(a FT CTCON TTA the $5 double ba —— EpiTions MUSICA GUILD English translation : anais smartPRESENTATION september 1994 This study is devoted to the various techniques of double bass playing. I has been designed as both a catalogue of information classified by para meters and a tead wide wz aid which progresses step by step. It encompasses a nge of interests, from a basic description of the instrument to very complex multiphonic sounds, and should answer questions posed by compo- sers and performers, particularly as regants the various concepts encounte- red in the field of contemporary music The classification of playing technique does not reflect any esthetic judgement. The table of contents is organised according to the following parameters #1) right-hand movements and articulations (complex sequences of right hand movements), * 2) lefchand movements The presentation of this study is similar to that ofa dictionary, a dietio- nary of sounds. As such, it may seem lacking personality and warmth, but it also possesses certain advantages: it is quasi-exhaustive and easy t0 use, .,and above all, there are no value judgements. All playing techniques are presented objectively. Even if itis obvious that the arco-legato technique is more commonly used chan arco on ribs, it would be unwise on that quantitative basis, to establish a qualitative scale of valves for classifying techniques. answers are completThe esthetic influence of one mode of playing or another changes with the times, making any precise or definitive value judgement impossible ‘The study of two constants - « right-hand movements » and « left- hhand movements » - will be applied in succession to arco playing (chap. I) and pizzicato playing (chap. II) ‘The study also features two « entr'actes »: on one hand, reflexion on factors detemining how we read a musical sign in a given context of inter- pretation, and on the other hand, afew thoughts on the subject of the per- former and his or her human relationship with a musical proposal (inter- view with Frédéric Stockl, professor of double bass at the Conservatoire National Supérieur de Musique de Paris and soloist with the Ensemble Intercontemporain), Before opening this dictionary, it might be interesting to say a few words about the double bass as an object. One of its characteristic fea cures, which distinguishes it from other instruments, is its lack of confor- mity to any construction model. This insubordination to organological definitions has been the case since the very beginning, and seems linked mote to the [6-foot function of the double bass than to the instrument inslf In fact, what we might call « intellectual indelicacy » has characteri- sed the double bass since its origin in the XVHlth century, when the word ic instrument : « They are made in all sizes, bbur must be at least hig enough co get out of them the desired harmony, and the following drawing shows a viola da gamba, 4 1/2 feet long ( +- I'm 45 ), although it could be made 7 feet long ( 2,3 m ) or 8 (2,6 m) if one’s farms were long enough to play it.. ». Marin MERSENNE. ( L’ Harmonie Universelle 1636. ) The number of strings was also unspecified and consequentely, the tuning as well This problem has still not been resolved. IF we compare Mozart’s aria Per Questa Bella Mano » accompanied by contrabasso obligato with the jolone referred t0 no spe concept of the « grandmother » of the orchestra, itis clear that the same word is applied to quite different instruments. In his « the Contemporary Dowhle Bass » (1974 ) (first publication of its kind), Bertram Turetcky dis- tinguishes two instruments: the solo bass, with a clear sound and 4 strings tuned a tone higher, and which isa smaller instrument chan the orchestral double bass which has a darker sound and 4 or 5 strings . Additional evi- dence of the absence of a single instrumental model comes from the fact that Paul Brun called his excellent book « Histoire des Contrebasses » (1982) Whether we think of it as many instru ment with different personalities, the double bass « is» or transforms itself into what the composer proposes to the performer's art. Treatises on orchestration like to refer to an instruments « nacure the double bass, one can ask whether it actually has a nature ofits own oF not. Pethaps, 2s Marin Mersenne thought, in the end, the double bass is an bur as concerns DIRECTIONS FOR USE All musical examples in this book are indicated by the following symbols : \ 1 37| = CDI index 37 te a 23 | = CD2 index 23Preface Presentation CHAPTER I. THE DOUBLE BASS 1. Organological description a. the double bass by. the how «. scale graph of the double bass tempered notes, d. strings setup F-acousties 4. velocity 1 percussions 2. Tuning and range a. history 'b conventional notation «the four strings ranges «table of micro-intervals {table of bi-tones table of harmonics h table of lightly touched harmonics. ic table of multiphonics artificial muleiphonics| j. three examples of spectral analyses synoptic table CHAPTER II. BOWING TECHNIQUES 1. right hand a. bowing techniques atco owing # lean Tego hamtato how 1. techniques of pla otal pettion ing» halen bowing © cred: keno Bowing ® Soule stops # tiple stops # Farlages = how specs ng the bow tasto bowing ® ponticello bowing hartwnie scanning © Circular bowing # vertical movement ®bhind the Bdge ahve the let hand # shove the nut the apiece * the taipiece en pins the four pos # thes sounds ofthe bridge ® the finger pa pat p36 «. bow pressure pao ‘rma pressure # lawns # cashed bowing © reat Karmic how vibrato bow strokes pal ztacs bowing om theserng © marl howing listo legato Uéac in dhe same bow sng hattto » gettato owing eel bowing * spectral phe ier nus sutilé» acentuaton hy bowing speed Fy huwing presume accentuation by pontcela © accentastion by iz accentuation by the ring the screw nf the uw 2. left hand. a, movements pas wit» aes © glisans» glssand ofa natal harmonic © ther» seagull » effet * multiphoni isn « harmonic scan swith the let hard © «pie chables = b. pressure pas Thao hd ail harmonies ‘Kalle ste rs ered tring entr'acte n° CHAPTER IIL. PIZZICATO TECHNIQUES. 1. right hand a. pissicato techniques sustaining time «legato doable and eink sings tapce vibrato thesound withthe fingerail b. positions ‘ronsng hand fhind th bridge» wise» talpece ice ® cod in pot swe tratching © wich the finger Barco pcs ® stoppin the hictng the Fngerboned with ith pore ‘on string IV « pi © and ea» top : b. pressure 56 Preaonic © ania barmosin © egucr” » mul pwr" Cros stings © water drum eee movems p57 lisa @ ral harmonic ina entractew"2 p58 INDEX authors and works id CD references 60 symbole p62rica CHAPTER |: the double basswm odes of playing the double boss ORGANOLOGICAL DESCRIPTION tailpiece tailpiece holder end pin you peoy Distributions of the bow : * Playing at the heel of the bow produces a harsher sound chan playing in the middle Playing at the tip produces a softer sound. © The indications « at the heel », « in the middle », « at the tip » show thac such sound qualities are desited. Types of bow © the German bow is held in a way similar to that of the gamba The frog is higher than on the French bow. Ie is used in Germany, in the U.S.A. and in Enstern Europe. * the French bow is similae to that of the violin, and is held in ‘much the same way. It is used in the rest of Europe:—9- SCALE DRAWING of THE TEMPERED NOTES of THE D end of on the 4 strings fingerboards = thumb positions pe neck positions " Ail Vv Togarichnic progression of the tempered On this graph, one will superimpose the « windows for reading interval limits » Directions for use + * Place the note chosen in the right angle the various possible ambit in the window corresponding to type of use (normal, specific, exceptional) and to posi the neck » of on a thumb position). («in_modes of playing the double bass lo— I+ OncanoLocicat oEscRiprion d. STRINGS Double bass steings are made of coiled metal ( Le. rolled into a spiral). They can also be coiled around gut. Pure gur strings are used in baroque music only. These strings, used in the beginning of Jazz, are now again being played by some jarsmen, The double bass has two basic types of setup ( i.e. distance of the strings from the fingerboard ) #1) : Strings are set quite close to the fingerboard, which favours the sustain: a very small angle between string and fingerboard makes it possible to sustain high notes longer duting resonance.The resulting loss of intensity can be counterbalanced by amplification. This setup is often used in amplifi © 2) : Strings are slightly higher from che fingerboard. This setup is generally used for playing clas- sical music. Because of the double bass low register, the sound that reaches the listener depends to a great extend on sut- rounding acousties. There seems to be 3 acoustic zones around the instrument ‘© 1 zone: up to 50 em from the instrument. In this zone, the sound is clear; the acoustic signal is at its ‘maximum, the attacks are sharp and high notes of the spectrum sound very well. ‘+ 2-4 zone: up to 5 m depending on the inserument. In this area, sounds are blurred and seem to overlap long low notes drag out and high notes sound aggressive. This is not an interesting sound zone. + 34 zone: the sound improves with the acoustics and increases in potential The existence of these 3 zones explains why sound engineers prefer to record the double bass close up (in zone 1) and why the third zone is preferable for the audience. sound phenomena exist for other instruments, but are particularly relevant for the double bass Different types of acoustics considerably change a performer's interpretation of dynamics and use of vibrato.g- [verociry i Limits in velocity are determined by the left hand ( also by playing techniques ). \ne ex. : lannis Xenakis, THERAPS for double bass, 1976. Ed. Salabert. 7.3, line 5, 1* edition, + Velocity and playing techniques ome playing techniques cannot follow on others and require preparation time, Certain left hand techniques enable the player to link sequences of right hand techniques \ 12 ex.s Georges Aperghis, 4° RECITATIONS for double bass. 1980. Ed. Salabert. p-4 line 3, speed in in legato conjoint mers, 1 speed in in detached disjoint mets ‘The double bass can he struck anywhere. However, itis advisable to avoid fingernails or any sharp object on the varnish of the case. String resonance can be either used or muffled. Sound varies according to the instrument, and also to the weight applied. However in gene the neck produces an undefined low sound, the ease produces low sounds in the middle of the table and the back, and higher sounds on its edges. Ribs produce high sounds similar to temple blacks A not ‘THERAPS of Iannis Xenakis PHLEGRA of Iannis Xenakis Philippe Boivin‘modes of playing the double bass = p= Ts ORGANOLOGICAL DESCRIPTION 2 \ $ \ > \ 33. ex. : Philippe Boivin, Zan ou la passion selon St Nectaire. 2nd movement. 1981 1 3 2 6 6 p= 1 Als — va 3 Be AM ADP Pr 3 y, for a or ACCESSORIES _ The mute compresses the sound and gives ita sweet quality that is often used, as in the short solo (« FRERE JACQUES » theme in minor key ) in Gustave Mahler's 1% syMr#ONIE. John Cage in CONCERT FOR PIANO requites 3 types of mutes. Metal, wood, or plastic mutes can be used. 34 vibraphone and timpani sticks “These sticks played on the strings produce a sound close to piszicati and to the electric bass guitar. They favor velocity and long sustain, ual off ard hammering on technique (ef a2 p.52) are similar in sound, and favor legato. Timpani sticks can be used up to the 3rd partial, vibraphone sticks to the 6th partial Playing on the ribs sounds lke temple blocks 35. « the plectrum The plectrum is used as pizsieati, bur has more potential. When played close to the left hand, it produces a more powerful sound In the neck, harmonics sound up to che 6th partial not. put > dyn. O max speed. timpani sticks superball rl A from pp to mfa. modes of playing the double bass : TUNING AND RANGE # Ie is often necessary to change the instrument's tuning: in the XIXth ceneury, the solo instrument was tuned a whole tone higher, becoming a transposing instrument. When playing scores that require a chan ge of scordatura, itis advisable to equalize the pressure of the string over the instrument case and avoid both excessive pressure and sudden movements of pressure. A special scordatura indicates that the com- poser considers the instrument as a transposing instrument: the written notes indicate the fingerings. ‘When only one string is tuned differently, only the notes played on this string are transposed in the nota- tion. Ie can be useful to note this string on a specific staf. The effect ( written sound ) may be noted in brackets, as itis done for harmonic fingerings. ‘The amplification 2 ments have been built with no soundboard. These instruments make for superior results so far as recor- ding is concerned, and a perception of the acoustic signal, parameter by parameter. They are held and played in the same way as their acoustic models. These electric double bass and more recently the « MIDI », an instrument with several sensors, particulatly adapted to computer processing. ex: + Pierre Boulez, DOMAINE. for clarinet and instrumental ensemble : duet for marimba and double bas. CONVENTIONAL | * The conventional octave is almost always used in the 3 clefs ( Treble,Tenor and Bass } A few exceptions can be found in the notation of harmonics, often causing confusion A systematic use of the conventional actave is strongly recommended. In his treatise on orchestration, Keechlin suggests avoiding the «real pitch» notation in ambiguous cases and using the expressions writ- ten note, heard note. Most of the notations found in this work are written notes. ide ectronic transformation of acoustic instruments is difficult, which is why instru- rations of instruments have produced the THE FOUR STRINGS | * The four strings are euned in perfect fourths from the high to the low register: G 1- D 1- A0- E 0 . They c called strings 1y Hy IM, IV (noted thus in Roman numbers under the staf) smetimes a fifth string is also used, tuned to Cp, In orchestras, between a third and a half of the double bass section plays on a five string double bass. This Co string allows the double bass to play the low oeta ve of the cello part. The fifth string can also be a high C (Cp): this setup is used in the United States, essentially by jaz © A mechanical device which stretches string IV instantaneously into a Co is occasionally used in the USS.A. However, this can seriously damage the instrument ‘* Sustained playing on string IV is extremely tiring, especially in the thumb position.‘modes of playing the double bass — 14 2+ TUNING AND RANGE d. RANGES * The lower limit depends on the tuning of string IV, The maximum being (real pitch) D_p. Ifa szill lower tuning is desired, the bridge must be raise. * As forthe upper limit, the length ofthe fingerboard is different according to the instrument. we Asa general rule, it will go up to (written sound ) For higher sounds, one either plucks the sting between thumb and forefinger, oF plays on In traditional chromatic technique, one uses not ‘in the neck : fingers 1, 2, and 4 per half-tone; the 3rd finger is not used * in he chumb positon, (from the open string first octave): thumb, fingers 1, 2, 3, per tone or hall tone , according to different methods. predefined intervals (cx: 1/8) In the quarter tone technique in dhe neck postions: the quarter tones can be easily fingered with fingers 1,23, and 4. hieher ob | & t ¢ in che dub posons, a with other ting instrument, one moves the finger p to the right place, sth blag Same technique for smaller incervals, lower BI-TONES Bi-tones are produced by the part of the string situated above the finger, Only the fingering is indicated. * When playing pizz, the most practical way to play bi-tones is to change hands (right hand above lef) * When bowing, this rechnique is limited to strings Hand IV. ‘A slight imprecision of pitch is caused by the thickness of the finger. It can be « corrected » by a slight vibrato. The sounds of both parts of the string can he played in double notes. This technique is limited, because only the thumb can be used for fingering, The lower bi-tone is played pize. with the 3nd finger of the left hand the upper bi-tone is played either areo ot pi The longer part of the string has the longer sustain, with the right hand cf. tables on the following pages.1 a 2.36 © string I bi-cones (writen sous) © string I bi-tones (written sounds) ‘chapter I: the double bass‘moaes or playing tne aouore bass —10— 2 TUNING AND RANGE © string IM. bi-tones (wriecen souncl) effects the sounds become more and more blurred 4A 2 37. @ string IV. bi-tones (written sounds) the sounds become more and more blurred ceeessseesecesceee aS= : ee ore Des | === go——ito- = =© string 1 natural harmonics (written sounds) effects fingerings fingerings 2 posible fingerings 4 possible fingerings © string HM natural harmonics (written sounds) t fingerings ‘unreliable notes +] ‘chapter I: the double bassio © string MI natural harmonies (written sounds) effects fingerings ‘unreliable notes fingerings © string IV natural harmonies (written sounds) effees (= a z =e f « | fingerings fingerings & e " 1 0 m 7 unreliable notes T th. LIGHTLY TOUCHED ART © string I lightly ouched artificial harmonics (writen sounds) cf. p. 48 fawn four —: a efees |B = — © - | S S 2 te 3 pe == z - a . fingerings of fifth 2 2 ° tee be | 2 tg 2 fe [be ie ‘ 3 © string I lightly touched artificial harmonics (written sounds) fingerings of fourth Ae ea — de nS i202 effects = = ¢ rol fingerings S — fingerings of fifth [le chapter |: the double bass_moaes of praying we wounre ous 2+ TUNING AND RANGE 2 A 2 © string IMI lightly touched —w— harmonies (written sounds) effects fingerings fingerings of fourth fingerings of fifth © string IV lightly touched artificial harmonics (written sounds) fingerings of fourth fingerings of fifth icIn this chapter, the reader will find some basic notions on how to produce multiphonic sounds. This study , as the first to be published on the subject, is only a comerstone in a long building process: it will cake time, the experience of other bass players, and above all the challenge of electronic processing and new orchestra tions, for these notions to grow into a mature technique Both the tables of multiphonic sounds (cf. + page 32) and the analyses (cfs w= pages 22.4 33) show rmultiphonic sounds produced like natural harmonics, by lightly touching the string with the left hand at the points indicated by a lozenge. The mastery of pressure, speed and precision in placing the bow, of great importance in playing harmonics, are essential to the realization of multiphonic sounds, Multiphonic sounds require only a slight bit more pressure than neighboring harmonics. However, they demand perfect stability of bow weight. A slightly slower than average speed will give the same intensity of sound as one produced by the same fingering, bue pressed. The teai cific left-hand finger pressure technique. ccan produce the harmonics (he coef of che vctave) (poco tasto) ion of certain sounds demands a spe- (normale) and, when wsing the multiphonie technique (slightly reducing speed and inereasing pressure one ean produce With the above technique, « fade-ins and fade-outs » can be proxluced between harmonic and multiphonic sounds.modes of playing the double bass 22 2+ TUNING AND RANGE -§> 30 3 The agratespraduced by mutiphonics dont sound lke chords mask effets - some notes hide others aswel asthe ver i ferent tne-olour proper cach pail, gve the gregates very specific sour clones. For example, an ayregate writen D, G.By will nor sound ara ke for chord. Insti, cri elling phenomena ise mulkiphonics of similar snictare toposes iferent snd potent The notes composing the aregates in dhe table (p33), are not exhanstve: a more precise stu, cred out in the IRCAM stulio, shows great nuber ef audible harmonic comprinent (somerimes as many as 8), thatthe ea inact perceives asa Position ofthe bow onthe string varies according athe motiphonics. Also, sing the sme fingering ome can find several diferent how postions and even several different muliphonie sounds. n practising this technague, ts help 10 Tide the finger from a neighboring harmonic + Wehave noted ony the more stale agate As show bythe study of multiple sounds on other instrament, these techniques 4 arc evihol by pacts and use: muhiphocks became eae to ly as ne essed this typeof tevaton and improves ao ne wm techie Legato bowing is dic ‘Atacks te poco mart. Sound intent robe ARTIFICIAL MULTIPHONI Artificial multiphonies, like artificial harmonics, can be played in the thumb postion: the finger lightly touches the string at a distance of a fourth diminished ofa quarter-tone. All parameters ae reduced Glissando posible. ex. (uniten sound) - + One should not he suprised a the diference berween the ables (c= page 32) and the IRCAM analyse ofthe same muti phonies: My aim was to eranscribe wat is heard in simple, everyday listening In the 3 anass (cf p36) - nota arco owing, aso, ponticella- we se that wht i normaly calle -Ci, sin ft simplication of what che ca perceives Ln the cas of normal arco Rowing, 2G has no les than IT components. Ifane lstens attentively, one can heaton one's own that the double bas produces complex sounds almost exclusively, This bring to mind one of Berlae’sematks on ches tion, chat one shoul! compare a perfect chon played hy 3 clarinets wit the same chord played by 3 double bas, Surprisingly, the simples sound encountered in these analyes are the noerharmenie mulkiphonis proioced with a pluck bree Accessories like plucks placed on the strings produce bell-like multiphonics (non-harmonic type); one ean play either arco or pigg, above or below the pluck. Ik is more practical to note this technique by describing how to perform it, rather than by describing the clfect desited: there are multiphonies on every point of the string, In november 1983, a first communication was made at IRCAM in collaboration with Horatiu Radu- lesew ; research on multiphonie sounds was carried out in collaboration with IRCAM in 1985. from p to mf—23 THREE EXAMPLES of SPECTRAL ANALYSES 1 —analysis of a simple sound. » Arco © Fourier series (page 24) © Musical transcription of the previous image (page 25) © Summary of actually audible frequenc’ eS (page 25) Il — analysis of multiphonic sounds. =» Arco @ Electronic analyses (pave 26) © Acoustic analyses (pare 30) IIT — analysis of multiphonic sounds played with a pluck. wm Pizz (pag 31) ‘The various spectral analyses shown here are from the study carried out at IRCAM in 19% (Claudie Malherbe and Gérard Assayag. with the aid ofmodes of playing the double bass ay 2+ TUNING AND RANGE I — analysis of a simple sound. ™ Arco © Fourier series ‘This " Fouaier series” curve shows the intensity of each of its components (partials) Image showing a short section of a sound. ° 2000 4000 6000 8000—25— © Musical transcription of the previous image (G Ist string : tasto, 18 cm from the bridge ~ Arco) Dl ofoefege che * ste stete a 0 805 3 0-9-2 boone nwo ws 4 © 00% 0 0 0 0 2 4 0 4 0-1) 0 6 2-1 1-29 0D Nees oe ae ae ea ° wo 6 wm OD 325 000 00% 000000071 Poot eno ooo o 000 0 0 5 Om ‘a Inccents (from 0 to « 50), the difference in pitch with che writen tempered note 3 9 3-0 2 = Ona linear scale from 0 to 1000, the amplitude of each frequency. Beemer b- Onal le from 0 to 1000, the amplitude of each frequency Ve wd ey c-On the same linear scale, the perceptive weight allocated to these frequencies by Terhardt's algorithm. © Summary of actually audible frequencies. Terharde's algorithm (ex. : tasto, 18 cm from the bridge) —____. ete ge * 5 3 0 9-2 0 7-4-1 99 2 2 Boe nw 3 7 M8 1 2 2 0 0 42% 3 wR Ss wT mMmodes of playing the double bass 2 TUNING AND RANGE 26 — II — analysis of multiphonic sounds. » Arco © Electronic analyses © string | arco (heard sounds) 7 -12-11-26-42 10-25 29-25, zie7a2e TOI a1 4 16 29 9435 3032 8 ae gw a een eo aaen wont tele ke© string I arco (heard sounds) tyh28 7 -28 19-4 0-17-92 25-10-8 se 8 19 ia ie nn?g29s Mire 7 6 3638 1120133 te Sbaaen Ppp ip-a0-22-16 29-20-17 48 8-20-49 ae 2M 8 13 9 6 7 1 BS‘modes of playing the double boss 28 2+ Tuning ano nance @ string HI arco (heard sounds) a 23s 10 nen a =1913-16-28-39-27 6 383 6 aa 8 S027 19-18 45 22H Ie 10 10 1915 453123 10 B10 as i 7 0 paeniwn ninwni22 9 baws at “0-11-3557 6 6 | seine 3 rao nines @ is 22 200 ws 1 m3 6 Bue 6 aD = _———— se =© string IV arco ee say aee Sim i4 9 0 baa 7a (heard sounds) —29— Sa 4 a7 ais 42 8 wrws 7 mss 38 $530 8 en me7‘modes of playing tne oouote bass — su 2 TUNING AND RANGE @ Acoustic analyses — (2+ tow reliability / in black = precise notes of the effect fin white = imprecise notes which color the effect) © string I multiphonics arco (written sounds) Pas fe te * te tg a if a Vi ._ 5 ¢ e ae se i — oe ee ee 46 | effects === = a 2 + 47 et te e | a - —l4. = f =e te ? |, Po == o— Se ——— © string 2 s1 fe fi 2 AG an ge Boe 2_f 33 | as 4 “§ : f f 54 f r 55 é { 36 £ 57. | fingerings 4 — ——| 58 @ string IE multiphonics arco (written sounds) z ae te fe le He \ = ig AE 6 af 2 ee ; a i 6 og 5 a f 3 3 > 3 8 f 64 . 65 | feerines (Ds = A i e i = 66 @ string IV_ multiphonics arco (written sounds) 4é i Re ae ote 9 | effets = tg te = 70 wg J 5 -* oS | 3 71 : 72 | fingerings (OE = = 7 j te sNB: High partials: with ageing, a string tend to lose its higher notes, Playing Pont. brings out the higher postials, but is difficult eo conte (very high bow speed). Bass ofthe agregate : che sound is variable hoch in perception and pitch. Ir can be controlled by bow pressure, and to lesser extent by let hand pressure, How these are used by the player devermines whether che open sting (or closest harmonic tothe fingering-ctave or 12th) wil sound oF not Higher bow speed raises the hass note (which also has a better sound in tasto playing) Greater pressure increases intensity and raises the bass note inthe case of an ope sti Even if is not very loud, the bass note is heard asthe fundamental of th perception in concerned. The « altered » pitches ofthe open string have been chosen according to what appeared to be an average seem to play an important part in rling phenomena. sometimes by a8 much as a whole tone. seregate, which gives it a great deal of importance so far as furthermore, the presence and pitch of this sound III — analysis of multiphonic sounds played with a pluck » Pizz ELECTRONIC ANALYSES OF MULTIPHONIC SOUNDS with pluck on string I. (heard sounds) pizz © pluck, 4 cm from the bridge ® pluck, 8 cm from the bridge pe OO um oo © pluck, 30 cm from the bridge‘modes of playing the double bass —32— 2+ TUNING AND RANGE SYNOPTIC TABLE of HARMONICS and MULTIP *# The lower series of 4 staves isa scale drawing of the fingerings of the 4 strings. * The upper series shous the effects (written sounds) of the fingerings played by lightly touching the string (eries of harmonics and multiphonics.) How to use the windows : (cf.: = page 9) end of fingerboards thumb positions on the 4 stringsHOME CHAPTER II :|bowing techniques= RIGHT HAND Nae tne ed ae The bow is played up or down, speed and pressure depending on dynamics. The position of the bow on the string is proportional o the length of the vibrating string ( the higher the notes on a string, che closer, pro- portionally, the bow to the bridge ). This sound is traditionally ornamented by a slight vibrato of the left hand. The performer should use this sound « definition » as a reference. The amplitude of dynamics is broad in che high register and is slightly less so in the low register (less A ARCO BOWING This technique uses the bow hair. Ic is opposed to Legno and Pize. and cancels out the latter indications BA. LEGNO BOWING LLegno bowing uses the stick of the bow and produces a hoarse and noisy sours Simultaneously with the fundamental sound, one perceives a very high-pitched, crystal clear sound, which varies according to the length of the vibrating string between the stick and the bridge Faster bow favours the « crystal clear » sound. ‘© The performer should take precautions when chosing a how for lezno playing, since this technique leaves marks fn the stick BE. HALF LEGNO BOWING Uses both the hair and the stick The resulting sound combines the effects of both Arco and Legno playing. a CRUSHED LEGNO BOWING A Legno played with a stronger pressure of the bow. Produces higher intensities. There is no longer a «crystal clear » sound, (cf.a2. Legno bowing » see above) Anot.by pick-up the bow put down the bow A not. X cancels out not. X cancels out > dyn A not, X cancels out = dyn. A not. X cancels out > dyn. Krzysztof Penderecki A arco legno, pizz, etc. legno, con legno, Leg. legno tratto, L.T., L. arco, pizz, etc. from @ to mf\ 17 (Ge Bi LEGNO BATTUTO BOWING This technique involves hitting the string with the bow. The Legno fundamental sound (cf. a2. Legno bowing = page 34) and the « crystal clear » sound have the same intensity; the crystal clear sound has a short resonance, which is characteristic of the attack In some cases, the variations T. .. P are indicated, with dots showing the pitches and rhythms correspon ding to the points of impact of the bow on a specific tring. FS When the strings are mufled, only the crystal clear sound i heard 4 DOUBLE STOPS Double stops are possible on all neighboring strings, and on strings land IV by moving the bow between the strings and the soundboard. ES This en very in technique, especially when playing loud and holding ong notes, TRIPLE STOPS “Tripple stops cannot be played as chords and must either be played arpeggio, or (double stop by double stop) axpeggio, possibly using. resonances. BE. BARIOLAGES Name given to the movement ofthe bow which consists in alternately up-bowing andl down-bowing on different strings Exemples om 2 strings: oon 3 strings, Ll, ete, con 4 strings: 1,1 exe Can be played legato, détaché, and sauilé within the interval limits a. BOW SPEEDS Whatever the bowing technique, slow bowing gives the sound a rather forced character, whereas quicker speed makes the sound seem sfreet» and gives a warmer impression. (A parallel comparison can be made with the vibrato. Anot X cancels out > dyn limits limits not. by fast speed low speed legno batt., L.B. arco, piee legno, etc. from pio f ef. intervals limits = page cf. intervals limits = page? Horatiu Radulesco —chapter II: bowing techniques 36 1. RIGHT HAND. \ 1o of NORMAL POSITION In traditional playing, the bow is placed at about 8 cm from the bridge for an open string, and moves closer not. | ordinario, to the bridge in proportion withthe shortening ofthe length of the vibrating string normal position, os. norm., N. SPECTRAL ANALYSES G string normal position bow 7 cm from the bridge 9 4-2 4-1 Suone i 3 19 8 6 11 8 2 0% 1 i 110 B TASTO BOWING (fingerboard) The bow is placed higher on the strings: the resulting sound has fewer high harmonics in its spectrum and is gentler, with softer attacks The sound is also less powerful and requires more bow length than in traditional technique. not: |tasto, Te poco T. (slightly on the fingerboard) ‘molto T., Sul T. SPECTRAL ANALYSES G sting tasto placing bow 25 em fom the bridge va tne on ® peanwranne ss Bangs Moma wi ee \ Lu PONTICELLO BOWING (bridge) The bow is placed lower on the strings (near the bridge), and played poco flautando (ponticello howing Arnot: | pont., P. with normal presute is the usual way of playing along forte nove ). molto P., Sul P. This technique produces a sound rich in high harmonics, sparkling, sometimes even grating. With sharp, leven aggressive attacks, Playing flasctando brings out the harmonies, This technique generally requites no fundamental sound,SPECTRAL ANALYSES G string ponticello placing bow 2.5 cm from the bridge (cf-analyses IRCAM. * Chap. page 23) 26-12 7-25 37 26-44 ews 8 ie 17 0 8 oS Notation of the last two playing techniques (by Tristan Murail) \ Le HARMONIC SCANNING with the bow 2B vn The movement of the bow from molto T. to molto P. makes it possible to hear the transformation of the harmonic spectrum. (© suggested notation: 3 lines under the taf, with curve showing the various placings ofthe bow B& CIRCULAR BOWING This isa variation of the above technique. The bow is drawn (down-bow) when approaching the bridge, and pushed (up-bow) when approaching the fingerboard: or the reverse 1 Wich his technique, on hears the changes i dhe eto ofthe = in circle ing ), in increasing order : not not | VERTICAL MOVEMENT The bow is not played up or down; the idea isto hear the sound of the hair on the strings. The sounds ate lower on the lower strings and higher on the higher strings ‘With a little pressure, this technique produces a sound which is almost defined FEF This technique should nor be wed too often, as trae the har ofthe bow A not. prop. = dyn, T,,V.T., S.T., P.,V.P,, SP. eae 4zv archet circulaire, circular bowing all intensities are possible\ Lis BEHIND THE BRIDGE ne Nae Is 19 It is possible to play behind the bridge on open strings. One can also play the harmonics of these sections of strings with the left hand, or pluck the serings between thumb and fo ‘Tasto, but this time with « 2 Pont. » : one close to the bridge, the other close to the tailpiece. ‘The equivalent of Tasto is found in the middle of che vibrating string. Crushed sounds come out well here. ‘The resulting harmonics are very cleat. It may be necessary to put a nut on certain tailpicces (a simple hori sontal string) The tuning is not totally reliable, varying from the 3rd to the 5th between each string Finger. This is equivalent to Pont.- {637 When plucking the string or playing the harmonics behind dhe bide, the performer plays with both hands om dhe same side ofthe instrament, held in place by his lef ke. In this case, preperation time snes Harmonics up to the 6th partial are possible. | ABOVE THE LEFT HAND The bow is played above the left hand. (One can play on strings Hand IV. 6 ABOVE THE NUT From two to four defined sounds, depending on the instrument. ex, : Philippe Boivin, ZAB ou La passion selon St Nectaire. 2"! mvt. 1981 6 i not now she strings 1,0, 1 1V Arnot. by > dyn not. by the fingering with this symbol, cor the relative pitches with a curve > dyn Anot.by > dyn, Krzysztof Penderecki IN all intensities possible Philippe Boivin Philippe Boivin __. P from ppp wo mfVe Nee dyn A not > dyn. A not > dyn. A not. > dyn. A not, not. by ideogram from pp tof ideogram, from mf to f° e weak ideogram from pp to p an Krzysztof Penderecki— There are two sounds on the side of the bridge ‘= with normal pressure: a very loud, grating sound. with stcong pressure: a lower pitched sound. i. THE FINGERBOARD ‘The fingerboard produces a rubbing sound which is almost defined. A. NORMAL PRESSURE This indication means traditional technique, producing the normal tone color ofthe sound. a. FLAUTANDO ‘This indicates that there should be little bow pressure. This technique gives less resonance and power than the above. B. CRUSHED BOWING This indicates greater pressure than normal ; the sound seems forced, itis louder, with less resonance, B. RESULTING HARMONIC Very strong bow pressure and poco tasto produces the low-pitched major 7th of the fingered note. © Difco mains constant asthe how speed isiicu to cont hands In lower registers, i may he necessary to hold the bow with bi Notation in increasing order by Philippe Boivi anor. a not > dyn A not. Arnot > max. dyn. A not. > min. dyn. A rot Arnot. by up and down premere ideogram from pp to p ress. norm.34 dyn sautillé, saltando, balzato arco battuto, batt. ricochet, arco gettato gett.\ 146 43 i. CONTINUOUS SAUTILLE This produces an effect close to the roll of percussion instruments. It is executed like the sautillé, but the bow almost adheres co the string. It uses the spring of the stick and is more successful when down-bowing and at the tip A not. Ac not. by rebondi continu or Philippe Boivin, ‘max. duration : 5 Premere is possible (very slow bowing) Very little variation of speed. 2 ex. : Philippe Boivin, ZAB ou La passion selon St Nectaive. 2"! mst, 1981 > dyn: | from pp to mp ch ACCENTUATION BY BOWING SPEED There are various ways of accentuatin; involved. although pressure and speed are al Accentuating notes by means of bowing speed is mostly used for «long accents» ( with some duration i. ACCENTUATION BY BOWING PRESSURE This technique is mostly used when down-bowing, but can also be used when up-bowing ais ACCENTUATION BY PONTICELLO A fast change is made from Pont. - N. a. ACCENTUATION BY PIZZ A fast change from Pigz to Arco; down bow. not. A not. sforzando, sf, rinforzando, rfz smorzando, smzRIGHT HAND \ 132 ACCENTUATION BY THE RING A fast change ring to arco, down bow A few notations : 153 THE SCREW OF THE BOW This technique is similar to Legno battuto, and has more metallic sound. It is possible on one string, or bet- a not. ween two strings. for 2 stings \, Same eechnique with the fog Ast ec taues Rebar, Jess DE Pres. 4266 arco (jorsr sees fs Lvs)LEFT HAND a. [ert nano oc cee ee 56 VIBRATO Vibrato is a periodic wave in either the tone or the pitch of the sound ‘Two parameters play a part in the vibrato : amplitude and speed, Anot ‘The left hand can produce a wave in pitch. There are 3 left hand vibratos the finger produces a small vibrato which slightly colours the sound, ‘The hand vibrato is characteristic of the traditional technique and isthe fastest Arm vibrato isan oscillation. Vibrato has more potential in the high register than in the lov {88 Ic should als be noted thatthe vibrato, umlly thought of only as an ornament, also has an amplifying le, Moreover, though the ole of vibrato range is well known that ofthe tonic hanetiom of vibrato sped isnot often taken into consideration. Tess difearvo discus the vibrato, because each musician has his own ideas onthe subject fom this pine of view the above indications ae also doubles subjective In some cases relative frequencies and amplitudes are transcribed by means of a curve above the staff. [EB Not to he confined with LV. lass vibe et he sound vibrate, resonate: non vibrato : gives the sound a flat or tense character. B. BEATS ‘Two notes of almost equal pitch played simultaneously produces the effect of beats. The closer the notes, Anot. by the slower the beats. The perception of beats is not instant if the two timbres are not balanced, not. the numberof beats per second is noted above the staff Bi. GLISSANDO Generally speaking, there are two types of glissando :glissando itself, A not. vibr., vibrare, sanza vibrare, poco vibrare, et. ‘non vibr. Philippe Drogoz aliss. orchapter Il : bowing techniques —46— 2+ LEFT HAND pe and portamento in which one hears in succession: the first noe, followed by the glisando, then the final note Anot. Changes of stings must obviously be taken into account in the notation of long glissandos, However, in some cases, the performer can place his fingers simultaneously on different stings and let the hand slide, with the bow changing strings very « liseio ». Breaks of fourths will accur in the glissando, but are often hracdly perceptible, ‘Another special case is that of the double stop glissando in reverse movements, which can sometimes requi- re a change of fingering during the glissando 7 | corde and, (written sound) is played thumb on Vand finger 3 on I < In this case = —_Anexchange of fingers must be made simultaneously on Z both strings. This can be done, and in some cases, the slight e alteration of the glissando is hardly perceptible. MW corde of. pl, ex. :Tannis Xenakis, THERAPS. for double bass. 1981, Ed, labert. Ist edition. p3, line 8 aa GLISSANDO OF A NATURAL HARMONIC Generally speaking, the position of the bow on the string favours one particular zone of the harmonic spec trum. By making a precise balance between the position of the bow, the speed (which must be fast), and pressure (which must be constant) , a single partial can be isolated from the harmonic spectrum of a stopped note. This partial can be held during one bow stroke, but it may prove very difficult to hold it over two consecutive strokes In the specific case ofa glissando of harmonies , the harmonic is played, and as soon as the sound is proxtu- ced, one stops the string (with this technique, the harmonic continues to sound), Ifone immediately slides advised notation that finger, the pitch will vary in keeping with the initial harmonic partial This technique is impossible beyond the limits ofthe fingerboard and works best when played in the neck. Variations in dynamics are difficult. port. or No Pizx.\ 1 7 1 v ne 58 THE « SEAGULL » EFFECT If one slides an artificial harmonic fingering without changing the distance between the two fingers, the not harmonic slides for a short time, changes partial, then slides again, etc ‘The shorter the interval herween the two fingers the more frequently these changes will occur. Seagull effect: from high pitch to low. BS This fect isabo posible rom lw oi pister and produces les animal ike sound 59 | MULTIPHONIC GLISSANDO ‘This type of glissando is possible with maltiphonics played like artificial harmonics (3rd finger at a perfect 44th minus'a quarter tone from the thumb.) Artificial Multiphonics : ef. p.22. Very difficult to perform, 60 B. HARMONIC SCANNING WITH THE LEFT HAND By lightly touching the string with the finger, one can hear a sequence of harmonies. For artificial harmonics, one uses the same technique, except that the thumb remains immobile while one moves the 3rd finger Tasto : very few movements of harmonics. Ponticello : many movements of harmonics. A not 6 B « PETITS DIABLES » This i a technique of biting the fingers on the highest harmonies of either an open string of & stopped not note. One hears simultaneously the fundamental anu a very high pitched sparkling of harmonics. The bow is placed on the bridge. In the case of stopped notes, the written note is stopped hy the forefinger and the the harmonics are hit with 2, 3 and 4 BFF Tour knowledge, this bow stroke ws invented ~ by Hora RADULESCU No Pizz. No Pizz. No Pizz.chapter II : bowing techniques —48 2+ LEFT HAND b, [Lert Hao enESe \ Le a HARMONICS (tables Cf. p 17) ° pponents by lightly touching the open string at the following sections of the string: 1/2, 1/3, 2/3, U4, 3/4, 1/5, 2/5, 35, 45,etc..They sound very clearly on the double bass and are reliable up to the 12th partial Harmonics have different names: physicists call the open string the «Ist partials; musicians call the open string octava the « Ist harmonic >. Keechlin speaks of « sounds 1, 2, 3, ete...» of the open string. Kecchlin's « sound 2 » istherefore the musicians’ « Istharmonic » and the physicist’ « 2nd partial » ! ‘The variations Pont.-Tasto do change the sound very litle. The bow is played a litle faster and closer to the Pont. than normaly BR The « 0+ symbol shove the note leaves the performer to his own choice of fingering, Fills ave possible, 3 max. speed of ells > J are = 120 ARTIFICIAL HARMONICS Artificial harmonics are the harmonies of fourths or fifths played on a section of string limited by the thumb (writen as a normal note) ; the 3rd finger lightly touches the note written as a lozenge. ‘When the 3rd finger lightly touches the ascending fourth from the thumb, the sound heard is the high double octava. oe When the 3rd finger light touches the ascending fith from the thumb the sound heart isthe ih twelfth SS ‘The effect is sometimes noted in brackets (notation advised in written sounds). Gliissando is possible with the bow. > dyn.: | all intensities ex. : Georges Aperghis, LA SIGNATURE, LA DATE, ETC. for double bass. 1985. Ed. Salabert. page LI, line 2 LIGHTLY TOUCHED ARTIFICIAL HARMONICS (tables Cf. p 19) Some artificial harmonies sound without stopping the string wieh the thumb: both fingers touch the sting not lightly. In chs case, a diatonic glissando is possible. FE Indicate the string, oss to avo confsion with a natural harmonic double sp,—49 4 DOUBLE STOPS stopped note / artificial harmonic (normal or lightly touched) ‘Such double stops are limited to two cases — Ist case : The stopped note is played on the lower string, while the artificial harmonie,( stopped or not), is played on the higher string and produced with a thumb-3 fingering. Only the following © = note stopped with finger 2 : only for perfect fifths or lower tritone from the note fingered 3. = note stopped with finger 1 : only on descending major third or major second from the thumb-fingered note. mples are possible 2nd case : The stopped note is played on the higher string, and the artificial harmonic, (stopped ot not), is played on the lower string and produced with a thumb-2 fingering. In this case, only one example is possible note stopped with finger 3 : only for the perfect fourth or ascending tritone from the note fingered 2 B&B. MULTIPHONICS (of double stops Cf. p 21) ‘Any combination of multiphonics with stopped notes, harmonies or another multiphonic ate posible Ae ont. bowing brings out the high pitch ofthe agregate. Trills between two multiphonics ate posible O max speed Tiills between harmonics and multiphonics are possible; itis important to accentuate slightly the harmonic. O max.speed i z Bo LIGHTLY STOPPED NOTES ‘The left hand stops the string only slightly. The sounds are similar to those of normal playing, but slightly wae « wreyer ». On the Pont, some harmonics come out, but are not reliable \ Los CROSSED STRINGS “ not Strings are erossed and kept in position by pressing them on the fingerboard. (Only a left hand glissando technique is possible0 Entr'acte The same musical sign can have many different meanings, once we accept that the concept of sound includ be considered totally aseptisized by another! Is vibrato an integral part of timbre or not? Is the bar line a mere marker, or does it remind us that there are strong and weak beats? When looked at clo- sely, musical signs give rise to a multitude of questions, which in turn bring forth a myriad of defi- nitions, digressions and exceptions To this effect, we can quote Scheenberg : « Interpretation is a necessary element in the process of building a bridge between the idea of the composer and the ear of the listener, making a musical composition understandable and acceptable to a listener at a given time » and further on «moreo ver, there is practically no such thing as a bad tempo that a talented performer cannot make the public accept, as there is no such thing as a good tempo that an untalented performer cannot ruin, » (1926. Style and Idea ). Andl also Stravinsky : « Above and beyond a perfect translation of a score, we expect the per- former to consider it with affectionate attention, which in no way should be an attempt at recom- position. » attack, timbre, and vibrato, A sound that one person might qualify as « pure » can If we superimpose these two quotations, the problem is clear: there is not a bar of music without a potential headache once we get beyond the conventions of the past and into the heart of the debate: Thus, itis not our aim to compress or standardize in any way the diversity of musical signs used today ; on the contrary, since they reflect the diversity of concepts which go into the making of our century's esthetics, and since it is one aspect of the performer’ art that he be skilled in reading them, our desire is only to collect existing information, to explain the various techniques of playing, and to illustrate them with a few examples of how they can be used.Cees Toad CONN ae pizzicato technique CHAPTER II:Infrequent in written music, pzcicato has been used and developed mostly in jazz music. Asa technique, it max. speed : is as rich as arco playing and offers a wide range of extremely subtle phrasing (a fact that many ignore, which is surprising). Piazicato can be played both Ponticello and Tasto and there is also another » Pont. » sound near the nut Pigg. ace played with thumb and fingers 1,2,3 of che right hana. The sound can be interrupted either by the right hand, or by releasing the left hand. IER After Plazas hoon played fora Tong time, hosing may tpn he hampered by perspiration (ong notes specials), unl the sri voce nani cated ith rosin, | SUSTAINING TIME ining time is the non ter and can be very long in the low register (max.: 20 sec.); varies with each instrument. Vibrato helps ibration time of a string, for any speeific sound. It is shore in the high regis ined notes, downywards glissandos shorten it, and upwards glissandos prolong it, and can leven produce a crese- decrese. effect, Open strings have a long sustaining time, LEGATO Legato is produced by means of the « hammering on » and « pull off » techniques: a neighboring ascending A not.: note can be struck by the left hand (hammering on). A neighboring descending note can be played with, the left hand, which makes a slight pizz. (pull off), when releasing the string. ‘¢ ex: Pascal Dusapin, IN AND OUT for double bass. 1989 Bad. Salabert. (p.4 line 1 and 2.) Bi. DOUBLE AND TRIPLE STROPS These are possible simultaneously or in arpeggios. asf TAILPIECE VIBRATO A not. ‘Variations of pitch can be produced by applying pressure on the tailpiece, This vibrato is reliable for long : sustained notes allowing time to reach the tailpiece with the right hand. This is also possible with the double bass in a horizontal position, détaché on one repeated note (string 1) Casella et Mortari treatises indications forthe orchestra slurs to be noteda a = &. STOPPING THE SOUND WITH THE FINGERNAIL A not. by Moving the fingernail close to the string during the sustain produces a« singuer » - ike sound. i CROSSING HANDS ‘One can play with the right hand above the left hand and produce bi-cones (cf. B. Tureteky ). cf bi-tones page 4 Anot 2 6 without the woice ex. : Georges Aperghis, 2¢ RECITATIONS for double bass. 1980 Ed. Salabert.(p2, line 1) \7 with the voice In this music, bi-tones derive from the slap techniques used (rh, Lh. a . roe : ch¢ = — t ct 29 BEHIND THE BRIDGE Arnot A technique for open strings only. cf.» page 38 4z 29 |. TAILPIECE . Arnot ‘One can play pis of witha flick. Rubbing with the finger produces a loud sound ef-s page 39 a1 TAILPIECE HOLDER ¢/. = pase 9 anor % 21 ER. END PIN : anot ‘The sound is loud if the double bass is in a horizontal position. ef.: = page 39 John Cage the effect in brackets dyn Anot A not. > dyn é ° Zipp from ppp wo f=o x20 BB. PIZZ. WITH THE FINGERNAIL ‘The pizz is played with the nail. Little velocity is possible. ex: Philippe Boivin, 3° Des 7 ALconiTHmes for double bass.1989. Ed. Salabert. {pizzicati with the nail are noved here, tails up) Anot > dyn. A. LEFT HAND PIZZICATO. 23 BA SLAP \ Hitting the string with the lefe hand makes the string vibrate. This sounds like a soft funky 153 In jaz rock musi a « slappers combination of wha [ER The hammering om aal pull off techn The lapsed the loft hand we adache functio, call funky Anot Awe A from ppp wo mfchapter III : pizziccato techniques 7 2+ LEFT HAND b. LLEFT HAND PRE x 22 a. HARMONICS Pigticati on Ist partial harmonics ate possible if played Pont. For higher harmonic partials, fingernail or > dyn..:|from p wo mf plectrum should be used. One can also play vight hand above left hand, near the nut. These possible up to the 4th partial : adv. not icato canbe played withthe left hand only honnonte plee| | © « either in the thumb positions: the lozenge fingering is played with thumb and he pige with finger 3, ake + or inthe neck postions: the lozenge fingering splayed with finger an the lx with finger I (above) eft hn ‘This is difficule co perform, but possible up to the 5th partial 4. ARTIFICIAL HARMONICS ‘These harmonies produce a very imprecise sound, 22s Bi. « ZINGUER » This noise is produced during the sustain by slightly releasing eft hand pressure, ‘not. by : | Philippe Boivin «# Very dificult to play The string hits the fingerboard : it prolongs the sustain. f mat Iris only possible on long notes and in the low and medium registers of the 4 strings. 4 MUTED PIZZ (left hand half stopped) ‘These sounds are hardly defined, and have a short sustain, Attacks can be loud, ac ady. not.225 B. SITAR EFFECT This is close to the « zinguer » effect, hut produced by pulling strings ¥ and IV horizontally, until they come off the neck, Due to the stretching of the string, a variation in pitch is heard before the « zinguer » sound. a 26 6. CROSSED STRINGS “The strings are crossed and kepe in place by pressing on the fingerboard. This technique is used only for a left hand glissando. WATER DRUM EFFECT Pull and hold the string away from the fingerboard with the left hand and play pize. with the chumb or other fingers. LEFT HAND MOVEMENTS 4. GLISSANDO cf effects om the sustain = page 52. 228 B. NATURAL HARMONIC GLISSANDO (2nd and 3rd partials only) By stopping the finger just after the attack (so that the harmonic sounds on) and during the sustain, one can either slide the finger on a short distance, or use a wide and fast vibrato, cf. harmonic glissando with the bow —* page 46 ‘Sounds with the finger Bi-tones ate heard on che 2nd partial Ie is not reliable Arnot by > min. dyn. Arnot A not. Anot > dyn Philippe Boivin from pp to mfentr'acte — a dialogue with Frederic Stochl Professor of double bass at the CNSM of Pacis, soloist with the Ensemble Intercontemporain Jean-Pierre Robert — I could very well have considered the different ornaments (tills gruppettos, mor- dents, ete.) as playing techniques. In that case, it would have been necessary to speak about the histo- rical evolution of techniques and styles of playing, because the concept is not new. I'm thinking of the derailed prefaces to the harpsichord books of Couperin and Rameau for example, and of the importan- ce to keyboard playing at the time, of having adopted the practice of using the thumb. Equal temperament also represents a specific way of playing, and moreover, a relevant question today for the performer playing music built on the harmonic spectrum : today’s questioning of tempera- rent mirrors that of the XVIII¢h century. The historical outlook shows us that a certain way of playing may need to break out of the conventional framework of musical signs ‘We can make a small digression... he orchestra itself is «playing technique : a performer plays diffe- rently as a soloist or as a member of an ensemble. For the composer, the conductor is another playing style, a « meta-made » of playing, He alo is a mode of playing for the performer, much the same as the ‘cultural institution. These « meta-mades » of playing influence the interpretation of the instrumental techniques, in the same way as techniques influence the interpretation of traditional musical signs. The microphone, the phonogram, the videogram, the sound technician, the producer... are also meta- ‘modes of playing too, as is the public ‘At this stage, the question that should be asked is: who is whose mode of playing ? Frédéric Stochl — That makes me think of a related idea that 1 will try to express differently; you may consider it a truism, but it is fact that the instrument does not exist without a technique that brings it cout, oF without a performer. You could also say that a performer doesn’t exist without an instrument, although one can use one’s own body as a musical instrument. That is why to my mind the instrument is a sort of extension of the performer's body, its double. In the case of the instrument we are talking about, it is the most obvious, the double bass. JeP. R.— 1 am thinking of the «haroque revival» (is i really a playing technique ?). Baroque technique is obviously not modern, however itis certainly modern the way thar these polyvalent instrumentalists study the origins of their instruments, the evolution of techniques and symbols, and finally, the way they think of themselves as vehicles of an oral tradition, the insteumental technique. That is what I find interesting ! Oral tradition as the indispensable interface of the written note. (Our daily paradox ! ES. — Your treatise i a sort of manifesto of a context which gives extreme importance to the written note: T mean that composers write and performers transcribe ther ideas into sound, in the same way as archi- tects conceive projects and builders make them a reality. And this doesnt just happen with no conflicts, bhecause in the end, material is not just a piece of wood or a series of frequencies, but an act on the part ‘of a human being Its that aspect that we have to talk about: where exactly is music ? Does it exist on paper, or when the bow touches the string ?1s tin the ears ofthe listener ! Where is music ?oo That is the question - in connection with a treatise like this one - that I would like to get in on, with my own pet ideas and obsessions. It is the problem of music in general : to make music, is it abso- lutely necessaty to have four strings, three, or two, fifteen musicians or one hundred and fey, ot. a saucepan ? In the end, is it absolutely necessary to know from what ot where music is born ? Whether it is actually born from instruments or whether instruments ate fashioned from music. Ie is the old story of the chicken and the ege.. If we look at your list of all the instrumental techniques possible, we can see that music is moving inthe ditection of the greatest possible freedom ang also towards a dissolution of all instrurnental tech- niques, simply by the accumulation of possibilities. And that is certainly one of the characteristics of the double bass, which is equally good as a percussion instrument and as a string instrument. It is an instrument with mote potential than has been used by string instruments in preceding centuries. As you say in your introduction, the use of arco-legato, historically speaking, is more frequent than rubbing the ris, bue the fact that you put both techniques on the same level is an invitation to a certain way of living music -in fact, what we have been enjoying in the past twenty or thirty years» a way of viewing the instrument almost as if we were beginning at zero, to try and see what we can do with i. A sort of tabula ras, ‘When I think of my personal experience, sometimes | feet like playing lots of other instruments, potentially contained within the double bass, an instrument that I more or less know how to handle, and which I would occasionally like to make sound like a trombone, a triangle, « tam-tam, a bell ; a flute, a hurdy-gurdy, a gamba, and others...The inserument remains limited: although it has a broad range ftom the point of view of sound volume, i is not a clarinet of a eombone; yet in my experience of the instrument, I feet I tend to push it to assimilate and identify with other things, other sounds, ‘ther instruments, so that in the end what Ihave is a double bass, but a double bass tansformed by all these identifications and extensions Obviously, this means that an instrumentalist is a musician and an instrumentalist, not just a player reduced to the function of being a mere receptacle of fixed techniques learned by repetition and imitation, but someone who explores the instrument for musical purposes and in some ways, explores himself as well That’ why itis so interesting to find scores that challenge our know-how skills, proposals be they oral or written, asked for or completely unexpected - that enrich our inner, individual work, Ie would be tweful to show how ideas come to the mind or to the hands - the hands, really the soul of it all. We should really try to explain how, and hased on what experience, playing techniques develop within the player, Composers do not seem to understand this too well. They think we have objective skills that allow us to understand everything. Sometimes we have to ask them «what did you write here 2», «what did you have in mind when you wrote that 2+, and «this is what I understand and how I would play it» The fact is, that the way in which we make a Score our own, transforms what the composer actually put down, It is sometimes very difficult to pinpoint something very mysterious and pethaps destined to remain so, There are the questions you are trying to get through this treatise Though perhaps itis not the right place. A treatise cannot exhaust that sort of question or even. begin to answer it, but it can suggest that the question exists april 1991page AperphisGoores 11,53 Retin, 1976, Ed, Salar ne #8 Ennai, let 1985. Berior Hector 2 Brogos Philippe Boivin Philippe | mt la Passo selon Nectar, 1981. 5 B07 985" Ed Stabe Boule: Pere B Domaine Cage John 2 ance for Piano a ElPerce Couperin 38 Dasapin Pascal 52 In and out. 1989, Ed Salabere Femeyhough et Tico per G.S. 1989. Bd. Petes CD REFERENCES) 1 COMPACT DISC n° 1 1 Iannis Xenakis, Thexars 2 Georges Anerghis, 4° des RECITATIONS 3 arco howing 4 legno bowing 5 hal-egna bowing 6 crushed legno bowing 7 egno barruto bowing 8 bow speeds 9 normal position 10 tasto bowing 11 ponticello bowing 12. _harmonie seanning with the how 13 circulac howing :~in circle 14 -in8 15. vertical movement 60 age Keechlin 13,48 Kurtag N ” Mahler Gustave 2 [se Symphony. Murail Tristan 37,40 Penderecki Kraysstof 34, 38 Radulescu Horatiu 22, 35, 47 Rameau 58 Reborier Jacques 44 des pistes. Schoenberg 50 Stravinsky Igor 50 Tureteky B. 53 Xenakis lannis, 46 ny Theraps. 1976, Ed. Salabert a Pheolera, 16 behind the bridge 17 above the lefthand 18 above the nur 19 Philippe Boivin, ZABOU LA PASSION SELON St NECTAIRE 20 the ailpicce 21 the ailpiece holder 22 theend pin 23 the four pegs 24° thenibs 25 cop ofthe bridge :— normal pressure 26 ~ strong pressure 27 sides ofthe bridge :— normal pressure 28 strong pressure 29 sounds ofthe fingerboard 30 nonmal presAastando crushed bowing resting harmonic bow viata detache bowing on the string rmartlé bowing Tact legato detaché in the same bow sauilé bowing eet bowing stato wing tremolo bowing .- specteal phase diference continuous sale : Philippe Boivin, ZAB OU LA PASSON SELON ST NECTAIRE n by howing sped accentuation by bowing pressure accentuation by pontiello accentuation by p accentuation by the rin the screw of the how Jacques Rebotier, Jas ES risTES eats slissando slisando of a natural harmonic the « seagull » effect snultiphonic glisando tharmonic scanning with the left hand «petits iables » harmonics lighely stopped notes crossed strings COMPACT DISC n° 2 legato, Pascal Dusapin, IN AND OUT slap tailpiece vibrato stopping the sound with the finger. 32 52 55 32 53 43.450 S1ase 59266 67473 crossing hands, Georges Aperghis, 2 RECITATION the the tailpiece holder the end pin stopping the string with a percussion lengthwise scratching tremolo :~aleernated I and 2 ~upand down finger movement = with the 3 (thumb position) Ditting the fingerhoard with a piz on sting IV. piss with the fingernail, Philippe Boivin, 38 des 7 ALGORITHMES harmonies pits « inguer » smuted pis sitar effect crossed strings water drum effect harmonic gissando smltiphonie sound artificial multiphonies ‘muliphonies with a pluck :~ pizz Philippe Boivin, AB 0U LA PASSION SELON St NECTAIRE vitaphone sicks plecerum . tones string L stving IV succession of natural harmonics lightly touched artificial harmonies string L: = fingering of fourth = fingering of ith conde IV: ~ fingering of fourth ~ fingering of fifth rmultiphonies string | :sound Lto8 string Il sound Lt08 string II :sound 1 to 7 string IV sound 1 t0 7INDEX OF SYMBOLS oz predefined intervale mt ELE A PEED pip put doen se bow A ‘ounds of the bridge sides[MG he «seagull eile crowed strings PEGGA piss. with the fingernail Toit hand pizzicato ft hand pi o + PB ek ans armene s @