Double Bass in the spotlight
(2023)
author(s): Joost Slootbeek
published in: Research Catalogue
A short presentation for the subject "Historical Development" meant to excite a general audience about the double bass in different classical music scenarios.
The Performer-Composer: A Practice in Interrelation
(2023)
author(s): Thomas Aurlund Lossius
published in: Research Catalogue
A simultaneous role of performer and composer is crucial in a vast number of artistic praxises. In this artistic research project, I explore creative possibilities the performing composer role offers. I also discuss how my performing composer praxis has inspired my interpretation of compositions by others.
The project is situated in my own artistic praxis and has an auto-hermeneutical approach. My primary method has been to compose music for myself and to perform it. This has led me to create compositions which are more improvisational, orally conveyed and open to diverse interpretations. I have also performed with a more co-creative, personally engaged and holistically oriented mindset. I have further experimented in performing compositions by others while imagining myself to be the composer. This has offered an alternative interpretative approach that resound deeply with me on an aesthetic level. Finally, I have reflected on how a performing composer discourse can unsettle the hierarchical language of composition and interpretation.
The project builds on a broader movement in artistic research and musicology, problematising the apparent dichotomy between composers and performers [Leech-Wilkinson, 2016; Cornish, 2015; Cook, 2013], and investigating the role of the performing composer or composing performer [Spears, 2022; Beaugeais, 2020; Groth, 2017]. The project constitutes my master thesis in performing music at the University of Bergen with specialisation in jazz .
The German Bow in Tango Music
(2022)
author(s): Maria Alejandra Bejarano Salazar
published in: KC Research Portal
This artistic research compares French and German bow techniques in Tango music. I have been playing for a couple of years with a German bow when I play classical repertoire, and a French bow when I play tango. Considering that Tango has changed and added many things throughout its history, I wanted to investigate why the tradition of playing with a French bow is still extremely strong. So that is why the main question of this work is how to approach Tango music for double bass using a German bow technique? To answer this question I have been studying the method "The bass in tango" published by Tango sin fin, that approaches all of the elements from the perspective of the French bow. However, I have studied this using the German bow technique. I have found that you can play Tango with both techniques, but you cannot follow the same instructions to find the same results. This is mainly because of the anatomy of the bow. Additionally, because there is not a strong tradition outside of Argentina of typical orchestras or soloists that play beyond Piazzolla the tradition of playing with a French bow is still strong. After finishing this research, I would like to continue working on this subject through a new repertoire in a personal search to improve my performance as a tango player and then share this knowledge playing concerts or teaching with other double bass players.
Double Bass in Indian Classical Music
(2022)
author(s): SD
connected to: KC Research Portal
published in: Research Catalogue
In this presentation we will discuss the incorporation double bass in
Indian classical music. Although it’s a foreign instrument to India by
origin, but it has immense possibilities for this music. We will discuss
it’s origins in India, basics of Indian classical music, similar Indian
instruments, Indian classical violin, bassists exploring Indian classical
music, cross genre & indian fusion music involving the double bass &
it’s application as an accompanying instrument in this tradition &
arguments for it’s incorporation.
The Arabic Maqam on Double Bass
(2021)
author(s): Remy Dielemans
published in: KC Research Portal
After participating in a project, Remy awakened his interest in Arabic traditional music. Being trained as a jazz, pop and classical bassist, he found that this music left him clueless, but mesmerized. That was when he decided to learn more about this musical genre, and dedicated his Master’s degree to the subject.
In his research, Remy aimed to find ways to incorporate elements from traditional Arabic music into his own musical practice as a Jazz double bass player. To reach this goal, Remy researched both rhythmic and melodic aspects of the Arabic music tradition. The first step was to understand the theory and the melodic and rhythmic information involved, encountering challenging topics like quartertones and complex rhythms and song structures. Secondly he searched to find ways to translate the melodic and rhythmic elements on to the double bass, creating several exercises to gain familiarity with the material. The third step of the research was about applying his findings into his artistic practice. By composing new tunes and arranging existing songs, both from the traditional Arabic world as from the jazz genre, Remy aimed to let the discoveries of his research sink in in his musical creativity.
Remy’s presentation will take you through his journey discovering this music. He will guide you through the three steps of his discoveries, looking at the melodic elements of the Arabic musical tradition, and how he implemented these into his own musical practice.
Master Research exposition by Remy Dielemans
Jazz Double Bass, Royal Conservatoire the Hague
Supervised by: Loes Rusch
Master Circle Leader: Wim Vos
From the pit to the stage: a comparative approach to solo bass playing
(2021)
author(s): Felipe Devincenzi
published in: Codarts
This research attempts to translate technical skills and notions from lyrical singing to double bass playing. Based on the Donizetti-Bottesini partnership, the idea was highly influenced by translation concepts developed by theorists Ricardo Piglia and Walter Benjamin. Research strategies include expert feedback, side by side work with tenors, experimental practice and extensive recording analysis on selected repertoire. Together, they outline a basic strategy that enriches solo performance. Conclusions could be applied to any similar repertoire by any other performer who reads this report.
Teaching jazz double bass in the 21st century
(2020)
author(s): Tony Overwater
published in: KC Research Portal
My initial plan was to do research and catalogue the available existing method books for Jazz bass education. But during the process I realized that matters were more complex than I had foreseen. Jazz (bass) methods were often based on classical music methods but Jazz education demands a different skillset and approach. I reexamined the fundamental building blocks necessary to successfully teach Jazz double bass. For this I designed a graphic theoretical framework that helped me analyze the existing methods. With this information I built a data base and webpage that offers analytical information about the available methods. Methods not limited to the traditional books but also on line learning programs and other methodical teaching material. Furthermore I examined the influence of the technological developments that the computer, smartphones, tablets and the internet have to offer. Teaching Jazz in the 21st century has proven to be much more of a modulair approach than the traditional linear approach.
Sonic Conversations for Double Bass, Berimbau and Sámi Joik: Shaping Identity in the Third Space
(2020)
author(s): Nathan Riki Thomson
published in: RUUKKU - Studies in Artistic Research
This exposition presents, unpacks and discusses the effects of intercultural dialogue and collaboration on the formation of an individual personal artistic identity, through the lens of two musical duets. These artistic research case studies are centred around the author in dialogue with a Brazilian berimbau player and a Sámi singer, which act as focal points to examine how intercultural dialogue and collaboration can impact on the formation of a personal artistic identity and how the third space emerging from a transcultural dialogue can be a catalyst for new musical discoveries. In addition, I consider the kinds of musical and communication skills that are needed to co-create music in a transcultural context and which kinds of ethical issues arise.
The core thread of discussion and argumentation is centred firstly around the idea that by placing oneself in diverse and unknown musical environments and engaging in dialogue, a dynamic third space emerges, which holds within it the opportunity for new elements and approaches to surface and take shape in unexpected ways. And secondly, I propose that searching for points of resonance with the world around us may be crucial in the creation of meaning and the formation of a personal artistic identity. Although the practice of music making is at the core of this research, the work is viewed with a wide-angle lens, acknowledging findings that point to the importance and potential benefits of increasing intercultural dialogue, understanding, collaboration and resonance at all levels of society. Discoveries also emerge within the areas of extended instrumental techniques and an expanded sonic palette for the double bass, as well as the creation of new music.
This exposition zooms in on two examples from my complete artistic doctoral project at Sibelius Academy, Uniarts, Helsinki, namely the two sonic conversations for double bass and berimbau, and double bass and Sámi joik.
Performing Hanne Darboven's Opus 17a and long duration minimalist music
(2019)
author(s): Michael Duch
published in: Norwegian Academy of Music
Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece.
This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.
Hearing Double: how to use the double bass in the VI Concerti Armonici by Unico Wilhelm van Wassenaer.
(2018)
author(s): Eva Euwe
published in: KC Research Portal
Name: Eva Euwe
Main Subject: Violone
Research Supervisor: Johannes Boer
Title of Research: Hearing Double
Research Question: Was the double bass used in the VI Concerti Armonici by Unico Wilhelm Van Wassenaer, and if so, how was it used?
Summary of Results:
As far as we know, the VI Concerti Armonici by Unico Wilhelm van Wassenaer were written for a chamber music setting with one instrument per part. We do not know which basso continuo instrumentation was intended or preferred by the composer, but it could have been possible that a double bass was to be used. At that time in the Netherlands, double basses and bassists were around and it is not unlikely that they also played in relatively small settings such as chamber music. If the double bass played the basso continuo line in this piece, there are many reasons that it was used in a different way than the more usual 'concerto grosso' style of playing the continuo line. It is also likely that instead of a double bass, a smaller bass instrument in the 8 foot register was used to double the continuo line with. This would be an instrument that is perhaps bigger than most baroque cellos and close to a basse de violon or a G-violone.
To illustrate these possibilities, I have recorded several versions of the same Concerto with different basso continuo instrumentations.
Biography:
Eva Euwe (Amsterdam, 1988) studies historical double bass and violone with Margaret Urquhart at the Royal Conservatoire of The Hague. She received her Bachelor’s diploma from the Utrecht Conservatory where she studied modern double bass with Quirijn van Regteren Altena. She received masterclasses from world-class bassists such as Joel Quarrington and Edicson Ruiz.
Alongside her studies, Eva works as a freelance bassist with several ensembles such as De Nieuwe Philharmonie Utrecht, BarokOpera Amsterdam and Música Temprana. She also performs with the Orchestra of the Age of Enlightenment as a participant of the OAE Experience 2018.
Developing Vocal Techniques in Contemporary Solo Double Bass Repertoire: A pedagogical approach to developing vocal techniques and coordination in Western classical-contemporary solo double bass repertoire
(2016)
author(s): Cody Takacs
published in: KC Research Portal
Name: Cody Takacs
Main Subject: Classical Double Bass
Research Supervisor: Maggie Urquhart
Title of Research:
Developing Vocal Techniques in Contemporary Solo Double Bass Repertoire: A pedagogical approach to developing vocal techniques and coordination in Western classical-contemporary solo double bass repertoire
Research Question:
How can double bassists efficiently learn contemporary solo double bass repertoire requiring the simultaneous use of their voice and playing their instrument?
Summary of Results:
Due to an exponentially growing number of compositions and a complete lack of pedagogical material regarding simultaneously using the voice and playing the double bass, I have written a method book titled The Double Bass-Voice: A How-To Guide. For this book I have collected, adapted, and organized information from double bass pedagogical resources, vocal pedagogical resources, musical scores, and reflections on past experiences with this repertoire. The book is
intended to develop the technique and coordination necessary to effectively prepare solo double bass-voice repertoire. The book is divided into four main sections: “Using the Voice as a Practice Aid,” “Vocal Tools and Techniques,” “Etudes and Exercises,” and “Notation Examples” as well as a database of the solo double bass-voice repertoire. By incorporating the voice as a tool into individual practice, understanding an efficient practice process and fundamental vocal technique, having access to simple etudes to develop double bass-voice technique and coordination in musical contexts, and knowing what to expect in notation, double bassists will be better prepared in learning works for double bass-voice more efficiently. These results will be presented via PowerPoint presentation with musical examples from the method book and select double bass-voice works.
Biography:
Cody Takacs is a classically trained American double bassist currently residing in The Hague. An avid performer of new music, he has performed with Ensemble Klang, De Nieuwe European Ensemble, Het Metropole Orkest, and the Lucerne Festival Academy Orchestra and has appeared in the Gaudeamus Muziekweek, Venice Biennale, and Bang on a Can Summer Music Festival. He has given contemporary solo performances at the Rotterdam Contemporary Art Fair, Carnegie Hall, several universities and conservatories across the U.S. and Europe, and a lecture/performance on Iannis Xenakis at the International Society of Bassists convention.
Fingering of the Viennese Double Bass
(2016)
author(s): Feng Zhou
published in: KC Research Portal
ame: Zhou Feng
Main Subject: Violone
Research supervisor(s): Kate Clark
Title of Research:
Fingering of the Viennese Double Bass
Research Question:
What was the historical fingering of the Viennese double bass? Which different effects it would have on different fingerings? What’s the modern solution of fingerings and its influence?
Summary of Results:
The Viennese Double Bass was a dominant type of double bass used in the Classical Period in Vienna. It usually has 5 string, tuned in F1-A1-D-F#-A, with frets. Unfortunately, we can barely find any historical material that was written down on the fingering of this instrument. Through the analysis of the history of fingerings on various double basses documented in historical methods, I can find the pattern of fingering that is often related to the tuning intervals of the instrument. The Viennese double bass was possibly using a '1-2-4' fingering system. In my research paper, I give the suggestions of specific fingerings, including basic fingerings (scales, arpeggios), exception fingerings (chordal fingering, octave fingering). For octaves, I find the possible solutions by using basic, chordal, extension fingerings and shifting strategy. With excerpts of solo works and orchestral parts, I give further explanation of the fingerings. Finally, I try to point out that the modern tuning of the Viennese double bass could cause alteration of the historical fingerings. Furthermore, it would also change the timbre.
Biography:
Master student of Violone (Koninklijk Conservatorium, Den Haag)
Artist Diploma of Double Bass (China Central Conservatory, Beijing)
Master Degree of Journalism (Tsinghua University, Beijing)
The Early Violone
(2015)
author(s): Maggie Urquhart
published in: KC Research Portal
Name: Margaret Urquhart
Main Subject: Master of Music
Research Coach: Peter Holman
Title of Research: The Early Violone
Research Question:
What were the earliest violones, how can they be defined and how were they used till 1700?
Summary of Results:
After looking at evidence of the emergence of the first low bowed string instruments in Europe, this paper follows the types and use of the main instruments which could be termed violones till 1700, mainly centered in Italy. Through the study of treatises referring to the violone, scores using the term, iconography, secondary sources and the reconstruction of a copy of a violone from 1590, it follows the development of the violone till it becomes an octave-doubling instrument. The presentation of the extended paper will include a closer look at the issues surrounding the history of, and the term, violone, and live performance of music demonstrating the early violone, together with two viola da gambas in a consort.
Biography:
Margaret Urquhart studied double bass and violone with Anthony Woodrow and viola da gamba with Anneke Pols at the Royal Conservatory in The Hague. She subsequently joined many notable Baroque ensembles. In 1986, she became a member of Frans Bruggen’s Orchestra of the Eighteenth Century of which she is the first bassist. In addition to a busy performing schedule, she teaches at Amsterdam and The Hague conservatories, gives master classes internationally and coaches at the European Baroque Orchestra courses. She performs on the Viennese bass, the 8’ violone in various tunings and the 16’ violone and double bass.
Examination of mid-nineteenth century double bass playing based on A. Müller and F.C. Franke’s discourse in the Neue Zeitschrift für Musik, 1848 – 1851
(2015)
author(s): Shanti Nachtergaele
published in: KC Research Portal
Name: Shanti Nachtergaele
Main Subject: Violone
Research Coach: Anna Scott
Title of Research: Examination of Mid-Nineteenth Century Double Bass Playing Based
on A. Müller and F.C. Franke’s Discourse in the Neue Zeitschrift für Musik, 1848 – 1851:
With a discussion of the relevance of historical techniques to modern conventional and
historically informed (‘HIP’) performance practices
Research Questions:
• Should historical double bass techniques be incorporated into historically informed
performance (‘HIP’) practices today, and how can historical techniques be used to
enhance modern performances?
• Who was F.C. Franke, what insights can he and August Müller provide about the state
of double bass playing c. 1850, and which of their ideas can be applied by double
bassists today?
• Can Müller’s and Franke’s contrasting ideas be combined, and what benefits does this
integration offer to both ‘HIP’ and mainstream modern performers?
Summary of Results:
In the period 1849 - 1851, a collection of articles by A. Müller and F.C. Franke appeared
in the Neue Zeitschrift für Musik, which discussed various aspects of double bass playing.
The two double bassists agreed on some points, including that the double bass has a very
important role in the orchestra, that there was a lack of good double bass players at the
time, and the general characteristics of a good instrument; but they debated other
subjects, such as playing stance, left hand technique, bow technique, the components of
daily practice, and the common practice of simplifying double bass parts. Their
discussion on these topics has implications for historically informed performance,
especially in regards to the performance of orchestral works. During my presentation I
will briefly discuss the historical background of my research, including biographical
information, the state of double bass playing in the mid-nineteenth century. Using
recorded audio and video examples and live demonstrations, I will then discuss the
practical components of this artistic research: Franke’s and Müller’s opposing fingering
methods, and Müller’s suggested modifications of the double bass parts of Beethoven's
symphonies.
Biography:
Shanti Nachtergaele grew up in California (USA), and holds a Bachelor of Music degree
in Double Bass Performance from Shenandoah Conservatory, where she studied with
Donovan Stokes. She currently studies historic double bass and 8’ violone with Maggie
Urquhart, and is interested in exploring historical perspectives of bass pedagogy and
technique. Her research won the student division of the 2014 International Society of
Bassists Research Competition, and she has been invited to present at the ISB’s 2015
convention.
Reaching for the utmost limits – Making a process visible with The Hands, the Bow, and the Bass
(last edited: 2022)
author(s): Johannes Nästesjö
This exposition is in progress and its share status is: visible to all.
Can I, by reaching for the utmost limits on my instrument, in dynamically, technically and pitch related ways both find, for me, new contemporary techniques and expand the ways on how to play and perform them on the double bass?
Can I, by illuminating, documenting, studying, organizing and re-documenting my musical process, design a toolkit for improvising bassists with contemporary techniques?
Can I, in my musical process both act as the first person, i.e. the subjective musician and as the third person, i.e. the objective observer?
If so, can I, as the observer objectively observe and organize the ”discoveries” that I am doing in my daily work as first person.
Can I create this tool kit through the limitations that my instrument offers acoustically (the hand, the bow and the bass).
And can I through this immerse and widen my musical expressions? - A richer language - more elastic - with more colors.
A short presentation for the subject "Historical Development" meant to excite a general audience about the double bass in different classical music scenarios.open exposition comments (0)
In this presentation we will discuss the incorporation double bass in Indian classical music. Although it’s a foreign instrument to India by origin, but it has immense possibilities for this music. We will discuss it’s origins in India, basics of Indian classical music, similar Indian instruments, Indian classical violin, bassists exploring Indian classical music, cross genre & indian fusion music involving the double bass & it’s application as an accompanying instrument in this tradition & arguments for it’s incorporation.open exposition comments (0)