jean-pierre robert 73 examples pzicato, bi-tones, mutione sounds, Tightly touched harmonics. e Ji mise rsin J. vskedreretinns VA (64 examples arco. English wranslation Epitions MUSICA GUILD anais smartkx” ESENTATION sepember 1994 This study cdevora ro he varios techniques of double bass paying Ie has heen designed as both catalogue of fron cli by pars meters and teaching ad whic pares step by stp. Ke encompases 9 tre range of intrest fom «hase dscripcon of the instrument 10 ry “omplex moiphoric ound ae sould answer qos posed hy compe tere a performers, parity a eer the various cancepts encoun ‘inthe field of cootemporny msi “The clancation of playing techniques doesnot reflec any ethic Julement: The tle uf contents cnanised sconling to the allowing #1) sighchand movements and ateulatons (complex sequences fight hand movements), #2) efchand movement “The presentation of this study similar roth of conan, dete rary of sounds. Ar such may seem licking permit ad wart, but teal poser cen santa ii ue xiv and en To anawen are complete, and above all there ae no valve julgements. All ‘laying echaigus ate presented objets Even ts ois Hat ee frco-lepatotechnige nore cmon wed than arc on ib, it would be unwise on that quantitative ns to establish a quaiaiveacale of vals for clasing techniquesThe ethetie iaflence of one mae of playing or another changes swith the times, making any precive oF definitive value judgement possible “The aly of two constants -« igh movements = and «Ie thane movements» wll he applied im mice wo aco play chap and pista playing chap t “The sly ala fetus two «entfacte none hand flexion on factors deterising how we ea uel sign na given context of iner- pretation, and on the wer hard, ew houston the subject ofthe pe feemer and his or her haa elatoaship wth a mused ropa (ite ew with Frid SoxNl, profesor of double has atthe Conservatoire National Supseur de Maske de Paris and soloist withthe Ensene Ioverconcemporai. Before opening dis dictionary, mit be interesting to say a fe words about the double has as an object. One oft characteris fe tures, which dtnguises i fom ther iret ack of conor Inity eo any conseraction model. Thi ieabordnetion to organolocl ‘eit his been the ce since the very besnning, and seems linked note tothe 16fot Fancion ofthe double as than tothe intraent inl In act, what we might ell «intellectual indlicaey » has charter sel dhe double bas since rg she XVIBO century, when the word alone refered too speci strument: « They ae man i all sie Tu omar hea least hig enough eo ec out of them the devel aoe aa the following drawing shows. vila da gamba, 4 U2 fet ong (+= 1 485) although ievuld be made 7 et Long 23m on 8 2.) one ‘ms wee long enough to play. »- Manin MERSENNE. (LE Harmonie Universe 1636.) “The numberof strings ws also uray and consequetey, the tuning rel “Ths problem has sl not been seve. Hf me sompare Moca aia Per Questa Bela Mana accompanied y conan gto with the concep ofthe» gram =o the onchevtrs, i clerthat the same two sali t qt diferene nsrements I his» eke Cortes Babe Bass = (1974) ie publication oft kind), Beam Teta i tingishes to ntrament: the ola wth eae sud al tinge tuna tne higher nd which alert than the crest Chnuble Boss which a a dankr sound ane 4 5 rings = Adina evi ‘knoe ofthe absence of single nstramental made oes fom the Let that Paul Brum called bis excellent hook = Hise de Comtebase + 952) Whether we think of 35 many stamens i one Fa oe sts nent wit diferent personals, the double hs «i > on tas {aro what the composer proposes tothe performer’ art. Teas on ‘chesrckn ike o fer to an isturene’s = nature», but a concen ‘the double bs, one can ask whether ie actly his ate fs oe ‘ot Perhaps fe Marin Mens thought in heen he dbl as [DIRECTIONS FOR USE Alms exarplsin this ok are indicated bythe following symbols \ YL 32| -c01 index 7 2 25 | = cz index 23Ho: CONTENTS Prete Presentation CHAPTER 1. THE DOUBLE BASS 1. Organoogical description ‘the double bas Bh bow seal raph of the Soule fs tempered ne sings ccnp Coon velocity 4h percunions 2. Tioning and range hiss 1 canverninal notation the or rings eens table of micr.ntrsle rable of hones 6 table of Baroni fa table flighty touched enn. {abe of maliphonis arial mulionics f.thre examples of spectral ales E synoptic abe (CHAPTER II. BOWING TECHNIQUES ight hand a fowing techies techniques pacing the bow Rice ppc feet scan cy pb pp bow prene Trane ie Gabel ce velo ca bow re pal 2. left hand 48 Sil mdb bossy cee wfc 50 (CHAPTER MI, PIZZICATO TECHNIQUES Arig hand » ereang tnt Uac dis dc cc ce Scag? Spee pss pss pss rd «movements pst ‘Slo swab ans ips a enact 92 p38 INDEX authors works p60 CD eeerencee pe symbole patres CHAPTER | the double bass= oder of laying the double bo ORGANOLOGICAL DESCRIPTION THE DOUBLE sass Nee end pin heel middle tip | hair stick Distributions ofthe bow + Playing 3 the hee of the bow produces hier sound than 1 atthe ‘Type ot bow + the German how i eld in wy srt tha ofthe gab, “The fg her than on the Faench fw es a Geta {he USA. an in Eaten Es the French ow isi much he same way es hat of the von, and is held ia he est of Eamopec. SCALE DRAWING of THE TEMPERED NOTES of THE fon the 4 strings thao postions neck positions a yer | aarti progesson ofthe tempered nce etions (On this graph, one wll superimpose ‘he = windows for eading interval ints = Directions for une: + Place the note chon in the ght angle. Read the various pestle arbi it the window comeing type of ase (nce speci, exceptional an to potion (in the neck = or on hum’ potion).‘modes of plying the double bass 1o— d. STRINGS . Double fs tring are ma of eile meta (4 led ito asp “They cas Be cone aoa ut Pare ut stings ted an Frou msc on “These sting wed in the beginning Js a now asin being played by some jarame. SETUP “The double bas has two basic yes of setup (se dance of he tings fra the Fingerboard) 11): Sirng ate segue lowe to the fingerboard, which favours the tan: avery small angle Fetmeen sting and fingerboard males onal to tin hish notes longer dating resonanse The seulting Tes of inert can be counterbalanced by ampliiation Ths setup i fen wed in plied + 2) Sings ate lightly higher fom he fngetbour This setup is generally wsed for playing cla Because ofthe double bas low reise, the sound that reaches the tener depends to. get exten nu rounding acoustics. There scems to be 3 acu nes ound the tetsu ‘Pe: to 50 em fom the instrument. In this one, de sound is le; she acoustic seals tts siximuay the attacks are sharp and high notes the spectrum sound very well 1p © 5m depending on dhe instrument In thi aes, ound ae bere and set ove ln Taw notes crag out and igh notes sound aggresive. This not a interesting ud + 3sne: the sound improses with the cous ond ince in pens The existence of these 3 zones explains why sound engineers prefer to econ the double has clase up (in rome I) and why dhe third one ke preferable for he ence. Sich sound phenomena exis for other instrament, hut re pascal eleva for the doubles. Diferent types of acousis cnsiderably change 2 performers interpretation of dynamics and we ofg- Lvetocity EC Limits in wc ate determine by the hand (ab by playing echniges 3 \ D1 ex lama Nena, TRAPS for dole hs. 1976. a Salter. 3, in 51" ton, a + Velocity and playing techniques Some playing echnigus cannot allow on others and ee preartion tine (Certain lef hand techies enable dhe player olin sequences fright hand techniques x: Geortes Apert, 4 RECITATIONS for dnl us, 1980. Slabs pine 3 sped ‘legato conjin ms spoon sn detached Aone mets is ta hg “The double hot can be truck anywhere: However, advaler voi ingsmai or any sharp abet on the vamish of the ease ‘Suing resonance canbe either sed ot mulled. Sound wars acon othe festeument, and alo to the tsighe applied. However in general, che neck produces an undlined low sound, the ease proses low ‘Suds i the mille the ale an he ack, sn higher sounds ede. Rib proce high sounds iil o temple Bs, ptr the ove ase ‘Tuenars of lennis Xenakis B dic Prec of lannis Xenakis Nadas Philippe Boivin‘moder of plying the double boss —12- Tonainotoacs acenrrion 2.33 ex Philippe Bin, 208 0 a psion ean St Nectire 2 uvement HS (fins A id A é i ea Don gr A bts ACCESSORIES 3 “The mute compress the sound and ives it a sweet quality tha icfen wea in he (Fri Jaoguts = theme mince key) Gustave Mahle’ 1 Suton John Cage CONCERT FOR HANG rues ype of mute. Metal, wood ot plate mites ea be sed 244 «vibraphone and timpani sticks "These sch layed om the string produce asound cle wo pial and to the electric hs tn The favor velo) an long stn. Pall of a emmeringontch (la p52) te sii sound and av lea, Tina sticks com Be nad upto the 3 por ihraphone sick tothe Sth pai Playing on te sit ours ike temple Hacks. 235 the plum The plectram wo psc, br has ae teil Wha ye clo the art rodent ore ower Tee neck, hntonics soul upto the uh pt Avot pu mas sea ipa ick spt fom pp to mf‘modes of playing the double boss TUNING AND RANGE a. [Hstory + Te often neces to change the instrument tuning inthe XIXth century, the wl srument was tuned a whole tone higher, becoming trasposing nstument- When playing ste that git cht cof scordtura, ii adviable to se the pres ofthe ating over the isrnient ese sl vd both excessive pres and sullen movements of presi. A special coratuen nics thatthe cot [ser consider the nerument sta transposing insument: the writen notes tate the fingering ‘When only one sting stand daferenty, only the note plyed on tha sting are ansp h ion Ie ean be wil ro note thing on a pci ot, The effect {writen sun} may he noted in racket ais done ie harmonic gern 4 The amplification and electron anor ‘ments have been Bult with ns soundhend. These instruments take for ager tet fat ec mn of acoustic struments edict which shy its Shing concerned, snd» percepiom ofthe acount il, gaameter by petameter They ae eld ad Played inthe sme ways thee acoustic model. Thee generations of fsa ive prods the "etec double fw aed more recently the « MIDI =, a fstrament wth several sess parla nape to comguter proces cx: Pierre Boule, DOMAINE or lait a inset b. CONVENTIONAL noTaTon ii ‘The conventional actave is slmost slvays used in the 3 clef ( Trchle,Tenor and Bass) Avfew exceptions can be found in the notation of harmonics, often causing contusion, A sjstematie we of the coneentonl ctv ston recommended. In his eve on chest, Keechlin sugges voiding the sel pitch tation imag cases and using the expressions wet ten mote, head note Most ofthe neato ou in dis ws re writen ten. nse: det for masa dubs cc. LTHE FOUR STRINGS _ |The our strings are sud in pert fourths fo the high othe lw eegister:G I D1- AO. EO. They uccalle sags 1 Hy MV ote this in Roma amber under the st), Someuimes 1th ering alo wel, ned to Cy, Incrchesras fice tied a half ofthe double ta section pls on aie sing double hss. This Ca steng allows the double Bass op the ow cca eof the cello part The fit sting can aso be high C (Cy) = this setup use nthe United Sates, vy as musicians. +A" tmechanicl device which stetches sing IV snstantaneouly neo # Cy USA. However this ean seo damage the instrument. + Susan pling om tng Vis extzemely ong, xpi athe thu postion rally ws in the‘modes of laying the double bast =4— d. [Rances e 1+ The omer limit depen the tuning of steing IV, The maximum being (rea pitch) D. Iter runing dese she bide st + Asforthe upper mid nah ofthe igen aceon to he natn es ‘Asa general lil upto (writen sound) Fc higher sour one ether pluck the sing between thus acting or plays on e. [micro-: nr eeva In radonal chromate echnige, one ws ‘inch nek fingers, 2nd 4p alos; the 3 finger ‘ince dumb pst, (oun the open sting Ft catavel thumb, fingers I, 2, 3, por tne o hall tone aesording to erent methods tn the quarter tone technique inch neck ptm the quarter tones an be iy ingen with finger 12, 3yand thd psn, 6 with uments ene moves the ings up othe i place, Same technigue for salle inter. BI-TONES Bi-tones reproduced by the put ofthe tring stusted hove the ings Only the fingeting td + When paying ps. dhe most pac ay olay Bones st change ade (eight had above le) + When Rowing his ech niet stings Hand AV. A slight ingrecision of pitch cane by ce thickes ofthe fing. I can be + comectel + by slight vibrato, ‘The sounds of both psf the sengcan be played i double motes, This techni smite because only the dumb canbe use foe fegering The lower tone payed ps. wit he a inet othe let hand the upperbrtone flayed either arco iz. with the ght od “The longer prt ofthe strings the longer san table on the flowing pages236. © string Sonoma) Se a fomees jeune |e | be —— =| i SS Gis fo = chapter Ihe doube besFrown ee Se © string I biznes (writen un) effec ( the sounds become mre and more bred| © string L swsucl ha —— be 2 postibe fingerings 4 possible fingerings © string Ml nsural harmonics (writen sour) cnn |to — etn GS | — © string IV sural harmonics (ersten suid) Ka Le le 2. 38. © on the four strings :sucsion of ntl hams (rien sounds)h, Lucatiy troucheo fp. 48 © string I lightly rushed artical harmonics (wrcen sounds) fingerings of fourth fc 230 = \ fever fingerings of fifth x 40 © string I ighly touched ancl axons (writen our) fingerings of fourth fingerings of fifth genes apter double bssFoun no ne © sering MI igh tous afc harmonic rite sons) e Tingerings of fourth fingerings of fifth © string IV. tiglyouched acl harmonies (ttn sours)= In this chaee, the real wl ra some his aos om how to proce maligne sounds. Thi tay 1 the fist to Fe published onthe abject, oly a comerstone i lone bulding proces twill ake Hine {he experience of other bs pajers and above al the challenge of eectonie pees ne ones ‘ons fo these notions to gee no mate techn Bath dhe taMes of multiphonle sounds cf» page 32) and the anys (cf poss 22438) show rmulphonic sounds produced ike nat harmonics, by gly suching the sing wath the let hand ot ‘he pss incated bya lozenge. The mastery of reste, spot and pression i placing the hon feet Imporance in paying harmonics, resent tothe resto of multiphnte sounds Maltphonic sounds equte cal sight ht more pressure than nego hermonic: However, they demand perfec sabi ow weight A slg slower than average speed wl ie these vey af ‘ound as one peed by dhe same ingen but pres. The resisnon of cetain sound deo pe {ie lefthand finger premute hn cam produce dhe harmonics he irene) (Poe tata) (ormale) (ponte) an, when using the muliphonc technique (Glighey reducing peo and inetesnng psa one cam pce Wit the ove technue «fae ns and fade-out» can be pad hetwcen harmonic an! multphonic ursmoder of laying the double boss 22 Thenarcecpente thease sel pe mea se pce yarn in RAM nh Searcy a ei ne . in ARTIFICIAL MULTIPHONIG Artifical multe, Uke acl harmonics, can be played inthe thumb poston he Finger igh touches she tenga dintance of faut dnd «are All parameter ate duced Glssando pole B so ex. furtensoand)s \ th eee th hh. in cts sight wht he AHL Accesories ike plocks placed on the rings praduce bel ike maliphoncs (non harnonic ps; oe \ UT slay ether are ope, abore or elo the plck Te more pretcl to note tis technique by sescrthing howto esr it rather than by describing the effec dese there ae mukiphones on ever point of hese le nwember 1983, fist communication wa made at IRCAM in cllabirtion with Hovatia Radar lexca research on maltiphonic sounds cari ot i cllarston with IRCAN in 1085, from p tomy2B THREE EXAMPLES of SPECTRAL ANALYSI analysis ofa simple sound. Arco @ Fourier series pax 20) © Mosical transcription ofthe previous image (us 25) © Summary of actually audible frequencies (pase 25) I —analysis of multiphonic sounds. « Arco @ Electronic analyses (pu 26) @ Acoustic analyses (gaye 3) III — analysis of multiphonic sounds played with a pluck. Pisz (nae 51) The rato spectra analyse chown ete ae fom the say caeed out ac IRCAM in 1985 with the ado ‘Cauie Malherbe sn Gerad Asse—25— © Musical transcription of the previous image (G Ist string :tast, 18 cm fom the brie — Arco} poten ee wie he see awe t tot et tt ttt ee «a= In cons (fiom 0 eo #50), de difeence in pach with he writen tempera no 1b Ona linear sale fom 0 ro 1000, the ampli of each frequency. the perceptive weight allocated to these ‘©=On the same linear sal {frequencies by Teehardt'sImad of playing the double boss Pome ace 24 II — analysis of multiphonic sounds. » Arco © Electronic analyses @ string! axco (hea sound)2 string Marco. (hean!sounss)modes of playing the dole bors 6 Tomo vce © string ME seco (hesndsounss)string IV arco (hessd sont) oe‘rogter manna ne cou oot —w @ Acoustic analyses — (7m sity fn Hack = psi nt thet ia white = guste ee which the lt) @ string I sulphonic arco (writen sun 55 | ete 34 ss 56 57 | fees3 NB: High parti: with es sng endo se ther note Pang Pont rings ether puns Fre cu cont (vn high owe ‘Ban of he arte the ound are bth in gespio aich Ica be cota hw resend ase exes by and pres How those ed by de player dermis nether the pe sing re hm oh ines 2h) wl su ot Higher bow ped eth bw ot (which hk ter sun at lain Greer presture crs ental ss the the cane oan pen sting etn ya mh a whale tne Events mc eye the haste hen athe fmol the pepe wh aes te ception nonce “The sd = he kal apron sf se the open sng have ben chen acco what ryt to bean average terms de een a th hi a ay at grt part lrg pom III — analysis of multiphonic sounds played with a pluck = Pizz ELECTRONIC ANALSES OF MULTIPHONIC SOUNDS with pluck on string. (heard sounds) zz © pluck, 4.cm from the bridge ® pluck, 8 cm from the bridgemodes of plying the double boss —32— rune ana ne 4 The lower series of 4 staves scale doing ofthe fingerings of the 4 eins {The pper seis shows the effets (ten sounds) of the gern played y Tg ouching the string (seer f harmonics and muliphonis) ow toe the winds (ef pae9) on the 4 stringsodes of playing rh EA CHAPTER II::/bowing techniques| RIGHT HAND a ne xno \ i BOWING T ‘Theo ily up or down, speed and pressure depending on dynamics The position f the bow on the string popoonal the lenath of the wating sng (the higher the notes cn sting, the close, peo Fetcnally the ow to the binge). This sound i tationallyersmented by light vibrato ofthe ek and. The performer shoul! use this sound » definition » ms reference. The ampli of dynamic s ‘oad in the igh ester and slight es son he low rete (es BE. axco sown This cchniqu wes the bow hie lets opps to Legs and Pig. and cancels out the ae inde ations. Bh tccno sowine Leno bowing nes the nick f the how apres hoarse aed noi oun ‘Stltaneoly withthe fndametal sowed, one peresies a wey highetehed, cata clear sound, which ‘aries aeconfing to he length of he wibatingstringBerwcen the cick an he bide Frater bow fours the «ert clea» sud 1 The perme soul take estsons whan chosing» hw orl laying BB. siurtecno sowing es bch dhe ai an the stick “The rewlting sound cones the fest oth Arco and Leg laying A Legna payed with sronger prune of he bow: Pros higher intestes “There sno longer a acral cleat «sound (42, Leg bowing = she) A vot.by Pick up he Bow ut down the Bow canals ou Aree X camclsout X canelscut > dm X conlsout > dm Konto Penderek A A eso, pz ee legno, con legno, Leg. legno tratto, L.T.. Le aco, pie, et. fom 2 0 mf 12 emo arco, pie lego, et. fom wo mf T. z ‘normal pressure, normal legna from mf wf~35— > Bib econo sarruro sown “This technique involves hing the sting with he Bo “The Leg fundamental sound (ef. a2. Lego bowing, = page 34) anal dhe «crystal clear «sou have the sme interiy the cya clear ound hw shot resonance, which i character of he sack In ome cave, the variations Pare indicated wth dots showing the pitches and ethan coreg diag othe pont of impact of the bow on aspect azing BB. couste stops Double ops ate posible om all ncghborng string, an om sings Hand IV by moving the how betwen ‘he en and Use soundhor FF Thnwaver angst opel when pang an eligi te BE. rae stops “Topple stops cannot be plays ax chords sed mat citherkepiyed arbi, or (Senet by double top) xpei, posily wing resonances, ee "Name giver tothe movement of che how which consti altel op-howing and down homing om Sierene tng. Exerpls son 2 tings on 3 tings on fein Cane plyed lesito.d BB cow speens ‘Whatever the howing technique, slow Howing les the und athe ced characte, wheres quicker seed mes the sun sem rer and ives a warmer impresion. (A pall comparon can be mae sath the ibe) Kemeko > do. lots limits aby fast sped low sped aco, pie, lego, ete. fom poof f-interals limits = rae? f intervals limits = e9 Horatiu Radulescobowing techniques 36 b y \0 BBL wormat posirion In traditional playing the bow is place at abot 8m from the Fridge for an open string, and moves loser 1 the bride in prportion wih de shortening ofthe len he vibrating sng SPECTRAL ANALYSES Gseing nied pion € tow Tem rom the bridge = Yo 10 BBL rasr0 sominc (rmgertoor “The bow i placed higher an the rings: the resting sound ha fewer high harmonics in ts pct nd ingen wth ter tacks, “The sound aio lw pomeral and requires more bow length than in rational technique ein to acing fee ta mh = = ee \ 111 BB ronriceito sowing (oidge) The fom ples onthe sin (oir the beg), as played pace flautand (patie y seth noma preset the nl way of pig hn ert nat This technique prices» sound ch im bigh harmonies, pnkling, meses even ting. With sh, even ages ticks, Playin flawande rings ut the harman Tha echnaue generally ruin no fara a vot: | ordinario, normal position, pos. nonm., N. tasto, T. poco T. sight on te fgrbard) molto T., Sul T. ont., P.SPECTRAL ANALYSES G scng piel placing bow 25cm fom the Ble (cheater IRCAM. + Chapt = page 29), Notation of the last two playing techniques (by Tristan Murai, in Bh. srarmonic scannine with the bow “he mene he fo om ato Toma Paks ips wo ete ast fhe harmonic spect BB circurar sowine This trl ofthe abn eng. The ho de wo) wh ating te ee = inciele aaa eae “The bow is not played up or down the eo sr dhe sound of he hairon the strings The wounds are loner onthe lower stings sighs on the higher sing. (With ie pres, his technique prodoces sound whch salmon defined increasing order : not, > dyn aZ3 a archet circulare, circular bowing fy all intensities ate possible\ Lis BEHIND THE BRIDGE leis pomuble play tehind the eon open stings. One ca abo ply the harmonies of these sections of string th the lt hand, or pick the sings between dur and oeinger. This equate to Pant “ast, br this tie with «2 Pont. » sone cow to the bse, the other cle to theese ‘The eval of Tanto found i the mide ofthe vibrating wring. Crud scunds come out well ere The rslting harmonics ae ey clear I ay be necro put 4c on cern elise 2 ipl hor note he sings 1,0, 1, IV sontal string), anor, by an BB. soove rue uerr Hano awe ty — —S— _ BB. seove tHe nur Pie Brin, ZAB La fs el St Net. ™,1981 2 man Philippe Boivin all intensities posible dm edo eam. anon a A not. by ieogram from pp tof ‘ogra fom mf of e weak ‘ogra foom pp to pc \ i = wih acral prema: ih song presi: .. “The fingerboard praducesa rubbing sound whichis almost defined BBL. sonar pressure “This indication means tdttonal techni, pedacing the nal tone cola of he sound a “This ndicates tha there shoul be Mle how presse. This techie gies les resonance an poe han the above BB crusneo sowing This indicates greater resre han normal he sur weoms forced iis ues, with ss sons Notation in increasing order by Philippe Boivin > dyn. > mat dy = min dm Avot anon by pend down premere ‘eogram from pp topPeriodic variation of bow presre. Same func at dhe ft hand vibrato, DETACHE BOWING Detach owing consis in ltratelyup-bowing and down-boming rom one note othe oes DDtaché hing alight harsher an more masked the bea ofthe bow than in the mile Detaché at the tip ofthe bos sfter and can even become Mure played flautando, et the detaché, the sorter the bowing Very fast detache is known sauté: However, ts posible to play saul slower BOW VIBRATO Ed. ON THE STRING “The sering i played in sch aay ato maintain # constant sound fr the dation f the noe Bowing muse he precise and Nee BB. searreve sown Maree homing isa speci detaché played etweon the tip aa ube mide of the how Artcks are enforce hy alight preston the “The bow adheres to the sring; the atk has Frecision and ichnes Bh uscio sco a technique of wing the how 3 snot io hear changes in strokes Log yes This indicts that several note ate played in one bom “The regulrty af the lexto depends onthe let and cf tera ants pose 1 ather fas bowing ements ond changes of stings mas, spe in the med range =| with the Bow detache echigne Sadevo alla corda, on the string ‘martellato liscioenapeer y Lv bowing tecnnquer = BBL ceracné in THe same Bow cam fen «lr « owing, with asstaind ound, noe Leo, or specie up or down bowing = da brawra = inking short détsché ~ bene marcato ~ notes. Played foster thi can fecome n= fying staccato - when up Bowing” or saltanda = when down owing A minim speed que, This technique aecestates a cerainamcunt of lon the fut the performer. an more o less tes can be pj depen om is. aur, this techni ako at eficene way to replace a daché when neces to bow ap or dow fon specific note EB. saute sowinc Theta lndt dea nh tow ae tsp do Fee Talc anor tn fo In thistechnique one hits the sting withthe hr of te bow Paty ad ra re BB cernivo sowne “This ind of batt in which one uss the wa cicachets nto the ting. IB rremoto some This isa short and fat detache homing on ane or several notes, IB srecrnas puss orenence “This ts apctic awtande bowing, played with a slow tremolo and using meson enh bow: I ives the impression of hewing two coeeuive attacks foreach ste, binging ow the hamonie fect es percepble on repeated notes. 1h Hats RADULESCU ax. spo > dm ricochet, arco gettato sett. from PP oSa 3 EE}. CONTINUOUS SAUTILLE “This produces an effec lowe to the ral of person instrument. Its execute like dhe sl but the Aor bow almost adheres the sting Ie wes the spring ofthe sck and is tore accel when dower or. by sd athe tip ‘max. deration 5 remere posible (ery tow bowing) Very lise variation of goed ex! Philippe Bosin, ZAB ou La passion selon Se Nectaie. 2 ss. 1981, ‘ebondi continu or Philippe Boivin, BBB. accenrusrion sy owine sPeeo There are vavous way of acentuating, although presure and sped ar always involve. Aor Accentuatng notes by means of foming spel erst ass fo slong ascent with ont ration BIBL. accenrusrion ay Bowinc pressure “This technique monly ed when down-bowing, but ca lobe used when up-bowing Aut EBB. accenrusrion ay ponriceito Aft change smade fen Pont -N. HBL. accenrusrion ay eizz A fase change fom Plex Aco sso bs: I eereatre ceene pa gh 0 BBL niescrew or mczow This technique similar to Leno atta an has more metalic und. fis posible on one string, et ver. fo Dang Same techie with the Fg SH ex Jacques Reboter, JEAN DES PSS. ¥ | Jes Pisce eee ae A ee) lac ee wl)\ iss Vibrato peraic wave in ithe he tone othe pitch ofthe sou To parameters play» prt nthe vibest anepltade and sped. avwe “Thelefthand cn peadces wave in pitch, Thee ae 3 lef hand iba the finger produces a anal vtato which slightly colours he sound “The and vitro x charactcrtic ofthe tata rchigue and he fasts. ‘Arm vibrato van oxciltion Vibrato has more penal in the high register than i the Low In some cae, eave equines nd amples ae transcribed by mea ofa curve above chest 5 Noto he ofl, Vi i ‘om eibata oes the sud Matern characte. L Fo notes f lost cal ich played simulans races the eft of ets The cer the note, ot by the mer thebeats, The perespen of bets not ta de wo timbres ar ox balanced persecnde noted svete al BB. cussanoo Generally spetking, here ae type of sand: lisandy il aoe iby, wbrarey sanca vibrave, poco vibrare, etc. non vibe. Philippe Drogoz aliss. orchapter bowing eecniques 40 — nu portamento in which onc hss in ssceson the ft ht lle bythe son, then te fn te ar (Changes of strings mis obviculy be taken ino acount An the noe fm of lang liso However i "oven the perkrmer can pac his fing silane on ileent stings and le the and sie, trich che tow chine sting tery = aia». Breaks of fourths wll occur inthe ella, ba ae often fondly peepee, Another special ese tha ofthe double stp lsd in severe movement, which can sometimes equ ten change of fingering ring the gis 1 corde and, (writen cand) {splayed thumb on Hand finger 3.0m — = = fs pill, ex Tennis Xenakis, THERAPS, for dove bs, 1981 Ed. Slab. sceton. 3 BBL. cussanoo oF a NATURAL Harmonic (Generally speaking, he postion of the How onthe string favours one particular sone ofthe harmonic see: trom. By making a prec balance betwen the penton ofthe bow the speed (which mus be ft, ad rewire hich must be conan ingle partial con oe loed fom the harmonic pect of stopped rote This pt can be eld during one tow ate, st may prove very dificult Bol ower Feo Consecutive stoke, Inthe peti exe of a gsc of harmonics, he harmonic played and som a he sod i pr ced ome sop the ring (with this technique, she harmonic contints to sound). Ione mmeditely shies ads notation thot Finger, the rth wl vary in keeping wh che inital harmonic pai “This echnige Is imposible beyond the mit the fread a works best when played nthe neck, seat nds are iil port. oF NoPizz."7 \ Ass BG) THE « SEAGULL » EFFECT Ione sides an arical harmonic fingering without changing the dicanceheswsen he two Fingers, the au. harmonise fora short ine changes partial, then sie aga et ‘Theshorer the interval becween the two finger the moe equ these changes wll occur ‘Scop fcr: high pitch to lo. Theft alo poe om le ohh pt an psa Is nina Me BB. suxrionic cussinoo “This type fslasando i pou with mulionic played lke artificial harmonics Se inger at pee shiminienguter tone rm the thumb) Aatiial Muligbomies cf p22. Very dficl wo pesoem, \ BBL naraontescannin wir TH Fr HAND Bligh touching the stein withthe ingen can hear a sequence of harmonic oo Fer arial harmonics, one ses the same technique, excep hat the chub reais imme while one roves the Salinger “Tato ery fen esvernents of harmonic Ponte many movements f harmonics BB. « pers oiasses » “This i technique ofhting the gers the highest harmonics of ether an open string ta topped Avwe ote. One hes sulanecusy che fundamental and a very high pice spackling of hare. The Bow i placed on the badge. Inthe case of stepped nots, the mitten note te stoped by the Sesfinger and the theharmonicsare hit with 2,3 4 No Pix. NoPizx. NoPix.chapter Il: bowing techniques 7 b. [torr vane oe \ Yo BB Harmonies (abies ch p17) Trl ae posible. max elf oils ah) J we =129 [ed. ARTIFICIAL HARMONICS Artic harmonis are the harmonics fours eit layed an a ection of string ited hy the thumb (eruen as rrmal note) the 3 finger gh touches the note rien os bite When the Jed fingcr lightly touches the ascending fourth from due thumb, the sound heard i the high douible cctava. Anon When the Se ner igh eouches the mcending ith rom the hams the ound es the hgh wl SS “The fects mernes ned in ace (notation aed in weiten word) ¢ les tpt ih the bow ——— > dyn. | all intensities x: Georges Aperghis, LA SIGNATURE, LA DATE, ETC or dbl bs. 1985. Fu Salah page line 2 fo Some attic harmonies sand without sopping the stcing with dhe thu; boh finger nach the sing or. Tigh. this cine diatonic land spoil =—49— BB couste $1075 sp nail harms ooma ey hd) ‘ech double stop ate ited oto caer cca The topped nt lay on the lower ring, while the atic harmonic (stoped or not, isplayed onthe higher sing aod proce wth a thumb fgg. Only ee llominy exapes are possible = pote stopped with inge 2 son or erect its or lower tone from the ate Hinged 3, ote stopped wih nger 1 only on descending soe hil or maj second om he thumb-ingered not, Ind cise The stopped not played on the higher string, ade artifical harmonic, (oppo oe). ple onthe lowe rng and peace with thumb? fgerng In dis case only ne example posible pote stopped with ings 3 only forthe pete out omen tone et dhe note igs 2 BBL sucrprionics (of double stops Cf p21) Pon bn hh oe oe ills between two muliphoncs te pose 1 ionic ate po @ maxed # Tals etncen harmonic and oui ate posable is mpstant to scents he harmonic mas sped =| LIGHTLY sToPPED NoTES ‘The lefe hand stops the string only slightly. The sounds are similar to those of normal playing, but slightly — EB. crossen srrinas (ls ef ard lisa techni pe—s0— Entr'acte “The same masical sign can have many diferent meanings, once we accept that the concept of sound includes attack, timbre, and vibrato. sound that ane person might qualify a «pure » can be considered totally asepisized by anouber! ls vibrato an integral pat of cmbre or not? Is the bar Tine a mere marke, or does t rernnd us that there are strong and weak beats? When looked at clo ely, sic signs verve ro a mlttae of questions, which in turn being oath a ria of def nitions, dgressions and exceptions. To this effet, we can uote Schamberg : « Interpretation fa necessary clement in the process of building a bridge between the idea of the composer and the ear ofthe litener, making a musical ‘composition understandable and acceptable to a Hstener at given time » and further on «more: ver, there is practically no such thing as a had eempo that a talented performer cannot make the Public accept, as thete is no such thing asa good tempo chat an untalented performer cannot ruin.» (1926, Style and dea). ‘And ako Strauinshy: « Above and beyond a perfect translation ofa sore, we expect the per- former to consider it wth affectionate attention, which no way should hea aempe at recom- pesto. © If ve superimpose these two quotations the problem is clear: there isnot a bar of music without a potential headache once we get beyond the conventions ofthe past and into the heart ofthe debate: “Thus, is noe ou aim to compres or standardise in any way the diversiy of musical signs used today on the contrary, since they rect the diversity of concepts which go into che making of our cemury’s esthetics, and since itis one aspect of the performers at that he he skilled in reading them, our deste is only to collect existing information, to explain the various techniques of playing, and to ilustate them wich afew examples of how they can he usemodes of playing ras » CHAPTER III: |pizzicato techniqueWARM ict Han a PIZZICATO TECHNIK Infrequent in witen mune, piccato his bon wean developed moti jaz mui, Asa techni, mae spat: iti ch ae aro playing aes 3 wide range of extremly auble asin (2 fact that ny nor, vehi espe) Pca an be plays both Ponteland Tas adhere alo anor» Pon.» snd nea the nt Pz ace plied with chun ar inges 23 of the ight hard. The sound can Be nceraped ete by he andr by releasing the ft har BB. sustains nme Ssining time ithe normal vibration time of ring for any specific uns eis hor in dhe igh rei ter and canbe very Tong io the low rier (max 20 sc); varies with each nstrument. Vibrato belps Insintain stained notes, downs glisendes shorten ty and upwankglssandes prong it and can fen prodace acvese: decree, eflect. Open stings have along sustain ite Bh sous tis produced by means the « hammering an + se « pul eff «techniques a neighboring aserng Avot tote be uc th kit had (harming on). 8 nebo Jeena wat ‘he eft ans which kes sight pie. (pal of), when elessng she sng ‘sex: Pascal Dusan, Is an O17 for de has, 1989 Ed, Salar. (pe lne and 2.) BBL. courte ano rapte srroes “These ate oie simultaneously or in arpesios, BB. ranstece vararo Vara Thies pitch can fe prc by aplyingpresute onthe tice, Ths vteato eile or long noteallwing timer each the pec with the rit han ibe with the double hes ina horton postion, taht om one repeated note (srng de Casella et Mortar atie's Indications forthe ches Jaden slurs to be notedae Moving the fingernail close to the string ding the stain proses «singer = ike BB. crossine Hanps ‘One can play with the righ hand above the fafa nd proce Bi-tones ef B Turek) cf btonce = page 14 -Aroc.: | the effect in brackets 2 6 wiht th wice ex» Georges Aperghis, 2° RECEIATIONS for die has. 1980 Bd Soler (pine 1) 7 To tht, bvtoncs derive fram the say techniques wed (eh Lh} I nh 7 hoe wi th AT 28 EG seninn THE Brince not tl 0 BBL enopm roe. | ideogeam “The sound is loud ifthe double bs iin arizona poston cfs page 39 :216 Rie \ “This ba Pa echniqe played wth se outs fe at keke ofthe ham, Irfan sata, foci (the sring should hit the Fgrboard vn the Bartok iz BB carroxezz “Tiss the eaional ple, excep hac the sting hits the flagstone “The srng can he immobile by making it he igsrboa Bh. cencriwse scrarcnine The sting insttch with the thumb mil wing the ow or anoher acco BB trenoxo There ze wo ways of pring right hand treat stan he plied alemately wth fingers 2 oe 13, {icin be played with up and dow finger movement aerate panda. “This echnique enables ome to play ute al onsting IV. Left hand treme: posible on a thumb ingsrng with an up and down movement of ve Salinger lee oa ea One can cumin alight sting the ight had finger onthe finger with a ple ot ring The pit stack rover up hy the ich resonance of the > dm. from ppp wf55- “The pees played withthe na Lil veloty spoil 2-21 ex: Philippe Boivin, 3° oes 7 ALconrTumes or double has. 1959. BA, Slaber., V0 pice ith the nal ote nore ere a BB. cert ano przzicaro. sur Hunn the string withthe ef hard mish the string vibrate This sound ike a aot funky pies are|]| AS dyn. | fom ppp to mfchapter Il: piziceato techniques 56 b. [Leer nano rnestt BB. szmonics Pat on Ist pris harmonics ae posible played Pon. For higher harmonic arias, finger oe Plectrum shoul! We ns. One can alo play eh hand above Tle haa ner the ut. These Eset are rowshleup tothe 4h pace. can be played wih che lt hand only * ctr in he shu pstions the loemge gen played with thumb and hep wth finger 3. 1 ccindhe neck portions the lenge firings played with ger an the px wth ger | ahve) “Ths ene open, but poe up coche Sh paral. Bee Thos bar cs pro su [Bh czncuens ns nly phe om long notes an in she low nd mad esters of the 4 segs. fo DBL crear on we at red Thos sounds age hardly define, a have sort stan. Arachne ou > dm harmonic pce left hand| anor. by Philippe Boivin — fyPw \ 57— BB sian crrecr “Ths close to the» ingur «fey, hu paca by pling strings Hand IV horizontally off the neck: Duct the stretching the stingy variation tc head fee the» sing» snd il they come Bh crossen srrines “The stings ae cre and pein place by presi onthe gerard ‘This technique sme only fr et and ssand WATER DRUM EFFECT Pall and hol the si othe figs LEFT HAND MOVEMENTS EE —ti—‘CSYI BA cuissanoo amy fom the fingetoand withthe lft and and pay ic. with the thumb or fet nthe tan = pe 5 NATURAL HARMONIC GLISSANDO (2nd and 3rd portals only) By stopping the finger jn afer the stack (x that dhe harmonic sounds on) an ding the ssa, one can either ae the finger om shor tance ene wide alfa ebro fs harmonic glissando withthe Bow = pgs 46 Stunde wth the geal Benes ae ean! onthe 2p leisnorrlable ooths > dynentr'acte — a dialogue with Frederic Stochl Profewor of double has atthe CNSM of Pais, ‘lott wth the Ensemble Intesoatemporia, ‘Jean-Pieere Robert — I could very well have considers the diferent ornaments (til, gpl, ‘dent et.) playing wchnighes neat oe it mul have been neceway to mak shou the ist ‘eal evolution of echnaues and sles of playing, because the concept snot nem ehinking fhe ‘ctl preface she hupichon! hooks f Cauperin ant Rameau ke exp, an of the prt cetoheyluad playing atthe tne of having doped the practic of wing the thumb [al temperment ao represent 2 specfe wy of playing, and moreover, a wlevant ston today forthe peer playing musi ule the moni spectrum : toy soning of rempe ‘mention that of he XVIIeh cetuy. The striate she tm hat era ayo plain tay need to beak cat ofthe conventional fmewerk of musa ne {We can make x small davenion. the cheat wa playing echoigue 4 pefome lays e- ssn ae slot ora a meer of an ensemble. For the compere, he conductor fs another apne Sle. metre © playing Hes mde plying for the peiomer, tach the mine the ‘url tution “Thise = meutmodes- of plying uence the fteretation ofthe ssrumentalwehnigues, the same way ae techniques influcnee the interpretation of traditional musical sige. “The microphone, the phonoram, the videogan, che Sond teccan, the produce ate also mu mde of playing to the pbc ‘Acthis stage, the question ha shou! be asked sho is whose mene of playing? Frédéie toch! — That makes me think of ead dasha wll ry to express iret you may ‘conse it ts, but i a ft hat the intent dent exist wit technique tat Png it fut orwithowe a prfrmer You could lo sy chit a priormer dsc ext without an inecume, slthough ene ean ie ce ow boy ab aoa trance. That why Yo my lee esteunent {sa sor of extension of the performer’ bey x double the cave ofthe instrument we ate ling shout the mow bios, he double as, PR. — Lam chinking ofthe charge eivale (si weily a plaging technique. Bara echaiqu ‘obviously nor moder, however te cerenly moder the wy tha hese plylene instrumental ‘tly the origins oftheir struments the evolution of teciqs and sbos, and finly the wy ‘hey thnk of themselves se vehicles ofan oral tradicion, che intent techni. Tatts what 1 fan teresting Onl tation adhe ipenabe tterace of the weten ne (Our dil paradox FS. — Your teats ia sor of mane of context which gives extreme importance to the writen ne Trea that composer weit an erbrmers traci the ls nt cums, inthe ame wy a recs conceive pects al bles make them a wal. An this dest jst hapgen wich no coats cus in the eral moter not usa pee of wool a sere of quencies Buta ct othe Fok ‘fa human being. eis tha apc dat we ave co alk abou where excl fs in? Des eto oer or when the how touches thei? ei im he caso he Ieee Where fe mi—59— ‘Trot he question «in connection wth teatite Hk this ome thar I woul lke get in on, ith my own pe ieas and cbsssions. Ir te pater of msc in general tame mse he Inely necessary wo Rave fr sring, te, or tw, fifsn musicians ne hub ify, 9 seen Tn the ed, asltly necessary to ko from what or where musics horn! Whethe it is actualy born frm instruments or whether instruments are fashioned fn aM the od soy of the chicken an thee, ine look a yur is ofall the instrumental echnigus pee, we can ace that sie moving in the direction ofthe greatest pomble redem ado tows agen fll inset eck ‘igus simply by the accumulation of poses. Ad dt certainly ce the charac the double has, which 5 equally goo a pereisioninsment and as 9 sing trent. a9 instrument with more potential than has been sed by sting inrumentsin recesing sents Av {you yin your iaroduction, the se of aco Test, histo speaking inne equ than rabine ‘het, hut the fee hat you pu oth techngues on che ume level an ivan to et wy Tivng usc - face, what we have Been enjoying in she part twenty o thy yess away of Sewn ‘theinstrument almost asf we were Beginning at e010 ty and ee what ne can do whe ‘Avon of abula a ‘When I ehink of my personal experience, stim fe ike playing ls of oer instruments potency contain wi the dole fa, an instrument that Ire ot fea knowhow eo fanle, an which [would cecasonaly like wo make soul ikea tembone, stringy ett, hall Ate hurd gurdys 9 sat, and ther-The nsrument remains lente has rod ange fom the pint of view of ound volume it ota caint ora tomo yet ny expetence ‘ofthe instrament el 1 tend to pa i to ssn and ent ith rth che sours, ‘the instrament 0 tht in the ed wht ave dale a,b double hss trnsormed By all ‘hese benifits and extensions ‘Obviouly, this means that an instumentls is « sci and an instrumentalist, not just 9 player edd tthe function of bn a mere recep of fed rechnigis lee hy repetition aed Iutatien, hae someone tho explore the inset for anscal pape a in some way, expe men wel “Thats why tis interesting find scones shat challenge out know-how skill props hs they seal orwiten, kel fr or completely unexpected that nich eur nner nda wore Le would fe ‘fl show how Mens came to the mil ort the hand = the har ely the sul of al. We Sou ally ey to explain how a von what experenee lying techni develop whi the Player Compesers Jo nut seer tundra this to wall. They think we have objective sil that Slow ao undentanad everything Sometimes we have tak thea =what dd you write Ree = -uhat Sid your haven mind when you wrote at =, ond thin swat nent an ow nd pay “Thetace thatthe way i which we make scone ou one ranscms what the cease acl lowe I ot semetmes very filo pinguine something very mysteisand perhaps destined remain. Tete fe the aestions jou te yg to get oh the esse “Though pechaps i not the rg place. A ecatise cannot exhaut that oof question or even ten tame but cam geste the question en april 1991INDEX authorsai - COMPACT DISC n° Inn Xenakis Tens Grnges Appin de REE ATION mca Roving Tag wing robe apo towing Contato towing ‘et postin 10 taking U1 poriell boing 12. Farmonic caning wi te we 13 ciel ng i cic 4 a 13 sens movenen 60 " " 4 36 36 a page Keeciin B48 Kurng. 0 MahlerGustve 12 Symphony MurilTiwan 37,40 Pandercki Keyl 34, 38 Radulescu Horta Rameas Retorier Jacques 44 Jean despise Schaerg 50 Seaveaky le 50 Tusky B s Xenakislannis 46 They 1976. A. Saber. Plo 16 behind tebe 17 ave thet hand 18 shedheont 19. Php Bown, ZAB 00 La Pas Son Sr Neca 20 theelpece 21 thealpcbalder 22, theendpn 23 heures 24 heats 25. topaltheknige mona pci 26 ~ene rene 27 slesofthe tegen pe 28 tong reste 29° swumbfehe dent 50 seem pen fe] 8 % » 0 » x *e 2 ”3 32 33 34 35 36 ” 38 39 40 n ar) 5 4 4% 46 a a5 9 50 51 52 3 54 55 56 57 58 59 60 61 62 6 64 Anta ‘uel bowing teakingharmine Few tate Beach towing hearing sel owing leg ‘Recht inthe tac bow ‘sulting tet bowing ‘romolotowing sev pe iernce ovine nile Pile Bsn ZABi a Passo sow STNECTARE >eeemtation by bowing eed ‘ecennaon By ing wee ‘eccnton By poiee| ecco by pe Secemaron hy the ng thescowo te Jaca Reber, eas oss, toe liso ‘iar tral moni fhe weal ice ingen gn mincing mith che Te hand penta» ‘monies, Ta stopped ots roel ate COMPACT DISC n° 2 Toon Pl Dap 0 CU Sp tape va Spt wd wih he ge 6 3 55 52 55 6/7 cms as Gears Apr 29° RECA A ehind he ge 9 shetapece 10 thetaliece ber 11 heed 2 funky 13 Bank 4 serpin the sing wath perc 15 the crtching 16 tremolo: leat aod? "7 tad do ger movement 18 hate 3 than pion) 19 busing the noo wih pon tng 20 pz mith che figs, 21 Tipye Bin 3rd 7 Atos 22 emis pat 2 caer 24 uted 25 Steet 26 comadstings 27 woe drut 28 Karman seco 29° ulmi sand 50. ical mph 31 ulmi witaplck pss 32 Taree 33 itp Bivin zac La Passo on SY NECTAR 34 seme ke 35. plectn 36 themes Seng 37 engl 38 scion faa harms Avy hed iil ames 39 enna fingering ef a 40 fingering " cole Virgen aa 2 fren fit mln $3250 trae! ssa 1108 51458 engl snund 8 59466 engl sna 07 67373 seme Vsund LtoT x0 30 0INDEX OF SYMBOLS PRIN raion) (ero toving am aa waa [ME ricrinarvale BRDD secral pave diterence.__] we |eFR ie cess oe aeaal a BS pe we me 1 SS —<—— Ya d ce. a A Ips aes a RID ict Fand piene 5 Mo $ with the tailpiece il : 3 : d [REL ci hand tar. scanning] PB et hand harmonic pez ) BE star tee ; s ‘ 3 «| iw n le Se lean PIE scoping se rng wth pore] EMD waterdrom oer yee ey ee ra topped muted pee} ERE rouiphonies L 2 {ils