, Setting up Your Instrument.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 3, 1997, pp. 4-8.

• Kolstein, Barrie. “Luthier’s Corner, Q & A” (The Bass Bar and Top as one Piece ; Warped Necks … ; The Well tempered Environment.) Bass World : The Journal of International Society of Bassists. Vol. 22, No. 1, 1997, pp. 34-37.

Note: This article was printed as a part of Luthier’s Corner column, and it consists of three sections that answer the questions on “The Bass Bar and Top as one Piece,” “Warped Necks” and “Humidity and the Bass.”

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• Kolstein, Barrie. “Luthiers Corner, Seasonal Damage Control.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 1, Spring / Summer 1999, pp. 4-6.

Note: This article covers the humidity and its influence on the basses, what to do when you discover a “Buzz” on the instrument and the warping of the bows and how it is rectified.

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• Kolstein, Barrie. “Luthiers Corner, Sound Posts.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, pp. 26-29.

Note: This is an excellent article on what considerations are taken when setting the sound post and also what happens to the body of the bass itself in relation to the sound post during the season changes from warm surrounding (summer – corpus expansion) to the cold climate (winter – corpus contraction) and how these changes relate to bass and its sound, since the sound post does not contract or expand.

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• Kolstein, Barrie. “On the Question of Certification.” International Society of Bassists Magazine. Vol. 12, No. 2, Winter 1986, pp. 22-25.

Note: This is a very well written article that describes all the issues involved with certification of older instruments.

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• Kolstein, Barrie. “Q & A.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 1, June – September 2001, pp. 72-73.

Note: In this article Kolstein answers the following questions:
1. How difficult is to reset the neck in K Basses?
2. How much difference is there in curvature on the fingerboard from the end of the fingerboard to the nut area?
3. Are the “alternate woods” are suitable for bass making?
4. What types of Instrument Insurance are available and how does one obtain a policy?

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• Kolstein, Samuel. “Helpful Hints and Observations on Bows.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, pp. 20-23.

Note: Originally written for a 1981 Hofstra University Repair Seminar.

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• LaMay, Lawrence and Gary Karr. “Shop Talk.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 2) June 1967, pp. 6-8.

Note: An interview of luthier Lawrence LaMay with Gary Karr featuring common subjects related to bass construction and setup. It is interesting to note that a question of setting the bass after a switch from gut to steel strings was also mentioned, which implies that a switch from gut to steel strings was still relevant in 1967.

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• Lyman, Frederick C. Jr. “Behind the Scene in the Bass Industry.” International Society of Bassists Magazine. Vol. 6, No. 1, Fall 1979, p. 571 continued p. 573.

Note: The title should read “Behind the Scene in the Bass Building Industry” as it addresses the making process on many instruments that in fact were made by the master craftsman only in part, while the majority of work is done by a bass part specialist or even unskilled woodworkers. The article also addresses the repair, restoration and appraising of basses at the time of writing in 1979.

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• Lyman, Frederick C. Jr. “Building a Sound.” International Society of Bassists Magazine. Vol. 6, No. 2, Winter 1980, p. 593, continued on p. 597.

Note: Lyman offers his thoughts on how and what may be asked in respect to the customization of a new instrument during the building process and how the tonal parameters may be agreed on to a mutual satisfaction of a commissioner and the bass maker.

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• Lyman, Frederick C. Jr. “Characteristics of the Bass Top.” International Society of Bassists Magazine. Vol. 4, No. 4, April 1978, p. 429.

• Lyman, Frederick. “Design Factors in Modern Bass Sound.” International Society of Bassists Magazine. Vol. 3, No. 1, Fall 1976, p. 228.

• Lyman, Frederick. “Development of the Piccolo Bass.” International Society of Bassists Magazine. Vol. 4, No. 1, Fall 1977, p. 343.

Note: This is the story of Lyman’s Piccolo Bass that was acquired by Ron Carter and made famous by his playing.

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• Lyman, Fred. “Mr. Tepper Hits the Trail.” Probas. [ Publication of the International Institute for String Bass ] Vol. 1, Issue 1, Fall  1972, pp. 10-11.

Note: In this article Lyman tells the story of Mr. Tepper and Mr. Gardenet and their joint search for a good instrument wood in Oregon.

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• Lyman, Frederick. “Options in Custom-Built Bass Design.” International Society of Bassists Magazine. Vol. 3, No. 2, Winter 1977, p. 263, 266.

• Lyman, Frederick. “Piccolo Progress Report.” International Society of Bassists Magazine. Vol. 6, No. 3, Spring 1980, p. 601, continued p. 607.

Note: A report on the evolution and upgrades to Lyman’s Piccolo bass used by Ron Carter. The new redesigned and somewhat thicker front plate was installed and the result was an improvement in sound. The article also mentions a work on “Piccolino” bass that is even smaller than the Piccolo model.

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• Lymann, Frederick. “Should You Move the Sound Post?” International Society of Bassists Magazine. Vol. 5, No. 1, Fall 1978, p. 457.

• Lymann, Frederick C. Jr. “What About Building Your Own Bass?” International Society of Bassists Magazine. Vol. 5, No. 3, 1979, p. 499.

• Lymann, Frederick. “Wood for Bass Construction.” International Society of Bassists Magazine. Vol. 3, No. 3, Spring 1977, p. 277, 279.

• Maestro, Edward and Barry Green. “Price Survey on Bass Repairs.” International Society of Bassists Magazine. Vol. 1, No. 3, Spring 1975, pp. 45-46.

Note: This survey was undertaken by ISB in 1975, so the fees for repair procedures are certainly not valid today, yet they may serves as a historical reference on what they used to be.

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• Martin, Tomas. “Bass Bars.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 75-76.

Note: An article on the function and construction of the bass bar.

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• Martin, Tomas. “Bass Ribs.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, pp. 75-76.

Note: An article on the function and construction of the bass ribs.

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• Martin, Tomas. “Building Bridges.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, p. 71-73.

Note: An article on the bass bridge, its function, custom cutting, fitting and the final setup.

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• Martin, Thomas. “It’s In the Post.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 2, October – January 2004, pp. 64-65.

Note: An excellent overview of the bass sound post its function and setup.

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• Martin, Thomas.” “Putting a Handle on It.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, pp. 76-77.

Note: An overview of the bass neck, all the variables in construction that luthiers consider and the general setup.

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• Martin, Thomas. “Topping It Off.”  Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, pp. 69-70.

Note: An article on the meaning and styles of the bass scroll.

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• Martin, Thomas. “What’s Behind It All.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, p. 62.

Note: A very valuable article about the back plate and much that should be known about its construction and function on both modern and historical basses.

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• McGregor, Colin. “The Uplifting Top.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 2, October – January 2009, pp. 70-71.

Note: Sometime an interesting article about the luthiere can make it to the Children’s column as a part of the report from an ISB conference. In this article the 11 year old Colin (at the time), tells the story of assisting Steve and Aaron Reiley in removing a top and gluing the rib crack during the conference.

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• McIntosh, Robert G. “Drying Wood for Bass Luthiere.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 3, February – May 2010, pp. 25-29.

Note: Please read if you can, as indeed you will learn a lot from this article about the wood humidity, basses, the way the basses are constructed, and the way the basses react to weather.

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• Moehring, Rich, Christian Pedersen. “The 2021 ISB Build a Bass Program Goes Virtual!” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 1, October – January 2021, pp. 16-18.

Note: This article explains how a sample bass instrument intended for fundraising has been collectively built and presented during the ISB conference. The author of this article is not cited, but the good portion of the article was written by recounts of the builders themselves.

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• Moehring, Rich. “In Search of the Comfortable Double Bass” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, pp. 31-35.

Note: An excellent article on how a bass should be set for a comfortable playing, and what are the adjustable variables. Please read this article before visiting a luthier for a bass setup session or before purchasing an instrument, as you will be able to find out much information on the setup tolerances and general design that may help you playing comfort.

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• Naeger, Joey. “Fingerboard Geometry.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, pp. 31-34.

Note: An excellent article on how to design and approach Fingerboard trimming and geometry. All issues and approaches explained.

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• Nicholson-Newton, Raymond. “The Five-String Double Bass and the End of the “Contra” C String Mechanisms.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, pp. 25-26.

Note: This is an interesting article on the chronology and history on the development of double bass instruments with focus on the low register reach. Both the extensions and the five string bass development are covered and along the opinions of the leading luthiers of c. 1982 presented.

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• Pickering, Norman. “The Wolf Note.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, pp. 13-17.

• Schiegnitz, Thomas. “Der Kontrabass von Andreas Jais (Tölz 1736) in Original und Nachbau” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 149-154. WorldCat Record

Title in English: The Double Bass from Andreas Jais (Tölz 1736) in the Original and the Restoration.

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• Robertson, Dan. “Hair Today, Gone Tomorrow!” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 3, (1998), pp. 64-67.

Note: This article features the rehairing and the bow hair choices.

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• Robertson, Dan. “Fingerboard Dressing” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 3, (1998), pp. 67-68.

Note: This article features the issues in dressing (shaping) of the fingerboard.

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• Slejko, Stanley. “Robot.” International Society of Bassists Magazine. Vol. 4, No. 1, Fall 1977, p. 341.

Note: An interesting device that had tried to improve the sound of bass by playing it mechanically in the absence of a real player.

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• Traeger, Charles. “An Excerpt from Charles Traeger’s Letter Concerning C Extension.” International Society of Bassists Magazine. Vol. 1, No. 2, Winter 1974-1975, p. 24.

Note: In this article Traeger offers an argument against metal clamp-style extensions that affect the sound of instrument, but advisees his own wood model that can be played by fingers on the extension.

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• Traeger, Charles. “Hints from a Repairman.” International Society of Bassists Magazine. Vol. 2, No. 1, Fall 1975, p. 119.

Note: This article is dedicated to the setup and construction problems that may cause the loss of a sound volume in bass. As such cited are: a neck somewhat loose in the neck block, a badly fitted bridge and a badly fitted sound post.

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• Traeger, Charles. “Hints from a Repairman.” International Society of Bassists Magazine. Vol. 1, No. 3, Spring 1975, p. 46, 50.

Note: In this article Traeger reviews two “how to repair stringed instruments” books, and along offers his own advice on what may work and what may not in these prints. He also offers advice on when to make summer and winter soundposts and also when to insert them. He describes that the making and inserting of the soundposts for two different seasons are two different processes, as apparently one should not make a soundpost at the season when it is supposed to be inserted (!)

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• Traeger, Charles. “Hints from a Repairman.” International Society of Bassists Magazine. Vol. 1, No. 2, Winter 1974-1975, p. 21.

Note: In this article Traeger offers several “don’ts” or what should not be done by bassists whether in respect to a bass purchase or an instrument maintenance and repair.

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• Traeger, Charles. “Of Wood and Other Things.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, p. 29.

Note: This article points to (perhaps) lesser known facts on how the age and the “dryness” status affect the bass bar, its spring, yet also the soundpost and the bridge. Apparently, while all admit and recognize that old basses (created of old wood and some aged for centuries) sound better, exactly the opposite is true of the bass bar, sound post and the bridge. The more recent they are (fresh wood), the more of a good tone and vitality they can afford to the bass of any age.

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• Traeger, Charles. “On This and That.” International Society of Bassists Magazine. Vol. 7, No. 1, Fall 1980, p. 682.

Note: This article covers the subject of extensions’ types and installation along with the possible risks for the neck warp on instruments with thin neck (French neck). The subject of the common time to switch the soundpost from the summer one (long) to the winter one (short), which would be about Thanksgiving time, is also covered. Lastly some ideas on how to clean extra rosin on the instrument and bow were presented.

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• Traeger, Chuck. “Repairs That Should Never Be Done!” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 3, February – May 2006, pp. 57-58.

• Traeger, Charles. “The Repairman’s Corner – More About Sound Posts.” International Society of Bassists Magazine. Vol. 5, No. 4, Spring 1979, p. 527.

• Wolf, Thomas. “Baroque Set-up” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 3, June – September 2021, pp. 23-25.

Note: This article overviews the setup concepts and their practical realization on modern period bass instruments.

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• Zapata, Alejandro. “We Built a Bass in a Week.” Bass World : The Journal of International Society of Bassists. Vol. 40, No. 1, June – September 2017, p. 28.

Note: Article describes the project of building a bass within a week by cumulative effort of participant luthiers during the 2017 ISB Convention in Ithaca, NY.

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Bases – Repair

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• Green, Barry and Charles Traeger. “Repair Price Survey – Luthier Questionnarie Results.” International Society of Bassists Magazine. Vol. 6, No. 3, Spring 1980, p. 607.

Note: This article presents the asked prices for typical repair procedures as offered by reports of several American luthiers. These prices are obviously not the current one given the time difference from 1980 till now, but they are a good historical reference point on what the prices used to be.

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• Schnitzer, Arnold. “Emergency Repairs” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 2, February – May 2022, pp. 15-16.

• Traeger, Charles. “Hints from a Repairman.” International Society of Bassists : Newsletter. Vol. 1, No. 2, Winter 1974, p. 21.

• Traeger, Charles. “Hints from a Repairman.” International Society of Bassists : Newsletter. Vol. 1, No. 3, Spring 1975, p. 46, (continued) p. 50.

• Traeger, Charles. “The Repairman’s Corner.” International Society of Bassists Magazine. Vol. 4, No. 1, Fall 1977, p. 341.

Note: This text s both about how to transport basses properly and the damage that may be caused by improper transportation.

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Basses – Setup & Maintenance

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• (four different authors) “Double Bass Setup Tips from Four Working Luthiers” Bass World : The Journal of International Society of Bassists. Vol. 47, No. 1, October – January 2024, pp. 25-27.

Note: This article features the following four contributions:

Lloyd, Nick. “Understanding String Length and C-Extensions”
McIntosh, Helen. “Ergonomics of Neck Geometry”
Runco, Anne Marie. “Double Bass Soundposts”
Schnitzer, Arnold. “Keep It Clean!”

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• Hill, Jack. “Basic Maintenance” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 3, June – September 2020, pp. 27-28.

• Hill, Jack. “How to Install Strings and, Gasp, Your Soundpost!” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 1, October – January 2021, pp. 49-52.

Note: an excellent article on how to perform basic instrument setup and maintenance. Most of this data is already known to the experienced bass players yet there may be some information here that may refresh and update your knowledge as well.

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• Kolstein, Barrie. ““Basic” String Maintenance: What You Should Do, and Not Do.” International Society of Bassists Magazine. Vol. 20, No. 3, Winter 1996, pp. 8-12.

Note: This article offers a good overview of instrument checks and adjustments that are recommended on yearly basis.

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• Reinfranck, Steve. “Bass Repair, Outfitting and Upkeep: A Checklist for Private Studio Instructors and Their Students.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, pp. 42-43.

Note: This well written article was printed under the “Child’s Play” column dedicated to the young bassists, so it offers a bass maintenance and a simple bass repair advice to the novices and those who teach young bass players. Yet and still, the advice offered here may also be of good service to all other profiles of bassists.

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• Tomita, Fumi. “Equipment and Setup for Jazz Bassists.” Bass World : The Journal of International Society of Bassists. Vol. 41, No. 2, February – May 2019, pp. 31-36.

Note: This article also covers the electric bass setup and the amplification setup issues.

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Bass Makers’ Competitions

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• For Bass Makers’ Competitions articles and reports, please be kind to follow the link to Bass Makers’ Competitions listing which is located under the Competitions heading.

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Bows – Construction & Luthiere

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• Kolstein, Samuel.  “Helpful Hints and Observations on Bows.” International Society of Bassists Magazine. Vol. 10, No. 3, Spring 1984, pp. 34-35.

• Kolstein, Samuel. “Solutions and Answers.” International Society of Bassists Magazine. Vol. 11, No. 3, Spring 1985, pp. 38-41.

Note: In this article Samuel Kolstein answers the following questions:
1. How do you evaluate the French and German Bass Bows and the Choosing of the School?
2. Why after a rehairing, is the sound fuzzy?
3. What maintenance aids and repairs on my own bows can I do?

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Instruments & Bows

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Instruments – Bases

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The heading of Instruments – Basses is designed to feature all articles that focus either on a single modern or historical bass instrument – or – that cover several important bass instruments at once. In this heading you will find all the ISB Magazine centerfold section articles that were diligently featured by Duane Rosengard and Steven Reiley, and along many other articles with pictures and details of unique and deserving basses.

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Basses – General

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• Greenberg, Michael. “On the Trail of the Octobasse in Mirecourt, France.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, pp. 19-23.

Note: This is an excellent multi-subject article that covers the following topics: The history of stringed instrument making in Mirecourt, France, The stringed instruments museum Musée de La Lutherie et de L’archeterie Françaises which itself stores several important basses, The present day luthiers (bass makers) in Mirecourt and lastly the new project of creating a replica of Vuillaume’s 1849 Octobasse.

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• Moens, Karel. “Tiefe Streichinstrumenten aus dem Bestand der venezianschen Sammlung Corrers in Brüsseler Musikintrumenten-Museum –  Fragen zur Athentizität” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 75-99. WorldCat Record

Title in English: The Low Stringed Instruments from the Holdings of Venetian Correr Collection in Musem of Musical Instruments, Brussels – The Questions of Authenticity.

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Basses Listed by Maker’s Last Name and Year

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Please note that featured basses are cited in this listing alphabetically by the last name of the maker, although they are cited in the “First Name – Last Name” format. So, please look for the last name in order to locate the proper instrument. This type of an instrument citation format is applied here in order to differentiate it from the very names of the Bass Makers which are cited in the common “Last, First” name format, and which is the common practice for all personal name citations. Therefore the format of the instrument citation will consist of the First – Last name of the maker, followed by the year of the make, and then followed by any other descriptor that has become associated with the instrument. In summary: First, Last, Year, Descriptor.

Unfortunately, some instrument citations will still offer a variation to this pattern, because some data may be missing.

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Josiah Bennett Allen 1841

• McIntosh, Robert G. “An American Bass by Josiah Bennett Allen, 1841.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, pp. 6-9.

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Hammond Ashley Custom Bass (1988?)

• (author not cited) “Hammond Ashley Custom Bass.” International Society of Bassists Magazine. Vol. 18, No. 2, Fall 1992, pp. 35-37.

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Jean Auray – Charlie Haden Bass

• Auray, Jean. “Creative Collaboration: The Bass I made for Charlie Haden.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 1, July – September 2007, pp. 13-15.

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Gasparo da Salo 1590 – Dragonetti

• (author not cited) “Dragonetti’s Bass.” International Society of Bassists Magazine. Vol. 2, No. 3, Spring 1976, p. 162.

Note: This is just the photo of Dragonetti’s Da Salo bass in its present location in St. Mark’s Basilica in Venice. For the full story on this bass and its modern restoration please read Scaramelli – Dragobetti’s Da Salo article online.

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Gaspar da Salo / Giovanni Paolo Maggini (c. 1600)

• Reiley, Steven. “Gaspar da Salo, Giovanni Paolo Maggini, or Both?” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 2, October – January 2005, pp. 43-45.

Note: This article presents an exquisite old instrument which may be ascribed to either da Salo or Maggini or possibly even both of them.

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Gasparo da Salo c. 1585

• (author not cited) “The c. 1585 Gasparo da Salo Double Bass.” International Society of Bassists Magazine. Vol. 11, No. 2, Winter 1985, (centerfold section, 6 pages, no pagination, inserted between pages 22 and 23).

Note: A featured instrument was in possession of Joseph Guastafeste at the time of printing.

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Gasparo da Salo c. 1600 Dragonetti-Leinster (Toronto)

• (author not cited) “Double Bass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 17) Vol. 3, No. 1-6, 1971, p. 7.

Note: This is the story of Dragonetti’s other famous da Salo instrument, the one which is different from the best known Dragonetti’s da Salo which he received from, and returned later back to Basilica of St. Mark in Venice. See above “Gasparo da Salo 1590 – Dragonetti.”

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Giuseppe Baldantoni – Guitar Model – Mid 19^th Century

• Reiley, Steven. “The Basses of Robert Marsh Gladstone.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 39-41. (Baldantoni details p. 39, photos p. 41)

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Joseph Baldantoni 1856

• Rosengard, Duane and Steven Reiley. “Baldantoni – The “Guitar Bass.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, pp. 43-47.

Note: This article is joint effort of Rosengard and Reiley. The Rosengard section covers the introduction, historical information and the biography of Giuseppe (Joseph) Baldantoni (pp. 43-45), while the Reiley section, subtitled “Analysis of Workmanship,” covers the construction and manufacture aspects of this instrument (pp. 45-46).

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Nicola Bergonzi 1777

• Rosengard, Duane. “Nicola Bergonzi.” International Society of Bassists Magazine. Vol. 16, No. 3, Spring 1990, p. 40, Centerfold section pp. 1-6 (unnumbered, glossy paper), p. 41.

Note: This article features two Nicola Bergonzi basses: The Nicola Bergonzi 1777 and Nicola Bergonzi 1780, however only the photos of Nicola Bergonzi 1780 are featured. This article is eighth pages long and covers both the pages with indicated numbers and the centerfold (glossy paper) section that is unnumbered. Therefore it was thought prudent to present the full index with all the sub articles, photos and pages as they appear in magazine:

“Double Basses from Cremona” (text) p. 40
“The 1777 Nicola Bergonzi Bass” (text) p. 40 – Centerfold p. 1
“The 1780 Nicola Bergonzi Bass” (text) Centefold p. 1
“History” (text & instrument photo from the back, Centerfold pp. 1-2
“Nicola Bergonizi (1780) – front view photo, Centerfold pp. 3-4
Instrument F hole photo (1780) , Centerfold p. 5
Instrument measurements (1777 and 1780), text & four photos, Centerfold p. 6
Notes (footnotes for the article text) p. 41.

Nevertheless, although the pagination may appear confusing, in reality it is easy to overview what is written and presented in photos.

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Nicola Bergonzi 1780

• Rosengard, Duane. “Nicola Bergonzi.” International Society of Bassists Magazine. Vol. 16, No. 3, Spring 1990, p. 40, Centerfold section pp. 1-6 (unnumbered, glossy paper), p. 41.

Note: This article features two Nicola Bergonzi basses: The Nicola Bergonzi 1777 and Nicola Bergonzi 1780, however only the photos of Nicola Bergonzi 1780 are featured. This article is 8 pages long and covers both the pages with indicated numbers and the centerfold (glossy paper) section that is unnumbered. Therefore it was thought prudent to present the full index with all the sub articles, photos and pages as they appear in the magazine:

“Double Basses from Cremona” (text) p. 40
“The 1777 Nicola Bergonzi Bass” (text) p. 40 – Centerfold p. 1
“The 1780 Nicola Bergonzi Bass” (text) Centerfold p. 1
“History” (text & instrument photo from the back, Centefold pp. 1-2
“Nicola Bergonizi (1780) – front view photo, Centerfold pp. 3-4
Instrument F hole photo (1780) , Centerfold p. 5
Instrument measurements (1777 and 1780), text & four photos, Centerfold p. 6
Notes (footnotes for the article text) p. 41.

Still, although the pagination may appear confusing, in reality it is easy to overview what is written and presented in photos.

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Jaap Bolnik 1982

• (author not cited) “The 1982 Jaap Bolnik Double Bass.” International Society of Bassists Magazine. Vol. 12, No. 1, Fall 1985, (centerfold section, 6 pages, no pagination, inserted between pages 28 and 29).

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William Baker Brighton 1835

• Reiley, Steven. “Double Bass Made By William Baker Brighton 1835.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 3, February – May 2007, pp. 31-33.

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Domenico Busan c. 1740-1780

• Reiley, Steven. “Domenico Busan, Venetian Double Bass circa 1740-1780.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, pp. 37-39.

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Dominicus Busan 1750

• (author not cited) “The 1750 Dominicus Busan Double Bass.” International Society of Bassists Magazine. Vol. 9, No. 3, Spring 1983, (centerfold section, 6 pages, no pagination, inserted between pages 20 and 21).

Note: This centerfold on p. 1 features a short biography of David Perlman who was the former owner of  Dominicus Busan 1750 instrument.

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Lorenzo Carcassi 1765

• Reiley, Steven. “1765 Double Bass by Lorenzo Carcassi.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, pp. 36-39.

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Carlo Carletti 1913

• Reiley, Steven. “Carlo Carletti 1873-1941, Pieve de Cento, Italy.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 1, Spring / Summer 1999, pp. 30-33.

Note: This article presents both the biography of Carlo Carletti and his 1913 bass instrument.

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Orfeo Carletti 1936

• Reiley, Steven. “Orfeo Carletti Double Bass, Fece in Pieve di Cento 1936.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, pp. 37-39.

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Enrico Ceruti 1852

• Reiley, Steven. “Enrico Ceruti Double Bass, Cremona, 1852.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 3, February – May 2004, pp. 29-31.

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Giuseppe Ceruti c. 1830s

• Rosengard, Duane. “The c.1830s Giuseppe Ceruti Double Bass.” International Society of Bassists Magazine. Vol. 14, No. 2, Winter 1988, (centerfold section, 6 pages, no pagination, inserted between pages 40 and 41).

Note: This article also presents the biographies of Giuseppe Ceruti and Ceruti family.

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Patrick Charton B21 Bass (2006)

• James, Ham. “Patrick Charton’s B21 Bass: A New Approach.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 3, February – May 2006, p. 61.

Note: This article presents the Charton’s B21 model that features a detachable neck and as such is suitable for travel. The article also presents the details of manufacture and design of this instrument.

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Giuseppe Dall’Aglio 18^th c.

• (author not cited) “Giuseppe Dall’Aglio Double Bass, Once Owned by Anton Torello, It’s Clarity Defies Analysis.” International Society of Bassists Magazine. Vol. 12, No. 2, Winter 1986, (centerfold section, 6 pages, no pagination, inserted between pages 28 and 29).

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Giulio Degani  (after 1935)

• (author not cited) “Giulio Degani Bass.” International Society of Bassists Magazine. Vol. 19, No. 2, Spring 1994, pp. 37-30.

Note: This is an instrument of significance for the American Bass history as it was owned by Louis Winsel of the Cincinnati Symphony. The featured story implies that the instrument may have been made during the Degani’s post 1935 residence in Cincinnati, yet the year of make was not precisely indicated in the article. The very label inside of the instrument reads Degani Domenico 1865 but the report assumes that that this label does not indicate the instrument’s true age and maker.

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Giovanni Dollenz 1852

• Robertson, Aaron. “Bass Made by Giovanni Dollenz, Trieste, Italy anno 1852.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 2, October – January 2006, pp. 33-36.

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Celeste Farotti 1906

• Rosengard, Duane. “The 1906 Celeste Farotti Double Bass.” International Society of Bassists Magazine. Vol. 14, No. 3, Spring 1988, (centerfold section, 6 pages, no pagination, inserted between pages 36 and 37).

Note: The article presents also a biography of Celeste Farotti.

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Bernard Simon Fendt 1830s

• Reiley, Steven. “Bernard Simon Fendt 1830s.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 2, October – January 2007, pp. 37-39.

Note: There is no official title for this article so the name of the instrument was ascribed to title. Otherwise this article has appeared in the Centerfold column.

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Raffaelle Fiorini (1868)

• Rosengard, Duane. “The Raffaelle Fiorini Double Bass.” International Society of Bassists Magazine. Vol. 15, No. 1, Fall 1988, (the article starts on p. 34 and follows on centerfold section without pagination, inserted between pages 34 and 35)

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Benoit Fleury 1756

• Reiley, Steven. “Benoit Fleury, 1756.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, pp. 43-45.

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William Forster II, King George III 1789

• Rosengard, Duane. “The 1789 King George III Double Bass by William Forster II.” International Society of Bassists Magazine, Vol. 14, No. 1, Fall 1987, (article starts on page 30 and follows on centerfold section without pagination (pp.1-5), inserted between pages 30 and 31).

Note: This article also presents a nice biography on William Forster II. The story of the origin of this instrument for King George III of England is truly astonishing and particularly since this instrument was order by King to be made larger than the one which Garibaldi (Italian who worked in London at the time) just ordered from Italy. So it appears that the King George III was quite familiar with his own ensemble’s bass players and their instruments! The great historical paradox however is that at the printing of this ISB magazine issue, this instrument was located in the New World.

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William Forster II c. 1800 – Front Plate, William Baker 1848

• Reiley, Steven. “Forster vs. Barker.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 2, October – January 2004, pp. 33-35.

Note: Please excuse the complex name of this instrument yet it appears that after extensive research and restoration this exquisite instrument may be consisting in the original body work of William Forster from c. 1800 and the new front plate added after the restoration by William Baker in 1848.

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Giovanni Battista Gabrielli 1769

• Reiley, Steven. “Giovanni Battista Gabrielli 1769.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 1, July – September 2006, pp. 29-31.

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Giovanni Battista Gabrielli – Second Half of the 18^th Century

• Reiley, Steven. “Giovanni Battista Gabrielli, Florence, Italy, Second Half of the 18th Century.” International Society of Bassists Magazine. Vol. 20, No. 3, Winter 1996, pp. 39-41.

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(Gennaro) Gagliano – “Dark Gagliano”

• Griffin, Michael. “Glorious Gaglianos.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 1, June – September 2008, pp. 29-32.

Note: This article references the two Gagliano instruments.  The “Dark Gagliano” was owned by Isaia Bille , Anton Torello (1928 on), Oscar Zimmerman (1929 on) and Robert Zimmerman (son) (from 1959 on).

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Joseph Gagliano 1790- “Yellow Gagliano”

• Griffin, Michael. “Glorious Gaglianos.” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 1, June – September 2008, pp. 29-32.

Note: This article references the two Gagliano instruments. The “Yellow Gagliano” was owned from 1940 on by Irving Whiteneck, Oscar Zimmerman and Robert Zimmerman (son).

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Prosdocimo Gazzola 1855

• Reiley, Steven. “Prosdocimo Gazzola Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 2, (1998), pp. 37-39.

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George Gemunder 1852

• Rosengard, Duane. “George Gemunder, 1852.” International Society of Bassists Magazine. Vol. 15, No. 2, Winter 1989, (centerfold section – no pagination, inserted between pages 32 and 33)

Note: The introduction presents a nice biography of George Gemuder.

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John Geyer 1889

• Parker, Marcus. “Grand Bass, by an American – John Geyer.” International Society of Bassists Magazine. Vol. 2, No. 2, Winter 1976, p. 133.

Note: This article features a photo and a short story on a unique John Geyer’s instrument built in 1889 that was 4 and ½ meters (15 foot) tall. The photo shows the instrument and the Cincinnati luthier David Horine standing by it.

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William Gilkes 1843

• Reiley, Steven. “William Gilkes, London, 1843.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, pp. 37-39.

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Matteo Goffriller 1740

• (author not cited) “The 1740 Matteo Goffriller Double Bass.” International Society of Bassists Magazine. Vol. 10, No. 2, Winter 1984, (centerfold section, 6 pages, no pagination, inserted between pages 22 and 23).

Note: This article features a small biography of Milt Hinton, who owned this instrument at the time of printing, and also a small biography the maker Matteo Goffriller.

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Giovanni Baptista Grancino 1699

• (author not cited) “1699 Giovanni Baptista Grancino Double Bass.” International Society of Bassists Magazine. Vol. 12, No. 3, Spring 1986, (centerfold section, 6 pages, no pagination, inserted between pages 26 and 27).

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Andreas Jais 1736

• Schiegnitz, Thomas. “Der Kontrabass von Andreas Jais (Tölz 1736) in Original und Nachbau” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 149-154. WorldCat Record

Title in English: The Double Bass from Andreas Jais (Tölz 1736) in the Original and the Restoration.

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Karr – Koussevitzky Double Bass – French c1800 (formerly attributed to Amati)

• (author not cited) ““Karrmati” Gift Makes ISB History.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 2, October – January 2004, pp. 21-22.

Note: In this article the Karr bass, which was given to him by Koussevitzky is still being cited as Amati, while the article by Williams (below) disproves that attribution.

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• Heath, Jason. “Tackling the Karr Koussevitzky Bass.” Bass World : The Journal of International Society of Bassists. Vol. 33, No. 1, July – September 2009, pp. 17-20.

Note: Formerly ascribed to Amati.

• Reiley, Steven. “The Karr-Koussevitzky Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 1, June – September 2005, p. 35-37.

• Williams, Dustin Art. “Dendrochronology and the Karr-Koussevitzky Double Bass.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 1, June – September 2005, p. 65-67.

Note: In this article a very professional and scientific dendrochronological study of bass plates and its tree rings patterns was undertaken, and the final conclusion on the date of this instrument is “that the bass was made sometime between 1775 and 1790.” This bass was formerly attributed to Amati.

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Thomas Kelischek TK 1992

• Smith, Robert. “Contemporary Double Bass Innovations: The TK 1992 Built by Thomas Kelischek.” International Society of Bassists Magazine. Vol. 18, No. 3, Spring 1993, pp. 34-37.

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Thomas Kennedy 1820

• Rosengard, Duane. “Thomas Kennedy, 1820.” International Society of Bassists Magazine. Vol. 16, No. 1, Fall 1989 (article starts on p. 28 and follows on centerfold section without pagination, inserted between pages 38 and 39)

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(Johann Karl) Klotz c. 1730

• (author not cited) “The c. 1730 Klotz Double Bass.” International Society of Bassists Magazine. Vol. 11, No. 3, Spring 1985, (centerfold section, 6 pages, no pagination, inserted between pages 24 and 25).

Note: The text indicates that “This instrument was made around 1730 by a member of the Klotz family, probably Johann Carl Klotz.” For the list of brothers of Johann Carl Klotz and the biography of Mathias Klotz the father, please check the article.

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Barrie Kolstein – Kolstein Busetto Travel Bass (year, likely 2000-on ?)

• Vally, Roberto. “(No Title)” Bass World : The Journal of International Society of Bassists. Vol. 32, No. 2, October – January 2008, p. 59.

Note: The overview of Kolstein Busetto Travel Bass was printed under “Product Review” column.

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Samuel Kolstein – Bernard Simon Fendt Maggini (1977)

• (author not cited) “The Bernard Simon Fendt.” International Society of Bassists Magazine. Vol. 3, No. 3, Spring 1977, p. 279.

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Christian Laborie – Charles Quenoil model 1993

• (author not cited) “A Solo Double Bass in the Style of Charles Quenoil.” International Society of Bassists Magazine. Vol. 19, No. 1, Fall 1993, pp. 37-39.

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John Fredrick Lott 1840

• Gass, Lisa and Chris Poehler. “The John Lott Bass Formerly Owned by Art Davis.” Bass World : The Journal of International Society of Bassists. Vol. 35, No. 1, June – September 2011, pp. 31-40.

Note: There are several advertisement pages inserted in this article that also cover the career of jazz bassist Art Davis.

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Carlo Loveri & Sons, c. 1900-1910

• Reiley, Steven. “Carlo Loveri & Sons, c. 1900-1910.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, pp. 39-41.

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Vincenzo Luccarini 1831

• Rosengard, Duane. “The 1831 Vincenzo Luccarini Double Bass.” International Society of Bassists Magazine, Vol. 13, No. 3, 1987, (centerfold section, 6 pages, no pagination, inserted between pages 30 and 31).

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Frederick Lyman Piccolo Bass (1977 ?)

• Lyman, Frederick. “Development of the Piccolo Bass.” International Society of Bassists Magazine. Vol. 4, No. 1, Fall 1977, p. 343.

Note: This is the story of Lyman’s Piccolo Bass that was acquired by Ron Carter and made famous by his playing.

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Giovanni Paolo Maggini 1606

• (author not cited) “The 1606 Gio: Paolo Maggini Double Bass.” International Society of Bassists Magazine. Vol. 10, No. 1, Fall 1983, (centerfold section, 6 pages, no pagination, inserted between pages 20 and 21).

Note: This article presents a short biography of Warren Benfield, the owner of the featured instrument at the time of printing.

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Manchester bass 1880s (appearance of James Cole and William Tarr basses)

• Tramontozzi, Stephen,  Laura Schwartz and Allan Droyan. “Stage Struck: A Restoration Story.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 2, October – January 2006, pp. 25-27.

Note 1: This article is about the unfortunate stage accident that essentially destroyed the Stephen Tramontozzi’s bass (San Franciso Symphony), and how this instrument was restored to a condition almost better than before the accident.

Note 2: By a mistake the section of the last closing paragraph of this article was omitted, yet it was printed in the Bass World : The Journal of International Society of Bassists. Vol. 30, No. 3, February – May 2007, p. 20.

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Enrico Marchetti c. 1900

• Rosengard, Duane. “Enrico Marchetti.” International Society of Bassists Magazine. Vol. 17, No. 2, Winter/Spring 1991, pp. 35-37.

Note: This article also features a well written biography of Enrico Marchetti (1855-1930).

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Antonio Mariani 17^th Century

• Reiley, Steven. “Antonio Mariani Bass.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 1, 1997, pp. 39-41.

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Patrick Marshall 1980

• Marshall, Patrick. “A New Bass.” International Society of Bassists Magazine. Vol. 6, No. 3, Spring 1980, p. 601.

Note: In this article Patrick Marshall presents his new bass that was modeled on the J.B. Vuillaume instrument owned Jamie Leopold (at the time).

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Giuseppe Pedrazzini 1906

• Reiley, Steven. “Giuseppe Pedrazzini, 1906.” International Society of Bassists Magazine. Vol. 17, No. 1, Fall 1990, (centerfold section – no pagination, inserted between pages 36 and 37).

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Vincenzo Panormo (no dating provided) – ex. Lawrence Angell

• Reiley, Steven. “Vincenzo Panormo Bass.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 3, 1997, pp. 35-37.

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Vinzenzo Panormo 1785

• (author not cited) “The 1785 Vincenzo Panormo Double Bass.” International Society of Bassists Magazine. Vol. 9, No. 2, Winter 1983, (centerfold section, 6 pages, no pagination, inserted between pages 22 and 23).

Note: Instrument was owned by Mike Leiter at the time of printing.

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Panormo 1802 – ex. Fred Zimmermann

• Reiley, Steven. “The Basses of Robert Marsh Gladstone.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 1, June – September 2003, pp. 39-41. (Panormo details p. 39, photos p. 40).

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F. Plumerel 1843

• Rosengard, Duane. “F. Plumerel 1843.” International Society of Bassists Magazine. Vol. 15, No. 3, Spring 1989, (article starts on page 32 and follows on centerfold section without pagination (pp.1-6), inserted between pages 32 and 33).

Note: This instrument has belonged to Parisian bassist Achille Gouffe and may have been featured on famous Edgar Degas’ drawing & painting of Gouffe among the musicians in Paris Opera orchestra.

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E. M. Pollmann 1949

• Reiley, Steven. “The Pöllmann Workshop.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 2, October – January 2001, pp. 41-43. (E.M. Pollmann 1949, photo p. 42)

Note: The introduction section presents the entire history of the Pöllmann and Khramer shops.

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Abraham Prescott 1801 – La Farro

• (author not cited) “Lafaro Bass Takes Center Stage.” The Bass Line. [ Publication of the International Society of Bassists ] December 1995, p. 4.

• Kolstein, Barrie. “Scott LaFaro Bass Dedication.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 2, October – January 2015, p. 19.

• Kolstein, Barrie. “The “LaFaro Prescott” Restoration.” International Society of Bassists Magazine. Vol. 14, No. 3, Spring 1988, pp. 56-63.

Note: ISB Magazine has published two articles by Barrie Kolstein titled “The “LaFaro Prescott” Restoration.” One at 1988 and the other at 2016.

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• Kolstein, Barrie. “The “LaFaro Prescott” Restoration.” Bass World : The Journal of International Society of Bassists. Vol. 38, No. 3, February – May 2016, pp. 40-45.

Note: ISB Magazine has published two articles by Barrie Kolstein titled “The “LaFaro Prescott” Restoration.” One in 1988 and the other in 2016.

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Abraham Prescott 1805-1815

• Reiley, Steven. “Abraham Prescott Double Bass, c. 1805-1815.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 1, June – September 2001, pp. 36-39.

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Abraham Prescott c. 1825

• Shain, Steve “The c. 1825 Abraham Prescott Double Bass.” International Society of Bassists Magazine. Vol. 10, No. 3, Spring 1984, (centerfold section, 6 pages, no pagination, inserted between pages 20 and 21).

Note: A small biography of Abraham Prescott is presented at the 2^nd page of the centerfold.

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Cipriano Raffo 1889

• Rosengard, Duane. “Cipriano Raffo, 1889.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, (centerfold section – no pagination, inserted between pages 42 and 43).

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School of Amati c. 1660

• Zgonc, Larry. “c. 1660 Double Bass Ascribed to School of Amati.” International Society of Bassists Magazine. Vol. 13, No. 1, Fall 1986, (centerfold section, 6 pages, no pagination, inserted between pages 28 and 29).

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Steven Reiley – The Giuseppe Ceruti Model Bass, Op. 32, 1993

• Ritchie, Bill and Steve Reiley. “The Giuseppe Ceruti Model Bass, Op. 32, Built by Steven Reiley, 1993.” International Society of Bassists Magazine. Vol. 19, No. 3, Fall 1994, pp. 32-37.

Note: An article about Steven Reiley’s bass that is based on Giuseppe Ceruti c. 1830, featured in International Society of Bassists Magazine. Vol. 14, No. 2, Winter 1988, (centerfold section – no pagination, inserted between pages 40 and 41).

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G. B. Roggeri 1690

• Rosengard, Duane. “The 1690 G.B. Rogeri Double Bass.” International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, (centerfold section, 6 pages, no pagination, inserted between pages 34 and 35).

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Francesco Ruggieri 1697

• (author not cited) “Do You Know???” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 3) November, 1967, p. 12.

Note: This is an article about an exceptional bass that was owned among others by Ludwig Juht of Boston Symphony, and John Mathews of Baltimore Symphony.

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Jacob Stainer c. 1640

• (author not cited) “The c. 1640 Jacob Stainer Double Bass.” International Society of Bassists Magazine. Vol. 11, No. 1, Fall 1984, (centerfold section, 6 pages, no pagination, inserted between pages 22 and 23).

Note: This instrument is also cited at the ABP Museums – Tiroler Landesmuseum Ferdinandeum since it is affiliated with the museum collection now. For further details please consult Ferdinandeum – Stainer Page.

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Carlo Giuseppe Testore c. 1705

• Reiley, Steven. “Carlo Giuseppe Testore Double Bass, c. 1705 .” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, pp. 35-37.

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Paolo Antonio Testore 1736

• Reiley, Steven. “Paolo Antonio Testore 1736.” International Society of Bassists Magazine. Vol. 20, No. 2, Spring/Summer 1995, pp. 32-35.

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Gennaro Vinaccia c. 1775-1800

• Reiley, Steven. “The Gennaro Vinaccia circa 1775.” International Society of Bassists Magazine. Vol. 20, No. 1, Winter 1995, pp. 37-39.

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Vuillaume (19 c. ?)

• (author not cited) “Members of the Israel Philharmonic Bass Section and Barry Green Inspect a Large Bass (probably built by Vuillaume) in Bass Viol Shop.” International Society of Bassists Magazine. Vol. 1, No. 2, Winter 1974-1975, p. 21.

Note: This feature is just a brief report of a visit of Israel Philharmonic Bass Section to the Bass Viol Shop in Cincinnati with a photograph. Yet it also features a curious large instrument that was assumed to be by Vuillaume. The same shop has apparently also stored John Geyer 1889, which was another huge bass. The size of the featured Vuillaume is difficult to judge but it would be of interest to explore where this instrument may reside today and, what was its story.

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Phil Yost 1981

• Lyman, Frederick C. Jr. “Phil Yost Re-Engineers the Bass.” International Society of Bassists Magazine. Vol. 8, No. 1, Fall 1981, pp. 780-781.

Note: This article reports of a newly engineered bass by Phil Yost which offers several modern construction and design elements that are not featured in traditional bass design. Given, that this instrument was produced at time the report was written (c. 1981) it would be of interest to explore how many of these instruments have been constructed and how many perhaps may still be in service today.

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*  *  *

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Unknown – Delmas-Boussagol – Henri Girard – Peter Mercurio

• (author not cited) “The Peter Mercurio Lion’s Head Bass.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, (centerfold section, 6 pages, no pagination, inserted between pages 20 and 21)

Note: This instrument has a well documented history of ownership starting with Delmas-Boussagol, a Professor of Bass at National Conservatory of Music in Paris from 1940, until Peter Mercurio, who owned this instrument at the time of printing in 1982. Yet, beyond the suggestion that the Lion’s Head was made by Testore, no other data on the maker was suggested. This exceptional instrument also marks the first “Centerfold Section” appearance in the ISB Magazine.

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Instruments – Basses – Exhibitions & Museums

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• Fiore, Michelle. “A Walk Through the Time: An Exhibition of the Great Brescian Masters.” Bass World : The Journal of International Society of Bassists. Vol. 31, No. 3, February – May 2008, pp. 9-16.

Note: A review of an exquisite exhibition of old Italian basses that included the following instruments:

G.P. Maggini – Small Violone or Basetto p. 11 (Measurements)
G.P. Maggini “ex-Dumas” p. 12 (Photos and Measurements)
G.P. Maggini “ex Dragonetti” p. 14 (Photos and Measurements)
G.P. Maggini (private American collection) p. 15 (Photos and Measurements)
Gasparo Bertolotti da Salo “Dragonetti” p. 16 (Photos and Measurements)
G.P, Maggini (city of Brescia) p. 16 (Measurements)

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• Moens, Karel. “Tiefe Streichinstrumenten aus dem Bestand der venezianschen Sammlung Corrers in Brüsseler Musikintrumenten-Museum –  Fragen zur Athentizität” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 75-99. WorldCat Record

Translated Title: The Low Stringed Instruments from the Holdings of Venetian Correr Collection in Musem of Musical Instruments, Brussels – The Questions of Authenticity.

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• Slatford, Rodney. “Outside America: Rodney Slatford Visits Czechoslovakia.” International Society of Bassists Magazine. Vol. 4, No. 1, Fall 1977, pp. 355-357.

Note: The third and fourth paragraph on p. 357, left column, present the Museum of Musical Instruments in Prague and overview their basses. Described the Unknown 1597 instrument, now set with four strings and part of the Rozmberg Orchestra Collection, followed by Jacobus Stainer 1677, Joseph Anton Laske 1767, Thomas Edlinger 18c. and Joannes Udalricus Eberle 1740. One of those instruments is probably featured in the ABP Museums – Prague section, yet the full systematization on these instruments is yet to be undertaken.

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• Slatford, Rodney. “Outside America: Rodney Slatford Visits Czechoslovakia.” International Society of Bassists Magazine. Vol. 4, No. 1, Fall 1977, pp. 355-357.

Note: The third paragraph on p. 357, right column presents The Slovak National Musical Instrument Museum in Bratislava and points to three bass instruments in the collection. Cited instruments are Carl Ertl 1836,  Nandor Bruckner 19^th c. and Franz Jensky 19^th c. One of those instruments may be featured on the top photo from the 2017 exhibition report by SNM Music Museum – Operaslovakia.sk – Photo

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Instruments – Basses – Appraisal

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• (author unknown). “Die Fuchssche Taxe der Streichsinstrumente in Otto Möckels Neubearbeitung.” Der Kontrabass. Nr. 2, Leipzig, Ende Juni, 1929, p. 15-17. IA – Download Link

Note: This is an interesting period article on the reception of the third edition of Albert Fuchs’s volume on the current prices and valuation of stringed instruments (including double basses). The article explains how the prices fluctuated after the World War I and how the evaluation process made or did not make sense. The author of this article is not known, but it is likely one of Der Kontrabass editors. The article also notes a curious tendency that all good instruments tend to move to the US, a process that curiously continues even in our time.

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• Kolstein, Barrie. “On the Subject of Certification.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 2, October – January 2001, pp. 80-81.

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Instruments – Basses – Insurance

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• Traeger, Charles. “Hints from a Repairman (On Instrument Insurance).” International Society of Bassists Magazine. Vol. 2, No. 3, Spring 1976, p. 167.

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Instruments – Basses – Purchase

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• Gilbert, Edward and Barry Green. “Bass Description and Measurement Guide.” International Society of Bassists Magazine. Vol. 2, No. 4, Spring 1976, pp. 199-200.

Note: This feature presents the fill-in data sheet for bass properties and dimensions that may serve as a basis for personal registry of bass instruments. These sheets can be found useful also when considering several instruments for purchase or if there is a need to catalog an existing bass instrument collection. These sheets may certainly be of service to bass makers and luthiers too should they wish to keep a record of instruments they have made or have worked on. The introduction mentions also that these data sheets can be of service for insurance purposes, and for ordering the custom soft cases.

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• Grodner, Murray. “Some Guidelines on Choosing a Double Bass and Double Bass Bow.” International Society of Bassists Magazine. Vol. 2, No. 4, Spring 1976, p. 198, 206.

Note: A very good article on what to look for in a bass and bow when approaching their acquisition. Also, this article offers good overview of general sounding characteristics of basses from various geographic or national regions (German, Italian, English and other basses).

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• Hill, Jack. “Purchasing a New (or Old) Bass: What to Look and Listen For” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 1, October – January 2020, pp. 29-31.

 

• Kolstein, Barrie. “Luthier’s Corner.” Bass World : The Journal of International Society of Bassists. Vol. 23, No. 3, Winter 2000, pp. 12-15.

Note: Although the title does not imply it, this article features the advice on purchasing bass and lists the facts to consider during the purchase process.

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• Lyman, Frederick. “Thoughts on Buying a Bass.” International Society of Bassists Magazine. Vol. 4, No. 3, 1977-78, p. 389.

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• Traeger, Charles. “Hints from a Repairman.” International Society of Bassists : Newsletter. Vol. 1, No. 2, p. 21.

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Instruments – Basses – Rankings

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• Tolo, Leland. ““Quality” in the Instruments.” International Society of Bassists Magazine. Vol. 2, No. 2, Winter 1976, p. 139, 141.

Note: This article reports on a small collegiate bass instrument ranking project, as the common student instruments were used in the endeavor and simply compared for tonal qualities and playing abilities. The very subject of ranking the relatively new instruments is indeed an intriguing one, as beside the biannual ISB Bass Makers’ competition, it appears that no other official evaluation of the broader choice of new instruments was ever undertaken in any publication (?)

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Instruments – Basses – Folk / Ethnic

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• Kohn, Harold. “Tamburitzen Bass.” International Society of Bassists Magazine. Vol. 7, No. 2, Winter 1981, p. 685, p. 687 (right column).

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Instruments – Violone

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• Bacciagaluppi, Claudio, ““Primo violoncello al cembalo”: L’accompagnamento del recitativo semplice nell’Ottocento”, Rivista italiana di musicologia: Periodico della Società Italiana di Musicologia. Vol. 41, No. 1, Firenze, Italy, 2006, pp. 101-134. JSTOR

Note: This article also contain information on the use of period Violone and likewise the statistical data on period use of double bassi (contrabassi)

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• Baines, Francis. “Der Brummende Violone.” The Galpin Society Journal. Vol. 23, August 1970, pp. 82-85. JSTOR

Title in English: The Humming Violone.

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• Barket, James. “In Search of the Violone.” The Bass Line. [ Publication of the International Society of Bassists ] April 1998, p. 1, 3, 5.

• Binnig, Martina. “War die Wiener Stimmung schon im 17. Jahrhundert bekannt? – Zu den Abhandlungen von Prinner und Talbot.” ; “Was the Viennese tuning already known in the 17th century? – On the treatises of Prinner and Talbot.” Magazin der Sperger Gesellschaft. Nr. 3, November 2020, pp. 34-37. IA – Download Page

Note: Article written in German and English in two parallel columns. Violone is mentioned in few references thus listed here.

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• Buckley, Stephen G. “Beethoven, the Viennese Violone, and the Problem of Lower Compass.” Online Journal of Bass Research (OJBR). Vol. 7, December 2015. OJBR – Online View

• Burnett, Henry. “Various Meanings of the term “Violone.”” Journal of the Viola da Gamba Society of America. Vol. 8, 1971, p. 29. VDGSA – Download  |  IA – VDGSA – Download

Note: A Comment by Planyavsky on this article was published in Journal of the Viola da Gamba Society of America. Vol. 10, 1973, p. 98-100.

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• Chapman, David F. “The Sixteen-Foot Violone In Concerted Music Of The Seventeenth And Eighteenth Centuries: Issues Of Terminology And Function.” Eighteenth Century Music. Vol. 12, No. 1, 2015, pp. 33-67. Cambridge.org – Abstract

• Finson, Jon W. “The Violone in Bach’s Brandenburg Concerti.” The Galpin Society Journal. Vol. 29, May,  1976, pp. 105-111. JSTOR

• Finson, Jon W.  “The Violone in Bach’s Brandenburg Concerti.” International Society of Bassists Magazine. Vol. 10, No. 3, Spring 1984, pp. 36-38.

Note: This article is likely a reprint from the The Galpin Society Journal 1976 article (see above).

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• Grünert, Horst. “Erfahrungen beim Kopieren alter Violoneinstrumente”  Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 67-70. Universität Wien – Article Record  |  WorldCat – Book Record

Title in English: An Experience Gained by Copying old Violone Instruments.

Cited also in Basses – Construction & Luthiere and Bass History – Baroque Period .

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• Drescher, Thomas. “Giovanni Battista Vitali -“Sonatore di Violone da Brazzo.” – Beobachtungen zum Problemkreis ‘Violone’ und ‘Violoncello’ ” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 57-74. WorldCat – Book Record

Title in English: Giovanni Battista Vitali -“Sonatore di Violone da Brazzo.” – Observations in respect to the problem area(s) in the research of  ‘Violone’ and ‘Violoncello.’

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• Jones, David Wyn. “Vanhal, Dittersdorf and the Violone.” Early Music. Vol. 10, Issue 1, January 1982, pp. 64-67. Oxford Academic – Article Record

• Leavis, Ralph. “J. S. Bach’s Violone Parts.” The Galpin Society Journal, Vol. 30, 1977, pp. 155-56. JSTOR

• Loescher, Johannes. “Vom Violone zum Violoncello – wirklich eine Frage der Saiten?” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 51-56. WorldCat Record

Title in English: From Violone to Violoncello – could it be a question of Strings?

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• Mahne, Bernhard. “Con Violone – senza Violoncello!” Sperger-Forum. Nr. 2/3, November 2004, Part 1, pp. 37-39.

Note: This article also contains a summary/ abbreviated translation in English at the end (p. 39).

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• Mahne, Bernhard. “Con Violone – senza Violoncello!” Part 2, Sperger-Forum. Heft 3, Nr. 4/5, Part 2,  Oktober 2006, pp. 39-40.

Note: This article also contains a summary/ abbreviated translation in English at the end (p. 40).

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• Mahne, Bernhard. ““Violone.” In der Neuen Ausgabe der “Musk Geschichte unde Gegenwart” (MGG) oder “Die Zuständigkeit der Unzuständigen” ?” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 23-25.

Note: also translated in English in the same Sperger-Forum. Heft 5 (below)

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• Mahne, Bernhard. ““Violone.” In the New Edition of “Musk Geschichte unde Gegenwart” (MGG) or “The  Responsibility of the Incompetent” ?” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, pp. 25-26.

Note: The main complaint to the MGG article concerns the lack of recognition of the division to G and D Violones, which are now standard on concert podium, and along, the lack of acknowledgement that the term Violone was indeed used to exclusively identify the actual double bass in German lands from the mid 18^th century on, all the way to mid late 19^th century, when it was finally replaced with now common Kontrabass name.

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• Maunder, Richard. “The Violone in Bach’s Brandenburg Concerti.” The Galpin Society Journal, Vol. 31, May 1978, p. 147. JSTOR

• McClure, Theron. “High on the Bass.” International Society of Bassists Magazine. Vol. 1, No. 4, Spring 1975, p. 82.

Note: This article addresses the issue of register use with the early stringed bass instruments and argues that the lower portion of available registers was not of much use due to the inadequate period string technology. In those days apparently the existing strings could not offer much volume / clarity in the lower registers. By chance this article also presents much other information related to the period use of stringed bass instruments and is therefore listed here in the Violone heading.

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• McClure, Theron. “The Violone.” International Society of Bassists Magazine. Vol. 3, No. 1, Fall 1976, p. 218.

• Moens, Karel. “Entwicklung von Baumerkmalen im frühen Baßstreichinstrumentenbau bis Anfang 18 Jahrhundert” Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 33-50. Universität Wien – Record Citation  |  WorldCat – Book Record

Title in English: Development of Construction Elements in the Early Stringed Bass Instruments’ Construction until the Beginning of the 18^th Century.

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• Morton, Joëlle Fancher. “Bass Matters: So Really, What is a Violone? Some Answers, and More Questions.” (2002) Ars Antigua – Online View  |  IA Ars Antigua – Online View  |  Earlybass.com – Online View  |  IA Earlybass.com – Online View

• Morton, Joëlle. “Back to Future.” (undated) Earlybass.com – Online View  |  IA Earlybass.com – Online View

Note: An article on the Violone’s history, the relation of double bass to da gamba instruments genealogy and G Violone.

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• Morton, Joëlle. “The Early History and Use of the G Violone.” Journal of the Viola da Gamba Society of America, Vol. 36, 1999, pp. 40-66. Greatbassviol.com – Download Link  |  IA – Download

• Morton, Joëlle. “Soave Armonia or Brummende Violone? Let’s Talk bass . . . When is a Bass not a Double Bass?” Online Journal of Bass Research (OJBR). Vol. 12, July 2021. OJBR – Online View

• Planyavsky, Alfred. “Comment on “Various Meanings of the term “Violone”” by Henry Burnett.” Journal of the Viola da Gamba Society of America. Vol. 10, 1973, pp. 98-100. VDGSA – Download  |  IA – VDGSA – Download

Note: A Comment by Planyavsky on Burnett, Henry. “Various Meanings of the term “Violone.”” Journal of the Viola da Gamba Society of America. Vol. 8, 1973, p. 29.

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• Planyavsky, Alfred. “The Violone in the Anglo-American Literature. An Attempted Protocol.” Translated by James Lambert. Sperger-Forum. Nr. 2/3, 2004, pp. 20-27.

• Planyavsky, Alfred. “Der Violone bei Biber.” (in manuscript, unpublished) 1994, (pagination unknown)

Note: This paper was presented at ESTA in Salzburg, 9.- 16. April 1992. Aus Anlaß des 350. Geburtstages von Heinrich Ignaz Franz Biber. Wiener Saal, Mozarteum,  Salzburg, Austria. The paper was apparently unpublished yet available through the Vienna Double Bass Archives up on request. Cited in AlfredPlanyavsky.at – Referate / Vorträge

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• Planyavsky, Alfred. “Violone und Violoncello im 17. Jahrhundert.” Musicologica Austriaca. Nr. 4, Förenau 1984, pp. 43-84.

• Planyavsky, Alfred. “Violone and Violoncello in the 17^th Century.” Translated by John Bailey. International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, pp. 12-18.

Note: This translation appears to come from Planyavsky’s “Violone und Violoncello im 17. Jahrhundert.” Musicologica Austriaca. Nr. 4, Förenau 1984, pp. 43-84.

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• Seifert, Herbert. “Der Violone in Wien im 17. Jahrhundert” Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 87-96. Universität Wien – Article Record Citation  |  WorldCat – Book Record

Title in English: The Violone in Vienna in the 17^th Century.

Cited also in Bass History – Baroque Period

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• Urquhart, Margaret S. “The Seventeenth Century Violone.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 3, 1997, pp. 18-25.

• Urquhart, Margaret. “Rediscovering a Lost Sound World: A Presentation on Three Violones.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 1, October – January 2023, p. 16.

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Instruments – Octobass

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• MacGregor, Melissa. “The Octobass: Vuillaume’s Big Idea!.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 71-73.

Note: This article was printed under “Young Bassists Page” column and actually represents a very good summary of what is Octobass and how it originated. Commendations to Melissa MacGregor who was an 8^th grader at the time she wrote this article.

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Instruments – Washtub Bass

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• Neubert, David. “The Ol’ Tub Bass, She Ain’t What She Used to Be.” International Society of Bassists Magazine. Vol. 16, No. 1, Fall 1989, p. 26.

Note: An introduction article for the Wiant, Jerry’s article “My Journey to Becoming  Washtub Jerry.”

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• Wiant, Jerry. “My Journey to Becoming Washtub Jerry.” International Society of Bassists Magazine. Vol. 16, No. 1, Fall 1989, pp. 27-29.

Note: An article about the curious species of a stringed bass instrument called Washtub Bass and its performer Jerry “Washtub” Wiant.

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Instruments – Basses – Upright Electric

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This listing offers both the articles on the Electric Upright Basses and presents the articles on the specific models of such instruments.

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General Articles on Upright Electric Basses

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• Delaney, Kevin. “The Electric Upright: Common Ground for Bassists.” International Society of Bassists Magazine. Vol. 19, No. 1, Fall 1993, pp. 48-56.

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Individual Makes of Upright Electric Basses

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The Vektor Upright Bass

• Gannett, Diana. “The Vektor Upright Bass.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 68-69.

Note: This article also features the general information on Electric Upright Basses (EUB) and along offers a list of benefits that these instruments may bring to the collegiate pedagogy.

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Semi-Acoustic Stick Bass – Stefan Krattenmacher

• (author not cited) “Semi-Acoustic Stick Bass.” International Society of Bassists Magazine. Vol. 19, No. 3, Fall 1994, p. 57.

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Instruments – Electric Bass (Bass Guitar)

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• Bany, John. “The Guild Ashbory Bass, … Something Extraordinarily New.” International Society of Bassists Magazine, Vol. 14, No. 1, Fall 1987, p. 42.

Note: Although this instrument is not a typical electric bass (bass guitar) it resembles it in a sense that it is played like a bass guitar. However, the main difference is that it produces a sound very close to an acoustic bass while it is smaller then the bass guitar.

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• Forfia, Mike. “John Patitucci Signature Strap” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 3, June – September 2021, p. 39.

Note: A product review of new John Patitucci Signature Strap for electric bass.

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• Gaer, Leon. “The Pre-CBS Fender Basses.” International Society of Bassists Magazine. Vol. 4, No. 1, Fall 1977, p. 351.

Note: This is a valuable article on the original Fender basses produced from 1948 to 1965 at the time Leon Fender was the owner of the firm, and before the corporate takeover of CBS that apparently degraded the instruments’ workmanship and quality significantly.

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• Johnson, Alphonso. “Bass Guitar.” The Guitar, A Guide for Students and Teachers. Edited by Michael Stimpson, Oxford: Oxford University Press, 1988, pp. 177-190. WorldCat –  Book Record

• Wootten, Red. “Leo Fender – the Bottom Line.” International Society of Bassists Magazine. Vol. 8, No. 1, Fall 1981, p. 781.

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Bows

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This listing offers a mixture of articles on the subject of bass bows. Some of the articles will focus on a particular bow make, some on the history of bass bows and some on the issues related to the manufacture of bows.

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• (author not cited) “The Kolstein-Zimmermann Registered German Bass Bow.” International Society of Bassists Magazine. Vol. 5, No. 3, 1979, p. 511.

Note: An overview of a Samuel Kolstein bow developed in the 1960s in conjunction with the late Frederick Zimmermann.

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• Brown, Chris. “Bass Bows: Consistently Inconsistent.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, pp. 38-41.

Note: This article offers a small history of the bass bow and how it developed to the modern standard. It also offers the bowmakers’ biographies of the father and son Vigneron, and the photos of their bows (pp. 40-41).

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• Brown, Chris. “Three Bass Bow Makers from Mirecourt.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 36-40.

Note: This article presents biographies and bows by Louis Morizot, Victor Fetique, and Eugene Sartory from Mirecourt.

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• Hill, Jack. “Bows and the State of Pernambuco” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 2, February – May 2023, pp. 21-22.

• Karr, Gary. “Karr Talk, Straight Shooting about Bows.” Bass World : The Journal of International Society of Bassists. Vol. 22, No. 1, 1997, pp. 4-11.

Note: In this article Karr presents his views on bows and the need bows should fulfill for solo and orchestra performance. Prof. Karr has owned in vicinity of 80 (eighty) bows during his career and he indeed has much valuable advice to offer on the subject.

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• Lee, Beverly Manasse. “Me and My Beau.” International Society of Bassists Magazine, Vol. 13, No. 3, 1987, pp. 46-47.

Note: An article about bowmaker John Norwood Lee and pernambuco wood.

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• Reiners, Hans. “Bassbögen des Barock” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 123-128. WorldCat Record

Translated in English: Bass Bows of the Baroque.

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• Stoll, Klaus. “The Evolution of String Bass Bows.” International Society of Bassists Magazine. Vol. 3, No. 4, Spring 1977, p. 308.

Note: This article is a pictorial presentation of various historical bass bow types, which start with an illustration of an actual “Hunting Bow” model noted in the 9^th century (and actually to some extent used even during the Baroque period), and ends with the Findeisen bow of c. 1920. Some of the sources for presented illustrations are documented, and some may need a further corroboration. However, in general this is a good overview of the variety of shapes and designs used on bass bows in the past.

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• Trumpf, Klaus. “Der Sperger-Bogen.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, p. 61.

Title in English: Sperger’s Bows.

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Accessories

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Accessories section is designed to feature all the common products that either accompany bass players in their performing activities, or represent separate – exchangeable – removable parts of the double bass. The subject of bass strings, as a very peculiar and important accessory, is accorded its own separate listing under the Strings heading.

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Accessories

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Dampit

• (author not cited) “Something New.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 6) (Vol. 6, No. 3) 1968, pp. 29-30.

Note: The story of Dampit, a tube like device with holes and a sponge inside that is inserted in the F hole to keep the bass humidified. Apparently the Dapmpit was about “less than a year old” at the time of the article printing, so it may have been invented in 1967?

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Endpins

• Bjur, Dave. “The EGGpin Adjustable Endpin for the Double Bass.” International Society of Bassists Magazine. Vol. 19, No. 1, Fall 1993, pp. 64-75.

Note: The story of EGGpin, an adjustable endpin that transfers the weight of the bass away from the left hand for the solo player in standing position.

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• Laborie, Christian. “The Laborie-Rabbath Endpin Genesis: A Successful Collaboration between Musicians and a Luthier.” Bass World : The Journal of International Society of Bassists. Vol. 30, No. 1, July – September 2006, pp. 13-15.

Note: About a new type of endpin that helps the balance of the bass.

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• Reinfranck, Stephen. “Solitaire Endpin, Oliver UllspergerMusikzubehör.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 2, October – January 2004, p. 67.

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Bass Cases

• Gray, Jacque. “Caring for Your Fiberglass Case.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, p. 76.

Note: This article does not review a particular fiberglass case maker but rather offers an advice on how to handle and care for the bass case, and what to expect of airlines in handling the cases (important part).

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• Green, Barry. “Cincinnati Symphony Conducts Trunk Survey.” International Society of Bassists Magazine. Vol. 1, No. 1, Fall  1974, pp. 13-15.

Note: This survey was conducted in order to identify possible reasons for orchestra bass instrument damage in the process of transportation while being on tours. The survey has included following orchestras: New York (Philharmonic, Ballet Orchestra, Met Opera), Philadelphia, Chicago, Washington, D.C., Detroit, Los Angeles, Cincinnati, Cleveland, St. Louis, Montreal, Houston, New Orleans, Rochester, Oregon, Seattle, and Vancouver. In addition, this survey has also identified the typical trunk makes used by these orchestras. Lastly, given that this survey has been undertaken in 1974, it would be of interest to see kind of a data would the modern survey of the same profile yield today some 50 years later.

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• Kolstein, Samuel “Open Letter on the Kolstein Bass Carrier.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 3) November, 1967, pp. 16-17.

Note: On the origin and qualities of Kolstein Bass Carrier.

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Bass Strollers

• (author not cited) “New Kolstein Bass Stroller.” International Society of Bassists Magazine. Vol. 1, No. 3, Spring 1975, p. 45.

Note: This stroller consists of a curved plate unit with two wheels, and it can be easily attached to any soft case or delivered already attached to the case.

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Bass Transportation

• Scott, Heather K. “The Bass Bus.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 1, June – September 2005, p. 71.

Note: A review of the Wally Kay’s Bass Bus which is a transportation device for double bass (with wheels) that can convert into both a bass stand and a bass stool, according to the need. So one does not need to carry extra stool or extra “wheel device” along, as all of them come in one package.

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Bass Trunks

• Green, Barry. “Cincinnati Symphony Conducts Trunk Survey.” International Society of Bassists Magazine. Vol. 1, No. 1, Fall  1974, pp. 13-15.

Note: This survey was conducted in order to identify possible reasons for orchestra bass instrument damage in the process of transportation and while being on tours and guest appearances. The survey has included following orchestras: New York (Philharmonic, Ballet Orchestra, Met Opera), Philadelphia, Chicago, Washington, D.C., Detroit, Los Angeles, Cincinnati, Cleveland, St. Louis, Montreal, Houston, New Orleans, Rochester, Oregon, Seattle, and Vancouver. In addition, this survey has also identified the typical trunk makes used by these orchestras. Lastly, given that this survey has been undertaken in 1974, it would be of interest to see kind of a data would the modern survey of the same profile yield today some 50 years later.

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Bridge Adjusters

• Brown, Andrew W. “An Acoustical Study on Bass Bridge Adjusters.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 10-14.

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Bridges

• Hijos, Brian. “Mario Martello Double Bass Adjustable Bridge.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, p. 69.

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Bass Chairs

• Moulds, Pat. “Basso Performance Chair.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 1, Summer 2000, p. 72.

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End Pins

• Green, Barry. “Tortillier End Pin for the Double Bass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 7) (Vol. 6, No. 4) 1968, pp. 17-19.

Note: A feature of the bass Tortillier End Pin developed by Barry Green and Andrew Wolf that can elevate the bass and make approach to higher positions easier.

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Platforms

• Green, Barry. “New Tonelift Tested.” International Society of Bassists Magazine. Vol. 2, No. 2, Winter 1976, p. 139.

Note: This is a review of a platform device introduced in 1975. As the article states: “The function of the Tonelift is to naturally amplify the vibrations transmitted though the end pin with the acoustical platform vibrating sympathetically.”

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Rockstops

• (author not cited) “Super-Sensitive’s Endpin Floor Protector.” Bass World : The Journal of International Society of Bassists. Vol. 25, No. 3, February – May 2002, p. 82.

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Rosin

• Karr, Gary. “Karr Talk, Rosin – A Sticky Subject.” Bass World : The Journal of International Society of Bassists. Vol. 21, No. 2, Fall 1996, p. 18.

Note: Prof. Karr present his views on past and present rosins he had used, and how he approaches rosin use for his solo playing.

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• O’Brien, Orin. “Gaston Brohan’s Oak Bass Rosin.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, p. 67.

Note: A very complimentary article on Gaston Brohan’s Oak Bass Rosin by Gregorian String Products (Arnlod Gregorian), and which apparently is a full match to the old (and now extinct) original Gaston Brohan rosin. The New York Philharmonic bassist have used this brand for years before Gaston Brohan passed away.

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Strings

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• Duval, Dominic. “Heritage Bass Strings.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 3, February – May 2005, p. 67.

Note: An overview of the new “Heritage Bass Strings” by Kolstein Music.

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• McClowry, Sean. “Winding Up.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, pp. 18-25.

Note: This entire article is dedicated to bass strings, so you will find here all the types of strings explained (gut, steel, combination), and all the string brands presented as well. This is the good article to consider when you wish to change strings or simply want to be informed on all the string brands available on the market in 2002. It certainly would not hurt if a modern and updated article on this subject was to be written again in 2024.

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• Lyman, Fredercik C. Jr. “Different Strings for Different Things.” International Society of Bassists Magazine. Vol. 7, No. 1, Fall 1980, pp. 682-683.

Note: This is a good article to read about all types of available strings c. 1980, both gut and steel. The article describes how the evolution from gut to steel strings has occurred and it also covers the new sound aesthetic and the different performance experience that the new types of strings had brought out with the introduction of steel strings.

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Science

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Science section is designed to feature the headings related to the scientific aspects of double bass construction and history. At this time only the field of Acoustics has emerged as the area with enough articles to afford separate heading, yet in the future more suitable areas may also be identified.

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Acoustics

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• Askenfelt, Anders. “On the Acoustics of the Double Bass” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 167-190. WorldCat – Book Record

• Dorsey, James S. “The Percussed String.” International Society of Bassists Magazine. Vol. 8, No. 1, Fall 1981, p. 753.

• Fricke, Jobst P. “Wie erfüllt der Kontrabass seine Funktion” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 191-199. WorldCat – Book Record

Title in English: How Double Bass fulfills its Function (from the acoustical point of view).

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• Brown, Andrew W. “An Acoustical Study on Bass Bridge Adjusters.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 3, February – May 2001, pp. 10-14.

• Kolneder, Walter. “Von des Basses Grundgewalt”  Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 77-86. Universität Wien – Article Record Citation  |  WorldCat – Book Record

Title in English: About the Fundamental Power of Bass.

Note: The exact coverage of this article is unknown at the present, so it is cited both in the Organology – Instruments #93 and here in the Acoustics listings.

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• Lazarus, Arnold. “To Find the Forces on the String.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 11) Vol. 2, No. 2, February 1970, pp. 7-9.

Note: This is probably the most scientific article ever printed in any bass publication that presents the physics of forces on a graphic chart of a bass string between the nut, bridge and the tailpiece. In fact, the entire “article” appears as just a mathematical calculation diagram/chart designed for specialists who know how to calculate and interpret these symbols. This “article” certainly was not lost on the current members since Abe Luboff offered the following comment in the next issue:

Dear Gary,
I love Arnold Lazarus. He IS marvelous. But, please ask him to interpret his article in a language which a layman can understand.
Abe Luboff, Los Angeles, California.

From: “And We Get Letters.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 12) Vol. 2, No. 2, April 1970, p. 6.

Still, it would be of benefit if this article could be revisited by an acoustics and strings specialist today, to reinterpret it and offer a practical information for common bassists, on how and in which way the tensions, angles and the string properties interact on bass, and how those can be adjusted for a better resonance and more comfort in playing.

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• Pantelić, Filip, and Jurij Prezelj. “Sound Generating Mechanism of the Double Bass.” Telfor Journal. Vol. 5, No. 2, 2013, pp 140-144. WorldCat – Article Record  |  DOAJ – Download Page

• Pantelić, Filip, and Jurij Prezelj. Uticaj Vibracija Gudala Kontrabasa Na Percepciju Zvuka Kod Muzičara. , 2013. Download Page

Title in English: Influence of the Double Bass Bow Vibrations on the Sound Perceptions of Musicians.

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• Pantelić, Filip, and Jurij Prezelj. “Vibracije Na Gudalu Kontrabasa.” Taktons 2013. (2013): 41-43. Download Page

Title in English: Vibrations on the Double Bass Bow.

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• Pickering, Norman. “The Wolf Note.” Bass World : The Journal of International Society of Bassists. Vol. 37, No. 3, October – January 2014, pp. 13-17.

• Ziegenhals, Gunter. “Akustik und Geometrie von Kontrabässen”  Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 201-208. WorldCat – Book Record

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Organology

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Organology is scientific discipline that studies musical instruments, their history and their evolution. Respectively, the articles featured in this section represent the scholarly works about the evolution of Double Basses, Period Bass Instruments (including Violoni) and Bass Bows. Organology section presents also the specialty headings of Bass Tunings  and Bass Harmonics, while the wider choice of articles on bass instruments and bows can be searched at the Luthiere  and Instruments & Bows  sections. You may also note that some articles are cited both in Organology and the other mentioned sections, and the reason for this is because these articles cover several subjects and are cited at any heading where their expertise may enhance and complement the content of the other articles.

Period music players and specialists may also find of interest the Violone heading along with the wide selection of articles featured in Performance Practice  and Technique  sections.

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Organology – Instruments

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• (author not cited) “An Early 20th Century Description of the “C” Extension in Regard to the Works of Richard Strauss, Invented by Max Poike, Berlin and Ludwig Glaesel Jr., Musical Instrument Manufacturer at Markneukirchen (Saxony).” International Society of Bassists Magazine. Vol. 7, No. 2, Winter 1981, p. 687.

Note: This is an interesting article about the origin of low E string extension, yet the author of the article is not cited, nor are the sources on which this small article is based.

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• Caruso, Francesco, Santino Orecchio, Maria G. Cicero, and Stefano C. Di. “Gas Chromatography-Mass Spectrometry Characterization of the Varnish and Glue of an Ancient 18th Century Double Bass.” Journal of Chromatography a. 1147.2 (2007): 206-212. WorldCat – Article Record (summary presented)

• Drescher, Thomas. “Giovanni Battista Vitali -“Sonatore di Violone da Brazzo.” – Beobachtungen zum Problemkreis ‘Violone’ und ‘Violoncello’ ” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 57-74. WorldCat – Book Record

Title in English: Giovanni Battista Vitali -“Sonatore di Violone da Brazzo.” – Observations in respect to the problem area(s) in the research of  ‘Violone’ and ‘Violoncello.’

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• Fleming, Michael. [ Review of Bagatella’s “Règles pour la Construction” ] The Galpin Society Journal, vol. 50, 1997, pp. 263-64. JSTOR

Note: This article presents a review of Antonio Bagatella “Règles pour la construction des Violons Altis, Violoncellos et Basses de Viol” by Antonio Bagatella, which originated at Padua in 1782 and was first published in 1786. This review presents the latest translation of the period treatise on stringed instruments’ construction. ProQuest – Document Preview

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• Focht, Josef. “Historische Facetten der Wiener Kontrabasses” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 129-138. WorldCat – Book Record

Title in English: Historical Aspects of the Viennese Double Bass.

Cited also in Bass History – Classical Period

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• Focht, Josef and Johannes Köppl. “Leipziger Allerlei – Kontrabass digital.” ; “Double Bass Goes Digital in Leipzig” Magazin der Sperger Gesellschaft. Nr. 3, November 2020, pp. 20-28. IA – Download Page

Note: Article written in German and English in two parallel columns.

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• Gandara, Xose Crisanto. “Origin and Development of the Double Bass in Spain” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 19-50. WorldCat – Book Record

• Grissino-Mayer, Henri D, Georgina G. Deweese, and Dustin A. Williams. “Tree-ring Dating of the Karr-Koussevitzky Double Bass: a Case Study in Dendromusicology.” Tree-ring Research. Vol. 61, No. 2, 2005, pp. 77-86. Download Page  |  WorldCat – Article Record

• Grünert, Horst. “Erfahrungen beim Kopieren alter Violoneinstrumente”  Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 67-70. Universität Wien – Article Record  |  WorldCat – Book Record

Title in English: An Experience Gained by Copying old Violone Instruments.

Cited also in Basses – Construction and Luthiere ,  Bass History – Baroque Period  and Instruments – Violone .

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• Halfpenny, Eric. “A Note on the Genealogy of the Double Bass.” Galpin Society Journal. Vol. 1, March 1948, pp. 41-45. JSTOR

• Holz, Dietrich. “Frühere und heutige Materialprobleme beim Bau von Streichinstrumenten der tiefern Tonlagen” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 155-166. WorldCat – Book Record

Title in English: The Former and Present Issues with Wood Material in Construction of Low Register Stringed Instruments.

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• Kappelmeyer, Oskar. “Der Wiener Kontrabass im 18. Jahrhundert – bautechnische Merkmale und Besonderheiten” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 145-147. WorldCat – Book Record

Title in English: The Viennese Double Bass in the 18^th Century – Construction Features and Peculiarities.

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• Karr, Gary. “Karr Talk, Name That Tuning!” International Society of Bassists Magazine. Vol. 20, No. 3, Winter 1996, pp. 4-7.

Note: In this article Prof. Karr offers an overview of tunings and also presents some of his own experience and practice in utilizing and modifying the tunings. For example, Prof. Karr has found that the difference between the solo and orchestra tuning is much more noted on the gut strings (!) and likewise for the sake of preserving the brilliance of the solo tuning, he actually transcribed all the parts for the chamber music a step down, so he can use the solo tuned double bass in chamber music as well.

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• Kolneder, Walter. “Von des Basses Grundgewalt”  Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 77-86. Universität Wien – Article Record  |  WorldCat – Book Record

Title in English: About the Fundamental Power of Bass.

Note: The exact coverage of this article is unknown at the present, so it is cited both the Acoustics and here in the Organology listing.

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• Laska, Gustav. “Willkür in Instrumentenbau, Besonder in bau des Kontrabasses .” Der Kontrabass. Nr. 5, Leipzig, Anfang Februar 1931, p. 51-52. IA – Download Link

Title in English: The Arbitrariness in Construction of Instruments, Particularly in the Construction of Double Basses.

Note: This article makes a very interesting read as it reflects on the state of instruments c. 1931 in German orchestras. The article emphasizes the benefit of coming to an orchestra rehearsal to play on an already present instrument, yet underlines the drawback that the multitude of sizes and setups of those orchestra-owned instruments was apparently mind boggling. The author then advises that it would be welcome if the instrument makers would produce instruments in only one optimal size and setup. The author also offers his own preference for the mid size four stringed instrument that can serve well in all settings (orchestra, chamber and solo role). Laska is very thorough in this requirement and he also offers the measurements for his ideal instrument. This article also presents many unique details on the bass practice in Germany in the early 30s of the last century.

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• Loescher, Johannes. “Vom Violone zum Violoncello – wirklich eine Frage der Saiten?” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 51-56. WorldCat – Book Record

Title in English: From Violone to Violoncello – could it be a question of Strings?

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• Moens, Karel. “Entwicklung von Baumerkmalen im frühen Baßstreichinstrumentenbau bis Anfang 18 Jahrhundert” Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 33-50. Universität Wien – Article Record  |  WorldCat – Book Record

• Moens, Karel. “Tiefe Streichinstrumenten aus dem Bestand der venezianschen Sammlung Corrers in Brüsseler Musikintrumenten-Museum –  Fragen zur Athentizität” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 75-99. WorldCat – Book Record

Title in English: The Low Stringed Instruments from the Holdings of Venetian Correr Collection in Musem of Musical Instruments, Brussels – The Questions of Authenticity.

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• Nicholson-Newton, Raymond. “The Five-String Double Bass and the End of the “Contra” C String Mechanisms.” International Society of Bassists Magazine. Vol. 9, No. 1, Fall 1982, pp. 25-26.

Note: This is a very interesting article as it presents a chronology and also some history on the thoughts and development of double bass instruments with ability to reach lower register then the instruments that were common at various periods. Both the extensions and the five string bass development are covered and along the opinions of the leading luthiers of c. 1982 presented.

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• Otterstedt, Annette. “Consort Bass – Kontrabass” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 101-122. WorldCat – Book Record

• Payton, Leonard. “Contrabass Harmonics in 3D.” International Society of Bassists Magazine. Vol. 12, No. 3, Spring 1986, pp. 5-23.

Note: A definitive article-source on harmonics and all that is to be known about them.

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• Planyavsky, Alfred. “Baßgeigen zwischen M. Praetorius und J. Stainer.” Jakob-Stainer-Tagung Innsbruck 1983, Innsbruck, pp. 95-100.

Note: This article is based on the lecture presented at the Jakob-Stainer-Tagung Innsbruck 1983 conference that took place in Insbruck, Austria during September 30 – October 2, 1983.

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• Planyavsky, Alfred. “Violone und Violoncello im 17. Jahrhundert.” Musicologica Austriaca. Nr. 4, Förenau 1984, pp. 43-84.

• Planyavsky, Alfred. “Violone and Violoncello in the 17^th Century.” Translated by John Bailey. International Society of Bassists Magazine. Vol. 13, No. 2, Winter 1987, pp. 12-18.

Note: This translation appears to come from Planyavsky’s “Violone und Violoncello im 17. Jahrhundert.” Musicologica Austriaca. Nr. 4, Förenau 1984, pp. 43-84.

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• Raymaekers, Wim. “How the F-Hole Arose: Soundhole Shapes and Bridge Position on Bowed Instruments between 1500 and 1800.” The Galpin Society Journal. Vol. 71, March 2018, pp. 35-147. JSTOR

Note: This article addresses the setup of period stringed instruments, including the stringed bass instruments and among them double basses & violones.

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• Sack, Otto. “Der Fünfseitige Kontrabass, von Carl Otho, Leipzig” Zeitschrif für Instrumentenbau. Bd. 1, No. 19, July 1881, p. 276. MDZ – Online view & Download  |  MDZ – Jpeg View & Download

Note: In this article Otto Sack (Civil-Ingenieur) describes the official Five-Stringed-Bass patent by Carl Otho (Leipzig bass luthier) from the year 1881. Prior to that year the Five-Stringed-Bass tuned in fourths, and as known to us today in modern symphony orchestras, did not exist. All the larger five stringed basses that fit the modern double bass measurements before 1881 (during the Romantic and Classical period), were in fact the Viennese Basses tuned in Viennese Tuning. However, prior to Classical period and related to Baroque and Pre Baroque times – again – there were 5 stringed larger basses, some of which have had fourths in the tuning. Yet in summary, all these earlier instruments in no way relate to this 1881 patent. An example of such a period 5-stringer is the famous Praetorius – Groß Contra-Bass-Geig (1620) and which is also the first representation of a large double-bass-sized instrument in history.

Another important insight which this article brings to the fore is the performance of those extra deep notes in Beethoven’s symphonies that the common 4-stringers with its lowest E1 string could not reach up to this time, and had to transpose an octave higher. Famous Lepzig conductor Arthur Nikisch states in this article that “now” it is finally possible to play the original Beethoven’s (symphonic) bass parts as they were intended and written (implying low C1s) with this instrument. That certainly means that at least for the year of 1881, it was thought that all those low notes can now be produced “as written (printed)” in Beethoven symphonic bass parts.

For extra discussion on performance of Classical and Romantic works with the original “below E1” notes please consult the following articles:

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• Schmidt, Harro. “Beitrag zur Geschichte der Bassettinstrumente”  Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 57-66. Universität Wien – Article Record  |  WorldCat – Book Record

Title in English: A Contribution to the History of Basset Instrument.

Note: The Basset instrument designates in general a smaller stringed bass instrument that may compare in size with violoncello, and in fact, sometime it is a violoncello. However, whether  this lecture has covered only the violoncellos and violoncello-sized instruments, or has also dealt with broader spectrum of mid to larger violoni, is to be determined.

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• Schmid, Manfred Hermann. “Instrumentennamen und Stimmlagenbezeichnungen vom 16. bis 18. Jahrhundert”  Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 17-32. Universität Wien – Article Record  |  WorldCat – Book Record

Title in English: Instrument Names and Tuning Characteristics from the 16th to 18th Centuries.

Cited also in Organology – Tunings and Bass History – Baroque Period .

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• Stoll, Klaus. “Graphics of F Holes of Italian Basses.” International Society of Bassists Magazine. Vol. 3, No. 4, Spring 1977, pp. 312-313.

Note: This article presents some 37 F holes’ drawings from various historical double basses that span in range from late 16^th century to the early 19^th century. Otherwise, and for some reason, such a unique study (1977), appears not to have been undertaken in bass research either before or after this feature.

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• Stradner, Gerhard. “Streichbaßgrößen Außerhalb der Norm” Kontrabass und Bassfunktion : Bericht Über Die Vom 28.8. Bis 30.8.1984 in Innsbruck Abgehaltene Fachtagung. Ed. Walter Salmen. Innsbruck : Edition Helbling, 1986, pp. 51-56. Universität Wien – Article Record  |  WorldCat – Book Record

Title in English: The Sizes of Stringed Bass Instruments outside of the Normal Parameters.

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• Tolo, Leland. “The Double Bass vs. The String Bass.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 6) (Vol. 6, No. 3) 1968, pp. 17-19.

Note: This article many not be much about bass organology but more about bass etymology as it overview the various names affiliated with double bass and how these correspond to the function and identification of the instrument.

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Organology – Bows

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• Brown, Chris. “Bass Bows: Consistently Inconsistent.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 1, June – September 2002, pp. 38-41.

Note: This article offers a small history of the bass bow and how it developed to the modern standard. It also offers the bowmakers’ biographies of the father and son Vigneron, and along the photos of their bows (pp. 40-41).

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• Reiners, Hans. “Bassbögen des Barock” Geschichte Bauweise Und Spieltechnik Der Tiefen Streichinstrumente : 21. Musikinstrumentenbau-Symposium Michaelstein 17. Bis 19. November 2000. Stiftung Kloster Michaelstein : Verlag Janos Stekovics, 2004. pp. 123-128. WorldCat Record

Title in English: Bass Bows of the Baroque.

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• Stoll, Klaus. “The Evolution of String Bass Bows.” International Society of Bassists Magazine. Vol. 3, No. 4, Spring 1977, p. 308.

Note: This article is a pictorial presentation of various historical bass bow types, which starts with an illustration of an actual “Hunting Bow” model noted in the 9^th century (and actually to some extent used even during the Baroque period), and ends with the Findeisen bow of c. 1920. Some of the sources for presented illustrations are documented, and some may need a further corroboration. However, in general this is a good overview of the variety of shapes and designs used on bass bows in the past.

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• Trumpf, Klaus. “Der Sperger-Bogen.” Sperger-Forum. Heft 5, (no Nr. indicated), Mai 2012, p. 61.

Title in English: Sperger’s Bows.

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Organology – Tunings

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The subject of Bass Tunings is classified under the Organology section because the tunings of the bass instruments have been evolving through history in the same way that the very bass instruments have evolved. In this heading you will find articles that cover both the old and period tunings, as well as the technique and performance articles that concern those tunings. This approach, where the theory and practice of a specific tuning is united, was perceived as more pragmatic than to offer separate headings for each subject.

Tunings are listed here by a type and generally accepted names.

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• Tunings – General

• Solo Tuning

• Orchestra Tuning

• Orchestra Tuning – Extension

• Orchestra Tuning – Five Strings

• Tuning in Fifths

• Three String Tuning

• Viennese Tuning

• Period Tunings – General

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Organology – Harmonics

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• Payton, Leonard. “Contrabass Harmonics in 3D.” International Society of Bassists Magazine. Vol. 12, No. 3, Spring 1986, pp. 5-23.

Note: A definitive article-source on harmonics and what is to be known about them.

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• Ruggieri, Roger. “Harmonics.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 10) Vol. 1, No. 1, December 1969, p. 25.

Note: This feature presents a chart of harmonics on the bass. The chart was probably featured during Ruggieri’s lecture at the Third Conference of the International Institute for the String Bass (1969) in Madison, WI.

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Culture

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Culture section is designed to present articles that address general cultural issues that affect lives of bassist on all cultural meridians and that emanate from all cultural perspectives.

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Bass & Cultural Advancement

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• Wightman, Ross. “BPBC (Bass Players for Black Composers) Turns 3 at ISB.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 1, October – January 2023, pp. 12-13.

Note: This article describes the activities of a Non-profit organization Bass Players for Black Composers that encourages the expansion of solo repertoire for bass and the promotion of works by Black composers. The subject profile of this article is for now classified under the Bass Perceptions heading.

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• Einhorn, David. “Despite Everything, Basses in Haiti.” Bass World : The Journal of International Society of Bassists. Vol. 45, No. 3, June-September 2023, pp. 15-17.

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Bass & Life

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• (author not cited) “Bassists are Still in Need After Hurricane Katrina.” The Bass Line. [ Publication of the International Society of Bassists ] Winter 2005, p. 7.

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Bass Perceptions & Perspectives

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This section features the articles that concern bassists in wider sense, and may cover social, cultural and political issues that reflect on lives of bassists and musicians in general.

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• Brown, James. “Positive Thinking- Charles Rawes Tomlinson, ISB Member Promotes AIDS Awarenes Through Music.” International Society of Bassists Magazine. Vol. 19, No. 2, Spring 1994, pp. 6-9.

• Dixon, Virginia. “Women as Bassists.” The Bass Line. [ Publication of the International Society of Bassists ] December 1995, p. 1.

• Goldsby, Robin Meloy. “Married to the Bass.” Bass World : The Journal of International Society of Bassists. Vol. 29, No. 1, June – September 2005, p. 27.

Note: Mrs. Goldsby reflects on what it is like to be married to the bass player. Sincere thanks on all the compliments offered to the male bass population.

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• Hannings, Lynn. “PAGE Panel.” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 1, October – January 2019, pp. 26-27.

Note: A report on PAGE – Project for All Gender Equity panel which took place during the ISB Indiana University, Jacobs School of Music Convention.

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• Jones, Mimi. “Diversity Panel, ISB Convention 2021, Mimi Jones, Session Host, Transcribed by Kurt Melendy” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 1, October – January 2021, pp. 22-32.

Note: This article represents a transcription of a Diversity Panel online video discussion that took place within the 2021 ISB convention. The Session Host was Mimi Jones and the panel participants were Hsinwei Chiang, Christopher Hall, Endea Owens, Yuko Hata, Jerome Jennings. Other participants included Lisa Brown (moderator) and Dennis Whittaker.

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• Lopata, Dan. “The Music is Innocent Until it is Not. The Question of Using “Shortnin’ Bread” in Pedagogy.” Bass World : The Journal of International Society of Bassists. Vol. 46, No. 3, June – September 2024, pp. 27-29.

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• Lovgren, Kristen. “Recital.” International Society of Bassists Magazine. Vol. 12, No. 1, Fall 1985, p. 45.

Note: A prose depicting a recital experience of a 16 year old bassist.

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• Moast, Tim. “Five Bassists.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 2, October – January 2004, pp. 4-9.

Note: This paper is a result of high school interview project where Tim Moast was to find five professional bassists and interview them in order to present their views and perspectives on bass profession.

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• Nachman, Gerald. “Bass Instincts.” International Society of Bassists Magazine. Vol. 10, No. 2, Winter 1984, p. 29.

Note: In this article the author argues that the bass solos in jazz are unnecessary and burdensome effort that probably should not be practiced at all. Yet, a curious opinion is given that the jazz world itself was accustomed to bass solos for probably some 60 years or more from the time this article was printed. In general it appears that the article was written casually and without much consideration for the subject, as an ad hoc effort just to fill the space in the paper. The article originally appeared in San Francisco Chronicle, on October 19, 1983.

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• Kosky, Chris. “Welcome to Bass Ventures!” Bass World : The Journal of International Society of Bassists. Vol. 42, No. 2, February – May 2020, p. 41.

Note: An introduction to “Bass Ventures” column of the Bass World, a space dedicated to the individual common bassists and their pursuits, which may not usually get the full attention in the other columns.

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• Cox, Maggie. “PAGE Panel, Project for All Gender Equity, ISB Convention 2021, Maggie Cox, Session Host” Bass World : The Journal of International Society of Bassists. Vol. 44, No. 1, October – January 2021, p. 35.

Note: This article represents a summary of  PAGE Panel (Project for All Gender Equity) online video discussion that took place within the 2021 ISB convention.

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• Olson, Vera. “And Then There was One.” Bass Sound Post. [ Publication of the International Institute for String Bass ] (Nr. 2) June 1967, pp. 15-16.

Note: This is an autobiographical article by Vera Olson, which in somewhat humorous tone touches on the gender issue of perception and treatment of lady bassists prior to 1967.

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• Perry, Brian. “COVID: Finding the Silver Lining, (Part 1)  Bass World : The Journal of International Society of Bassists. Vol. 43, No. 2, February – May 2021, pp. 55-58.

Note: In this article various teachers and professionals reflect on the COVID time and the challenges it presented to them. Featured are the thoughts of Alex Jacobsen, Brett Shurtliffe, Jory Herman, Jeremy McCoy, Brandon McLean, Brendan Kane, Susan Wulff, Katherine Munagian, Nash Tomey, Ira Gold, Nathaniel West, Jon McCullough-Benner.

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• Perry, Brian. “COVID: Finding the Silver Lining, Part 2, Reflections from Teachers” Bass World : The Journal of International Society of Bassists. Vol. 43, No. 3, June – September 2021, pp. 31-32.

Note: In this article various teachers and professionals reflect on the COVID time and the challenges it presented to them. Featured are the thoughts of Jeff Bradetich, Harold Robinson, Tom Van Dyck and David Allen Moore.

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Bass Stories

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• Amatneek, Bill. “Pickin’ for the Prez” Bass World : The Journal of International Society of Bassists. Vol. 36, No. 1, June – September 2012, pp. 5-7.

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World’s Bass Traditions

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Cuba

• Lewine, Alan. “ISB Welcomes Cuban Bassists!” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 1, June – September 2016, pp. 17-20.

Note: A report about Cuban bass community from the trip in 2016.

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South Africa

• Dowd, Catrin. “Bass Sounds in South Africa.” Bass World : The Journal of International Society of Bassists. Vol. 34, No. 1, June – September 2010, p. 5-6.

Note: A report on the Committed Artists for Cultural Awareness (CAFCA), a township jazz ensemble in Mamelodi, near Pretoria and their efforts to give local children the opportunity to learn instrumental music.

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Trinidad

• Kamminga, Caitlyn. “Teaching in Trinidad: The Protégé Effect.” Bass World : The Journal of International Society of Bassists. Vol. 39, No. 3, February – May 2017, pp. 11-12.

Note: An article about the efforts to establish the first bass class in the National Academy for the Performing Arts in Trinidad.

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Art

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Although bass performance by itself belongs to the area of musical art, it was also an inspiration and subject in many other art forms, and this section is designed to offer the listings of all articles that address the bass in the other arts, whether in visual genres of paintings and sculptures, or in written and performing arts such as novels, poetry, drama or even opera. At this time not all of the arts are covered here, but the number of extant artworks that were inspired by bass and bassists is certainly very large, and there certainly will be more articles that address these artworks. For historical depictions of basses and period bass instruments please see also the ABP Bass Iconography page.

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Bass in Visual Arts

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• (author not cited) “Basshenge.” The Bass Line. [ Publication of the International Society of Bassists ] Fall 2001, p. 11.

Note: An article about Prof. Guastafeste’s grounds called “Basshenge” since it features a colosal set of steel bass sculptures set on columns so that they resemble the English Stonehenge. In that respect this entire ground may be perceived as a unified “bass” theme sculpture park.

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• (author not cited) “Walking Bass.” International Society of Bassists Magazine. Vol. 14, No. 2, Winter 1988, pp. 36-37.

Note: This feature presents photos of a “Wlaking Bass” sculpture, created by sculptor Scott Chapek. This sculpture is also featured on the cover page of the same issue of ISB Magazine.

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• Wurth, Jane Kenney. “An Interview with Sculptor John Leon.” International Society of Bassists Magazine. Vol. 18, No. 1, Fall/Winter 1991-2, p. 86-89.

Note: John Leon’s sculpture has also been featured on the cover of this magazine.

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• Pliskow, Dan. “Drunken Bass Player.” International Society of Bassists Magazine. Vol. 14, No. 3, Spring 1988, p. 3.

Note: This is a short report on Drunken Bass Player sculpture that Pliskow discovered at The Centre d’Art d’Orford, Quebec, Canada.

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Bass Poetry

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• Bjorlie, Carol. “The Evolving Bassist.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, p. 71.

Note: This poem was printed in the Column “Poetry Corner” edited by Chris Brown.

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• Brown, Christopher “Clear Within.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 2, October – January 2002, p. 7.

• Brown, Christopher. “Poetry is Basic.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2 October-January 2003, p. 47.

• Eszlary, Elisabeth. “Apotheosis.” International Society of Bassists Magazine. Vol. 16, No. 2, Winter 1990, p. 50.

• Kaczorowski, David. “The Bass Solo.” Bass World : The Journal of International Society of Bassists. Vol. 27, No. 2 October-January 2003, p. 47.

• Kathi, Appelt. “Mingus’s Ears.” Bass World : The Journal of International Society of Bassists. Vol. 26, No. 3, February – May 2003, p. 9.

Note: This poem was printed in the Column “Poetry Corner” edited by Chris Brown.

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• Moseley, Annabelle. “Inside the Bass.” Bass World : The Journal of International Society of Bassists. Vol. 28, No. 1, June – September 2004, p. 71.

Note: This poem was printed in the Column “Poetry Corner” edited by Chris Brown.

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• Zevin, Michael. “Bass Spelled Bass Not Bass.” Bass World : The Journal of International Society of Bassists. Vol. 24, No. 2, Winter 2000, p. 74.

Note: The author Michael Zevin was 9 year old at the time of printing, so he is likely the youngest poet who wrote the bass poetry so far.

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Citation Criteria

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This section presents the criteria that were applied in selecting the articles for inclusion in this bibliography. It also explains challenges in classifying and indexing various types of relevant journal texts that lacked either the data or the form that would identify them as a standard article. Those challenging texts were commonly small paragraphs addressing a small topic within a body of text, or similar undefined texts that nevertheless presented important information. Furthermore, prints of musical compositions which may or may not be accompanied with text have also posed the question of inclusion. Lastly, letters to the editor. Therefore, in all those cases where something of importance was located in a journal, yet it did not appear to be a standard article, a line had to be drawn on whether if should be cited or not. Consequently the criteria for inclusion and citation have been developed as presented below:

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• Articles – All standard articles that in any way relate to the field of bass, bass players and bass performance are cited.

• Obituaries – All obituaries and tribute texts on bassists, luthiers, composers or any other people affiliated with the bass are cited as articles. The duration of text, its authorship or the lack of it, its position within a larger column are of no consequence, and for the standards of this bibliography they are simply treated and cited as the “article.” The argument behind this approach is that the information in citation is more important than the form.

• Music – All journal features that present music score of any length, with or without comments and including orchestra excerpts sections, are considered and cited as articles. Some of these features may have an introduction, some may not, and some may simply be a complete music composition printed in a journal. Yet, as they all present a uniform defined content section within a magazine or a journal, as such they were decided to fit the criteria for inclusion and were cited as articles here.

• Letters – The letters to the editor have however posed a question if such should be treated as separate articles, and it was decided to treat them on a case-by-case basis. If such a letter was prominent, well written, had a thought of importance that could be registered or related to a particular subject, or has enticed a response – than it was treated and indexed here as an article. If not, than it was simply was not considered.

• Reviews – How about reviews of the scores and recordings? These features, although well defined in journals, were decided not to be treated and cited as articles. The reason for such exclusion is that all these reviews will eventually be included within the respective and separate ABP score and recordings bibliographies. The exception to this rule are the reviews of instruments and instrument accessories, which have their own headings in this bibliography.

• Advertisements – Absolutely not. Although it could be admitted that with older journals the advertisements may also offer some historical information on the advertised content. In any case, all the advertisements may at some future point be covered either within the product they advertise (musical score, method, bass accessory, music school program) or the event they foster (convention, bass meeting, masterclass, individual bass player teaching ad, and similar).

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Citation Style

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Articles cited in this bibliography follow the modified MLA (Modern Language Association) format as deemed most suitable for this type of bibliography. Citation format is described below, and where applicable it also offers the “Note” section that will commonly elaborate on the article content and “Cited in” section that will provide additional reference links.

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Sample

• McClure, Theron. “Bach’s Bass.” International Society of Bassists Magazine. Vol. 8, No. 1, Fall 1981, pp. 772-774.

Note: Regardless of the immense research in the instrumentation of Bach’s music during his Leipzig years, this article from 1981 offers a still-relevant summary on the types of stringed bass instruments Bach had used in his Thomaskirche orchestra.

Map

• Last name, First name. “Title of the Article.” Jorunal Name. Vol. (number) No. (number), pp. (page number  –  number) [ pages: from – to ]

Note: [ The profile of notes may wary significantly and depend on the very text featured, yet these are all written with idea to help the reader understand the content of the articles where it may not be easy to deduce it from the title alone, or to offer relevant thoughts on how this text may relate to the other articles or subjects. ]

Cited in: [ This indicator will commonly offer the links to the other sections and headings where the article is cited and where the articles of a similar profile may be located. ]

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It should be added that the official MLA format has itself undergone several editions (versions) over the years, yet the author of this site has found by chance that the MLA format used here is almost identical to the one used by JSTOR article database.

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Page Development

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Development of the ABP Articles page had presented unique challenges since the number of resources that contain bass-related articles is rather large and bound to grow exponentially in the future. The following list features only resources that have been indexed so far, while it is feasible that cataloging of the other bass serials may continue for some time in the future. For the latest updates however, please check the ABP Site Development page or the “Latest Update” date located at the very bottom of this page.

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Databases

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World Databases

Libraries

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Conferences Proceedings

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Journals

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International Society of Bassists Publications (ISB)

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International Institute for String Bass Publications (IISB)

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Internationale Johann-Matthias-Sperger-Gesellschaft

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Kontrabassisten-Bund

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Page Development Assistance

ABP is grateful on any information that may widen the scope of this listing. Should you know of any other Articles that may fit the criteria of this bibliography, please contact ABP and your effort will be credited here.
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Created by Igor Pecevski

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Last Update: November 19, 2024

Posted: September 26, 2024