Bass Clef Duets Book 1 is the first of a series of books for two double basses. Edited and arranged by David Heyes, the duets are useful as sight-reading music for the teacher and student, as fun pieces to play with friends, or as accessible and inventive repertoire to play in recital. Each piece has been carefully selected and edited with all three aims in mind and Book 1 brings together ten composers from the 16th to the 20th-century.

1. Thomas Morley (1557-1602) - Canzonet: Fire and Lightning is originally from '12 Canzonets for Two Voices', first published in 1595. The rhythms are clear and lively, with effective antiphonal writing, creating music which is both player and audience friendly. Some bowings have been added but bassists should feel free to add or adapt these are necessary.

2. František Černý (1861-1940) Duet in D major is taken from Černý's Method for Double Bass and was originally a fifth lower, in the key of G major. He was an important Czech bassist and teacher, writing a wealth of solo and educational music for the double bass. The duet is simple and straightforward and the dynamics have been added by the editor.

3. W.A. Mozart (1756-1791) - Menuetto & Trio is adapted from '12 Duette' for 2 basset horns, first published in 1802 for french horns. The two-part writing is stylish and elegant, creating musical challenges for the bassists, and typical of dance-forms of late 18th-century. The more adventurous duo could even play them an octave higher than written.

4. Francesco Durante (1684-1755) - Duet in F major was arranged by Otto Langey (1851-1922) and included in his Practical Method for Double Bass. It is one of two duets by Durante included in different editions of the Method and has a strong rhythmic momentum and energy, primarily in the lower register of the instrument.

5. Georg Philipp Telemann (1681-1767) - Canonic Sonata is D minor is the second of 18 sonatas for two equal instruments, originally flutes or violins, first published in 1738. Each sonata has three movements and they have been arranged for many different instruments including for double bass. This sonata was originally in G minor.

6. Orlando di Lassus (1532-1594) - Oculus Non Vidit was composed in 1577 and is the third of 12 two-part motets for two voices. The title means 'Eye hath not seen', taken from 1 Corinthians 2:9, and the vocal lines transcribe beautifully for two double basses. There are no dynamics, allowing players freedom to create their own interpretation, and passages without vibrato may add a new colour to the performance.

7. Adolphus Charles White (1830-1902) - Duet in G major is an original work for double bass duet and was included in White's 'Appendix to the Double Bass', published by Novello, Ewer & Co. in London. A.C. White was one of the preeminent double bassists in London in the late 19th-century, teaching at both the Royal Academy and Royal College of Music, and his duet makes use of the orchestral register of the double bass, remaining in bass clef, and this edition includes a score and two individual parts.

8. Giovanni Punto (1746-1803) - Duet No.7 in C major was originally for two french horns and is from a suite of 8 Horn Duos first published c.1800. Jan Václav Stich, better known as Giovanni Punto, was a Czech horn virtuoso, toured throughout Europe, and composed extensively for his instrument. Duet No.7 is stylish and elegant with the opportunity to develop excellent ensemble skills and musical characterisation.

9. Victor Frédéric Verrimst (1825-1893) - Canon in Unison is originally for 2 double basses and was included in Verrimst's Méthode de Contre-Basse, dating from 1865.The music is lively and rhythmic, with few technical challenges, and offers interesting ensemble opportunities for two equal ability bassists.

10. Béla Bartók (1881-1945) - Teasing Song No.2 is originally for 2 violins and is from 44 Duos composed in 1931. Many of the melodies originate in the countries of the Slavic region and the duets abound with bi-tonality, cross rhythms and harmonic clashes, alongside great energy and momentum. Although short and to the point, Teasing Song No.2 would make an ideal encore or final piece in a recital.