jean-pierre robert

jean-pierre robert PLAYING TECHNIQUES 73 examples pizzicato, ....... " ... ,"''' multiphonic sounds, touched harmonics.

jean-pierre robert PLAYING TECHNIQUES 64 examples arco,

modes of playing

the

English translation: anais smart

NTATION

september 1994

This study is devoted to the various techniques of double bass playing.

It has been designed as both a catalogue of information classified by parameters and a teaching aid which progresses step by step. It encompasses a wide range of interests, from a basic description of the instrument to very complex mulnphonic sounds, and should answer questions posed by composers and performers, particularly as regards the various concepts encountered in the field of contemporary music.

The classification of playing techniques 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) left-hand movements.

The presentation of this study is similar to that of a dictionary, a dictionary of sounds. As such, it may seem lacking personality and warmth, but it also possesses certain advantages: it is quasi-exhaustive and easy to usc, answers are complete, and above all, there are no value judgements. All playing techniques are presented objectively. Even if it is obvious that the arco-legato technique is more commonly used than arco on ribs, it would be unwise on that quantitative basis, to establish a qualitative scale of valves for classifying techniques.

~5~

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 « lefthand movements » - will be applied in succession to arco playing (chap. II) and pizzicato playing (chap.III).

The study also features two « entr'actes »: on one hand, a reflexion on factors detemining how we read a musical sign in a given context of interpretation, and on the other hand, a few thoughts on the subject of the performer and his or her human relationship with a musical proposal (interview with Frederic Stochl, professor of double bass at the Conservatoire National Superieur de Musique de Paris and soloist with the Ensemble Intercontemporain) .

concept of the " grandmother » of the orchestra, it is clear that the same word is applied to quite different instruments. In his « the Contemporary Double Bass" ( 1974 ) (first publication of its kind), Bertram Turetzky distinguishes two instruments: the solo bass, with a clear sound and 4 strings tuned a tone higher, and which is a smaller instrument than the orchestral double bass which has a darker sound and 4 or 5 strings. Additional evidence 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 instruments in one, or as one instrument 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 instrument's « nature ». but as concerns the double bass, one can ask whether it actually has a nature of its own or not. Perhaps, as Marin Mersenne thought, in the end, the double bass is an

Before opening this dictionary, it might be interesting to say a few words about the double bass as an object. One of its characteristic features, which distinguishes it from other instruments, is its lack of conformity to any construction model. This insubordination to organological definitions has been the case since the very beginning, and seems linked more to the 16-foot function of the double bass than to the instrument itself.

In fact, what we might call « intellectual indelicacy» has characterised the double bass since its origin in the XV lIth century, when the word violone referred to no specific instrument : « They are made in all sizes, but must be at least big enough to get out of them the desired harmony, and the following drawing shows a viola da gamba, 4 1/2 feet long ( +- 1 m 45 ), although it could be made 7 feet long ( 2,3 m ) or 8 (2,6 m), if one's arms 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

« unnatural » instrument.

GitUSICA gUILD

DIRECTIONS FOR USE

All musical examples in this book are indicated by the following symbols :

1 ~ 3 71 ~ CD I 'MeX 37

~

~ = CD2 index 23

NTENTS

Preface p.3

Presentation pA

CHAPTER I. THE DOUBLE BASS

1. Organological description

a. the double bass p.8

b. the bow p.8

c. scale graph of the double bass tempered notes p.9

d. strings p.10

e. setup p.lO

f. acoustics p.10

g. velocity p.11

h. percussions p.11

i. accessories p.12

2. Tuning and range

a. history p.13

b. conventional notation p.13

c. the four strings p.13

d. ranges p.14

e. table of micro-intervals p.l4

f. table of bi-tones p.14

g. table of harmonics p.1 7

h. table of lightly touched harmonics p.l9

i. table of multiphonics p.21

artificial multiphonics p.22

j. three examples of spectral analyses p.23

k. synoptic table p.32

CHAPTER II. BOWING TECHNIQUES

1. right hand

a. bowing techniques p.34

arco bowing • legno bowing • half-legno bowing. crushcd-Icgno bowing.

legno battuto bowing • double stops • triple stops. bariolages • bow speeds

b. techniques of placing the bow p.36

normal position • tasto bowing • ponticello bowing. harmonic scanning.

circular bowing • vertical movement • behind the bridge. above the left hand. above the nut • the tailpiece » rhe tailpiece holder. the end pin.

the four pegs • the ribs • sounds of the bridge. the fingerboard

c. bow pressure pAO

normal pressure • flautandll • crushed bowing • resulting harmonic. how vihraro

d. bow strokes pAl

detachc bowing • on the string • martell' bowing • liscio • legato • dctache in the sallie bow « sautille bowing • batture • gettato bowing • tremolo bowing. spectral phase difference • continuous sautille • accentuation by bowing speed • accentuation by bowing pressure • accentuation by ponticello • accentuation by pizz • accentuation by the ring. the screw of the bow

2. left hand

a. movements pA5

vibrato • beats • glissando. glissando of a natural harmonic. the" seagull" effect • multi phonic glissando • harmonic scanning wirh rhe left hand s " petits diables »

b. pressure pA8

hannonics s artificial harmonics • lightly touched artificial harmonics. double stops • mulriphonics • lightly stopped notes. crossed strings

entr'acte n01 p.50

CHAPTER III. PIZZICATO TECHNIQUES

1. right hand

a. pizzicato techniques p.52

sustaining time • legato • double and triple strings • tailpiece vibrato. stopping the sound with the fingernail

b. positions p.53

crossing hands • behind the bridge • tailpiece • tailpiece holder. end pin

c. articulations p.54

funky pizz • Bartok pizz • stopping the string with a perc. • lengthwise scratching. trernolo e hitting the fingerboard with a pizz on string IV • pizz wirh the fingernail

2. left hand

a. . p.55

left hand pizzicato • slap

b. pressure p.56

harmorucs • artificial harmonics • « zinguer » • muted pizz • sitar effect. crossed strings • water drum effect

c. movements p.57

glissando • natural harmonic glissando

entr'acte n02 p.SS

authors and works CD references ... symbols

INDEX

.................................................... p.60

. p.60

............................................................. p.62

a.

modes of playing the double bass:

ORGANOLOGICAL DESCRIPTION

)

________ pegs )

)

fingerboard )

rib

bridge

tailpiece holder

+------- end pin

b.

THE 80

heel

tip

middle

-----~------ ---._

I ~:~ \

screw rmg stick

I

hair

Distributions of the bow :

• Playing at the heel of the bow produces a harsher sound than playing in the middle.

Playing at the tip produces a softer sonn.l.

• The indications « at the heel », « in the middle », « at the tip» show that such sound qualities are desired.

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. It is used in Germany, in the U.S.A. and in Eastern Europe.

• the French bow is similar to that of the violin, and is held in much the same way. It is used in the rest of Europe.

-9-

c. SCALE DRAWING of THE TEMPERED

FINGERINGS

on the 4 strings

end of fingerboards

I I I

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..

ITT HI

~ thumb positions

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II -
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b. •
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I 1 J lllJJ~ I \ \ \

~ neck positions

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,

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I
I I ,
I
I ,
I I
• • • • • • • • • • .' • • • •••• • • •••••
,
: rarely used area I I

• • • • • •

logarithmic progression of the temjJered note.) jJositions

•

•

•

•

• Place the note chosen in the right angle.

Read the various possible ambits in the window corresponding to type of use (normal, specific, exceptional) and to position (<< in the neck» or on a thumb position).

On this grClph, one will superimpose

the « windows for reading interval limits »

r·····················1 .....•...•.•••.••.•

Directions for use :

•

modes of playing the double bass I· ORGANOLOGICAL DESCRIPTION

-/0-

d. STRIN

Double bass strings are made of coiled metal ( i.e. rolled into a spiral). They can also be coiled around gut.

Pure gut strings are used in baroque music only.

These strings, used in the beginning of Jazz, are now again being played by some jazzmen.

e. SET

The double bass has two basic types of setup ( i.e. distance of the strings from the fingerboard) :

• I) : 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 during resonance.The resulting loss of intensity can be counterbalanced by amplification.This setup is often used in amplified jazz music.

• 2) : Strings are slightly higher from the fingerboard. This setup is generally used for playing classical music.

f. ACO

Because of the double bass low register, the sound that reaches the listener depends to a great extend on surrounding acoustics. There seems to be 3 acoustic zones around the instrument:

• l " 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.

• 2nd zone: up to 5 m depending on the instrument. 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.

• yd 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.

Such 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.

\ 1 /

VELOCI

Limits in velocity are determined by the left hand ( also by playing techniques ).

o speed in: in legato conjoint mvts.

ex. : Iannis Xenakis, THERAPS for double bass. 1976. Ed. Salabert. p.3, line 5. l't edition.

o speed in: in detached disjoint mvts

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• Velocity and playing techniques

Some playing techniques cannot follow on others and require preparation time.

Certain left hand techniques enable the player to link sequences of right hand techniques:

\

1 2 ex.: Georges Aperghis, 4e RECITATIONS for double bass. 1980. Ed. Salabert. pA, line 3. /

h. PERC

The double bass can be struck anywhere. However, it is 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 general, the neck produces an undefined low sound, the case 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 blocks.

chapter I : the double bass

... not.:

THERAPS of Iannis Xenakis

PHLEGRA of Iannis Xenakis

Philippe Boivin

modes of playing the double bass I· ORGANOLOGICAL DESCRIPTION

-/2-

/~

2' 33 ex.: Philippe Boivin, ZAB ou la passion selon St Nectaire. 2nd movement. 1981. \

•

I. ACCESSORIES

/~

2' 34 \

"-

2 35 \

• mutes

The mute compresses the sound and gives it a sweet quality that is often used, as in the short solo ( « FRERE JACQUES »theme in minor key) in Gustave Mahler's 1st SYMPHONIE. John Cage in CONCERT FOR PIANO requires 3 types of mutes.

Metal, wood, or plastic mutes can be used.

• vibraphone and timpani sticks

These sticks played on the strings produce a sound close to pizzicati and to the electric bass guitar. They favor velocity and long sustain.

Pull off and hammering on technique (cf. 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 like temple blocks.

• the plectrum

The plectrum is used as pizzicati, but has more potential. When played close to the left hand, it produces a more powerful sound.

In the neck, harmonics sound up to the 6th partial.

.. not.:

remove

put

» dyn.: from pp to mj'

o max speed.±:

timpani sticks

superball

= 100

modes of playing the double bass:

TUNING AND RANGE

a. HISTO

• It is often necessary to change the instrument's tuning: in the XIXth century, the solo instrument was tuned a whole tone higher, becoming a transposing instrument. When playing scores that require a change of scordatura, it is 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 composer 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 tmnsposed in the notation. It can be useful to note this string on a specific staff. The effect ( written sound ) may be noted in brackets, as it is done for harrnon ic fingerings.

• The amplification and electronic transformation of acoustic instruments is difficult, which is why instruments have been built with no soundboard. These instruments make for superior results so far as recording 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 generations of instruments have produced the electric double bass and more recently the" MIDI », an instrument with several sensors, particularly adapted to computer processing.

ex. : Pierre Boulez, DOMAINE. for clarinet and instrumental ensemble: duet for marimba and double bass.

b. CO NVE N TIONA

• 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 octave is strongly recommended. In his treatise on orchestration, Krechlin suggests avoiding the «real pitch» notation in ambiguous cases and using the expressions written note, heard note.

Most of the notations found in this work are written notes.

c. THE FOUR

• The four strings are tuned in perfect fourths from the high to the low register: G 1- D 1- A 0- EO. They are called strings I, II, III, IV (noted thus in Roman numbers under the staff.) .

• Sometimes CI fifth string is also used, tuned to Co. 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 octave of the cello part. The fifth string can also be a high C (Cl) : this setup is used in the United States, essentially by jazz musicians ..

• A mechanical device which stretches string IV instantaneously into a Co is occasionally used in the U.S.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 2· TUNING AND RANGE

-/4-

d. RANGES

• The lower limit depends on the tuning of string IV, The maximum being (real pitch) D_2' If a still lower tuning is desired, the bridge must be raised.

• As for the upper limit, the length of the fingerboard is different according to the instrument.

As a general rule, it will go up to ( written sound) :

For higher sounds, one either plucks the string between thumb and forefinger, or plays on harmonics.

e. M ICR

In traditional chromatic technique, one uses:

• in the neck: fingers 1,2, and 4 per half-tone; the 3rd finger is not used.

• in the thumb position, (from the open string first octave): thumb, fingers 1, 2, 3, per tone or halftone, according to different methods.

... not.:

In the quarter tone technique:

• in the neck positions: the quarter tones can be easily fingered with fingers 1,2,3, and 4.

• in the thumb positions, as with other string instruments, one moves the finger up to the right place.

Same technique for smaller intervals.

Ri-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 hi-tones is to change hands (right hand above left).

• When bowing, this technique is limited to strings I and 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 be played in double notes. This technique is limited, because only the thumb can be used for fingering. The lower bi-tone is played pizz. with the 3rd finger of the left hand; the upper hi-tone is played either area or pizz. with the right hand.

The longer part of the string has the longer sustain.

cf. tables on the following pages.

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2 37 \

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ORANGE
• string III bi-tones (written sounds)
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fingerings ( : II

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HARMO.N
• string I natural harmonics (written sounds)
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2 38 \

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or or
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2 39 \

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2 40 \

.. ,
LIGHTLY TOUCHE .... d. p, 48
• string I lightly touched artificial harmonics (written sounds)
fingerings of fourth 17_ ~ - #- ? fi ?
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2 41 \

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I.

r

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 cornerstone in a long building process: it will take time, the experience of other bass players, and above <Ill the challenge of electronic processing and new orchestrations, for these notions to grow into a mature technique.

Both the tables of multiphonic sounds (cf.: "'. page 32) and the analyses (cf.: III. pages n it 33) show multiphonic 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 <I 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 mtensity of sound as one produced by the same fingering, but pressed. The realization of certain sounds demands a specific left-hand finger pressure technique.

2 29 \

ex. , (Weitton sound ) , the flngermg 1-9.....,:~-k---lrf------

can produce the harmonics (he careful of the octave)

(poco tasto)

(normale)

r

(ponticello)

and, when using the multiphonic technique

( slightly reducing speed and increasing pressure ), one em produce:

With the above technique, « fade-ins and fade-outs » can be produced between harmonic and multiphonic sounds.

modes of playing the double bass 2. TUNING AND RANGE

>- dyn.; from p to 11if

-22-

• The agregates produced by multiphonics do not sound like chords: mask effects - some notes hide others - as well as the very different tone-colours proper to each partial, give the agregates very specific sound colours. For example, an agregate written D, G, B, will not sound at all like a six four chord.

In addition, certain rolling phenomena cause multiphonics of similar structure to possess different sound potential.

The notes composing the agregates in the table (cf p.35), are not exhaustive: a more precise study, carried out in the IRCAM studios, shows a great number of audible harmonic components (sometimes as many as 8), that the ear in fact perceives as a

j uxtaposirion of tone-colours.

The position of the how on the string varies according to the multiphonics. Also, using the same fingering, one can find several different how positions and even several different multiphonic sounds. In practising this technique, it is helpful to slide the finger from a neighboring harmonic.

• We have noted only the more stable agregates. As shown hy the study of multiple sounds on other instruments, these techniques are enriched bv practice and use: multiphonics become easier to playas one gets used to this type of notation and improves one's own technique.

Legato bowing is difficult. Attacks are poco marcato. Sound intensity is reduced ..

ARTIFICIAL

Artificial multiphonics, like artificial harmonics, can be played in the thumb position: the finger lightly touches the string at a distance of a fourth diminished of a quarter-tone.

All parameters are reduced.

Glissando possible.

/"

2 30 ex. (written sound); .....

\

/"

2 31 \

<.

2 37 \ -

• One should not he surprised at the difference between the tables (cj: ",. page 32) and the [RCAM analyses of the same multiphonics. My aim was to transcribe what is heard in simple, everyday listening. In the 3 analyses (cf p.36) - normal arco bowing, tasto, ponticeHo - we see that what is normally called «G», is in fact a simplification of what the ear perceives. In the case of normal arco bowing, a G has no less than 11 components. If one listens attentively, one can hear on one's own rhar the double bass produces complex sounds almost exclusively. This hrings to mind one of Berlioz's remarks on orchestration, that one should compare a perfect chord played by 3 clarinets with the same chord played by 3 double basses. Surprisingly, the simplest sounds encountered in these analyses are the non-harmonic multiphonics produced with a pluck near the bridge.

Accessories like plucks placed on the strings produce bell-like multiphonics (non-harmonic type); one can play either area or Pizz, above or below the pluck.

It is more practical to note this technique by describing how to perform it, rather than by describing the effect desired: there are multiphonics on every point of the string.

In november 1983, a first communication was made at IReAM in col lnlioration with Horatiu Radulescu ; research on multiphonic sounds was carried out in coljahorar iun with IRCAM in 1985.

1\

.

gives

', . ./

-23-

•

J.

of SPECT

I - analysis of a simple sound. 1111. Areo

o Fourier series (page 24)

@ Musical transcription of the previous image (page 25) @) Summary of actually audible frequencies (page 25)

II - analysis of multiphonic sounds. 1111. Areo 0 Electronic analyses (page 26) @ Acoustic analyses (page 30)

III - analysis of multiphonic sounds played with a pluck. III" Pizz (page 31)

The various spectral analyses shown here are from the study carried out at IRCAM in 1985 with the aid of Claudie Malherbe and Gerard Assayag.

modes of playing the double bass 2· TUNING AND RANGE

-24-

I - analysis of a simple sound. 1111. Arco

dB

o Fourier series

This" Fourier series" curve shows the intensity of each of its components (partials) :

Image showing a short section of a sound.

o

·10

·20

·30

·40

·50

·60

·70

o

2000

4000

6000

8000

-25-

@ Musical transcription of the previous image (G 1st string: tasto, 18 em from the bridge - Arco)

-"- # -"- #-"- R'C ~#~ • #. #-"- • 16m
• • -"-
• • ._ ~._ ~._ .~ . -"- -
i • • - - - . -. - - - - - - . •• ._ - -
• • • ~
•
• •
•
•
iii!

- • •
-. 8vb______J
16 vh.:»
a 0 8 /0 5 3 0 -29 -/3 2 -32 0 2 -/4 49 a -43 40 -30 -II 0 6 37 2 -/ -/3 -29 50 27 2 -26 40 6 -3/ 29 -/I 44 0 /I 2
b 0 0 13 8 21 37 0 35 4 7 10 14 8 5 3 0 3 2 10 5 1 0 0 1 0 1 2 2 1 1 1 1 1 0 0 0 0 0 0
c 0 0 41 22 29 26 0 20 0 3 16 22 5 0 0 0 0 0 26 0 0 0 0 0 0 0 7 1 0 0 0 0 0 0 0 0 0 74 89 r;...

~., .

a - In cents (from 0 to ± 50), the difference in pitch with the written tempered note .

. ~
/I
..... 0
••
3 a -/3 -32 a 2 -/
21 37 35 7 10 14
29 26 20 3 16 22 b - On a linear scale from 0 to 1000, the amplitude of each frequency.

c - On the same linear scale, the perceptive weight allocated to these frequencies by Terhardt's algorithm.

@} Summary of actually audible frequencies. Terhardt's algorithm (ex. : tasto, 18 ern from the bridge)

8"
~ #~ #~ -"-
t • • -"- -
• . J
•
•
•
iii!
•
/0 5 3 0 -/3 -32 a 2 -/4 -/I 50 27 /I 2
13 8 21 37 35 7 10 14 8 10 2 2 0 0
41 22 29 26 20 3 16 22 5 26 7 1 74 89 modes of playing the double bass 2' TUNING AND RANGE.

26-

II - analysis of multiphonic sounds. 1111. Areo o Electronic analyses

• string I AReo (heard sounds)

1\

",4-45 7 -35-/4-/5 /6 8 5 4 5 10 5 4 24 7 24 24 3 I 24 4

,j."

~. ',.

•

16m 24"" ._ ~ .. 1i •

'®-
.)
"40 -/8 -/8 29 -/7 0 // //
II 2 3 13 3 0 0
29 3 II 17 38 4 77 99 --

. ._ •

• •

•

H}6'- - - - - I
• •
• •
II
I
46 -36 0 45
14 II 7 3
23 13 6 3 •

•

-37-/8 / 0 -/6-35 0 -/7

3 2 8 5 5 II 3 8 32 I I 4 I 23 ] I 38 0 I 9

~

#. #._ 8vo- 16m 24m
._ ~.
0 .. - -~ ._~ fI • ..
. . -

~ • ~ •

•
-25 9 5 4 -9 10-24 5 9 -44 46 -5 -7 -41 13 12 /6 -42 -30 -28 2 -/0 -29
2 5 4 7 5 3 3 9 18 27 14 10 12 I 5 10 20 14 31 6 II 28 0
25 43 3 I 37 26 21 18 25 24 25 6 4 24 ~~ 8 19 3 26 3 16 18 99
Q
. .
~, ". ~

n -7 -7 -/2-11-24-42 -/0 -2529 -25 2 15 7 3 2 8 12 7 13 I 24 42 24 16 29 34 35 30 32 8

.u.f r-;

--'-.1'

,. , .

./

16Vll
._ ._ 24""
I .- - - •
@)
f-J:
it 48 3 -29 -/2 -7 -/7 -2/
13 5 7 14 23 0 0
~Q 23 2 17 ]6 6 98 101
".
, ,. • string II ARCO (heard sounds)

1\

~ ..

•

#: -38 -6 -9 -/9 -5 23 13 8 41 8 19 37 29 15 32 0 17

#_~ • -4 34 -/7
/4 40 -/5 0 -/3
-7 -/9 -20 -22 -15 29 -21 -17 48 48 -20 -49 5 26 39 II 8 20 0 0
5 18 33 9 6 6 10 8 7 7 3 0 0 10 33 34 8 22 22 68
22 34 33 II 8 13 25 9 6 7 I 84 15 1oIo
11
""'i". n £""'i". or
•• TT 7.
./ ~ . -27-

1':2-28 -7 -28 95 28 8 19 34 30 2 16

19 -44 18 18 7 6

I

16t,0
- ~. ~:!: .II_ , ~ ...
1\
-@
~
f-4¥.
7T
#7T 25 -3 9 0 -8
-/7 -/3 -/8 -30 2/ /2 -37 -35 6 37 23 9 6
15 69 10 3 13 10 II 0 7 24 0 8 4
15 30 19 16 30 13 5 112 Q
4 • 1-
. ' ..
. 7T

0-17-9 -225-10-8 43 22 7 9 2 9 5 36 38 II 20 I 33 13

16m- --I

#:!: ~. #~

modes of playing the double bass 2' TUNING AND RANGE

-28-

•
• I •
...
it) ~.
/
-7 32 -27-18-44
16 16 21 35 10
II 5 12 18 13
II ~.
,. • string III AReo (heard sounds)

n_1I -35 -/2 45
29 43 38 19
34 24 15 17
In. ----- _ .. _------------
v 8""
• .~.
I • fl
t) ~. I.J -
-.- -/9/3 -/6-28-39-27 6
-30 -23 -/3 -/8 -45 -6 26 23 23 33 16 10 10
5 101 19 7 0 23 12 9 12 I 14 13
13 12 30 9 27 I
• ~.
,. ILL ,.11'1
/ m Li1_ 8u(~ - 1
8'''' .~ ..
I • ·11 f\ • •
~ ~. tJ ~.
.-
-30 -II -35 57 6 4 -34-/7-38 3 -47 -33-49
22 112 50 II 3 6 1581 2 2 2 0 0
29 2S I 24 3 16 3331 II 6 6 24 23
-7
,.,.. .,..
l' .
/ .1 .- -
._ ~ .
:
39 3 6 // -42 -27-/7 -43
19 15 45 31 23 10 8 10
23 3 22 18 13 12 2 9
,"" .
_,_. • string IV ARCO (heard sounds)

I ....
~ u ~
.
.
3 4 II 12
28 32 50 5
17 10 20 2
:-11..
,.
1tI' ..

26 -6 4 -27 -24-14 51 78 13 4 9 0 1313 3 7 II 113

•

,. A

-29-

,., ..
~ ).
~ • T @) -,
~ -/2 27 ~41 4 43 -37
19 14 58 12 15 34 32 8
30 8 15 19 7 18 5 7
• --,,~.
· .
.u.
f+tv I
H""
~. _._ 16 \'(1
I ,., -II
• ~
~ ~
-/939 II 4 44 33 9
70 I 77 30 22 7 0
I ~: 20 12 25 8 8 20 65
II •
,.
#<> I , -
~ T'
·
;/-.
..
21 8 16-43-11
5844 57 26 0
23 5 20 5 38
:-11..
.
./ 014' .II_
1\
t::::1 11 -
@)
f-L-
..
35-3838
69 17 8
26 6 7
...". .
.
./ moCles 01 p,a 2· TUNING AN

@ Aco

/,

2 43

\ 44 45 46 47 48 49 50

/"

2 51

\ 52

53 54 55 56 57 58

2 59
\ 60
61
62
63
64
65
66
/"
2 67
\ 68
69
70
71
72
73 ymg tne aOUDle DOSS -_jU-
ORANGE
listie analyses - (? = low reliability I in black = precise notes of the effect I in white = imprecise notes which color the effect)
• string I multiphonics area (written sounds)
jI~ #(2 #~ ~ ~ #(2 #~ ~ e #J (2 ,._ ~
= I f= f-
= I f- b I[ J f= ~ = ~ =
I -f- -- r-
effects
~ #~ #;t 19=
L .ill .jo{) ~r0 ~f' ?
fingerings (~. : @) 1'1
-----
• string II multiphonics areo (written sounds)
:I ~ #~ #~ ~ #: #~ #~ ~~ ~ #1 ~ ~~ ~
~ II - =
f\ - - ~r:-
effects ( I' ~--·--·-I •

~ = #~ I = u I'" u •
~ 'z 7 e
.~ ~ -f7 a~
fingerings I :

• string III multiphonics arco (written sounds)
f\ _. #P- I r: #: #(2 #~ P- ##1 r» • P-
c- -
effects {
~ ~ I ~ ~ ~ ~ .. ~
7 -f7
fingerings { :

• string IV multiphonics areo (written sounds)
I I ~~ *. ~ .. ~~#1 ~
-
effects
~ - - • - 11 111 ~ =- -
11 ?; ?; 111 111
? ?
fingerings ( -
:

~v I Ttf n I - -3/-

NB:

High partials: with ageing, a string tends to lose its higher notes.

Playing Pont. brings our rhe higher partials, but is difficult to control (very high bow speed).

Bass of the agregate : the sound is variable both in perception and pitch. It can be controlled by bow pressure, and to a lesser extent by left hand pressure. How these are used by the player determines whether the open string (or closest harmonic to the fingering-octave or 12th) will sound or not.

Higher bow speed raises the bass note (which also has a better soun.l in tasto playing).

Greater pressure increases intensity and raises the bass note, in the case of an open string, sometimes by as much as a whole tone.

Even if it is not very loud, the bass note is heard as the fundamental of the agregate, which gives it a great deal of importance so far as perception in concerned.

The « altered» pitches of the open string have been chosen according to what appeared to be an average; furthermore, the presence and pitch of this sound seem to play an important part in rolling phenomena.

III - analysis of multiphonic sounds played with a pluck 1111. Pizz

ELECTRONIC ANALYSES OF MULTI PHONIC SOUNDS with pluck on string I. (heard sounds) PIZZ

• pluck, 4 cm from the bridge

• pluck, 8 cm from the bridge

I! ~
•
•
•
-46 -/I -/2
33 38 17
31 22 0 •

•

• -37

38 38

29 2 66

]7 2 77

• pluck, 12 cm from the bridge

• pluck, 30 cm from the bridge

f

•

•

.. -36 76 39

-/6 16 37

-37 1 36

!!~

47 30

6 47 20

-]5 o 33

modes of playing the double bass 2- TUNING AND RANGE

-32-

SYNOPTIC TAB

k. 0 f H ARM 0 N I

• The lower series of 4 staves is a scale drawing of the fingerings of the 4 strings.

• The upper series shows the effects (written sounds) of the fingerings played by lightly touching the string (series of harmonics and multiphonics.)

How to use the windows: (cf.: ,",. page 9)

• • • • • •

logarithmic progression of the tempered notes positions

•

end of
fingerboards
r thumb positions I I I I I I I I I
I I I ~ ~
0- 0- n !!. - =
f~ DO a
-e a
-e -<>
, #g ~II Q a -e
fO t!
0
'6 '6 6J
jg ;oJ. a , 18 Q
F'"
'0 0 ~
I I I I I I I I I I I I I I I I I , I I I I I I I
• • • • • • • • • • • • • • • • • • • • • ••••• EFFECTS

on the 4 strings

II III IV

ocruoc

mmnaJI

•

FINGERINGS

on the 4 strings

r thumb positions I I I

end of fingerboards

I I I I I I I I

II III IV

to b to " to

#+ ~ g
,
Q
#0 #e <> f
<>
t== o

•

•

e ~ •

c:

•

"'" #+ 0 #" •
1'> c "0 .
:1<> i' i· :

•

•

•

•

•

•

•

•

III

I

III

•

I

"

I

~

I

•

I

•

I I I I I I I I I I I I I I I I I I I I

• • • • • • • • ••••• " ••• I· •

mo es of playing

double bas's

CHl(er_R.Bit bowing techniques

RIGHT HAND

a.

The bow is played up or down, speed and pressure depending on dynamics. The position of the bow on the string is proportional to the length of the vibrating string ( the higher the notes on a string, the closer, proportionally, 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 the high register and is slightly less so in the low register (less f).

,~3 II. ARCO BOWING

This technique uses the bow hair.

It is opposed to Legno and Pi:a. ami cancels out the latter indications.

~~ 4 II. LEGNO BOWING

Legno bowing uses the stick of the bow and produces a hoarse and noisy sound.

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 bow for legno playing, since this technique leaves marks on the stick .

\

1 5 0/

•. HALF LEGNO BOWING

Uses both the hair and the stick.

The resulting sound combines the effects of both Area and Legno playing.

~ 6 II. CRUSHED LEGNO BOWING

"y/

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)

... not.by: Krzysztof Penderecki

pick up the bow :

put down the bow :

... not.:

)( cancels out:

... not.:

)( cancels out :

~dyn.:

... not.: )( cancels out : ~dyn.:

... not.:

)( cancels out : >- dyn.:

L.

]

fWnnal pressure, fWrmallegno from mftof

-35-

\

1 7 /

II. 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.

... not.: )( cancels out :

In some cases, the variations T. ... P are indicated, with dots showing the pitches and rhythms corresponding to the points of impact of the bow on a specific string.

IJ@f' When the strings are muffled, only the crystal clear sound is heard.

~dyn.:

II. DOUBLE STOPS

Double stops are possible on all neighboring strings, and on strings I and IV by moving the bow between the strings and the soundboard.

limits:

IJ@f' This is a very tiring technique, especially when playing loud and holding long notes.

II. TRIPLE STOPS

Tripple stops cannot be played as chords and must either be played arpeggio, or (double stop by double stop) arpeggio, possibly using resonances.

limits:

II. BARIOLAGES

Name given to the movement of the bow which consists in alternately up-bowing and down-bowing on different strings.

Exemples : on 2 strings: I, II, I, II, etc.,

on 3 strings: I, II, III, II, I, II, III, etc., on 4 strings: I, II, III, IV, III, II, I, II, etc.

Can be played legato, detache, and sautille within the interval limits.

\

1 8 '/

II. BOW SPEEDS

... not. by :

Whatever the bowing technique, slow bowing gives the sound a rather forced character, whereas quicker speed makes the sound seem «freer» and gives a warmer impression. (A parallel comparison can be made with the vibrato).

fast speed:

low speed:

legno batt., L.B • areo, pizz, legno, etc.

from p to f

cf. intervals limits '. page 9

cf. intervals limits ". page 9

Horatiu Radulesco

... .,

>--<

chapter II : bowing techniques 1. RIGHT HAND

-36-

b. TEe H N I

i 9 I. NORMAL POSITION

In traditional playing, the bow is placed at about 8 em from the bridge for an open string, and moves closer to the bridge in proportion with the shortening of the length of the vibrating string.

.&. not. :

SPECTRAL ANALYSES G string normal position bow 7 cm from the bridge

# 8vu
• • .. #~ :!:. E
• . II
•
•
9 4 -12 -31 4 -13 -47 -41 -10 -47
34 60 23 8 15 19 10 21 7 4
19 25 16 II 28 20 0 26 I 12 • 10 45 35

~,1O II. 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 anrl requires more bow length than in traditional technique.

.&. not. :

SPECTRAL ANALYSES .# .. 8ua•
G string tasto placing t • .. - i· -II
bow 2.5 em from the bridge • •
•
•
ill!

9 4 4 1 -13 2 3 -14 49 40 -/I SO
29 20 30 12 18 7 8 12 13 8 4 4
38 21 27 5 24 6 25 21 18 17 9 16 i 11 II. PONTICELLO BOWING (bridge) /

.&. not.: pont., P.

molto P., Sul P.

The bow is placed lower on the strings (near the bridge), and played poco flautando (ponticello bowing with normal pressure is the usual way of playing a long forte note ).

This technique produces a sound rich in high harmonics, sparkling, sometimes even grating. With sharp, even aggressive attacks. Playing flautando brings out the harmonics .

• This technique generally requires no fundamental sound.

-37-

SPECTRAL ANAL YSES

G string ponticello placing bow 2.5 em from the bridge

Hm,
.. ~. •
• -
~ • ..
• • ]
•
•
•
-22 -/6 -13 -13 -26 -12 -7 -25 37 26 ~4
33 21 39 18 17 10 10 9 8 21 17
19 14 26 6 18 28 17 10 8 21 5 (cf. analyses IRCAM • Chap.I "'. page 23)

Notation of the last two playing techniques (by Tristan Murail), in increasing order:

\

1 12

II. HARMONIC SCANNING with the bow

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 staff, with 8 curve showing the various placings of the how.

.... not.:

II. CIRCULAR BOWING

T., V.T., S.T., I s.T.1 P., V.P., S.P., I s.p.1

I ~p _\~ __ .:»: .... _\~~_ .....

c::;> '"'='"' V

-

This is a 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 .

• With this technique, one hears the changes in the direction of the how.

.... not.: archet circulaire, circular bowing

\

1 13 ,,~ in circle

\

1 14 "'. in8 ,/

\ 15 II. VERTICAL MOVEMENT

The bow is not played up or down; the idea is to hear the sound of the hair on the strings. The sounds are lower on the lower strings and higher on the higher strings.

With a little pressure, this technique produces a sound which is almost defined.

~ This technique should not he used too often, as it tears the hair of the how.

.... not. prop.:

~dyn.:

all intensities are possible

----r--- -- . -- ·····0 --- ..... ,---

1. RIGHT HAND

i 16 III. BEHIND THE BRIDGE /

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 strings between thumb and forefinger. This is equivalent to Pont.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 the vibrating string. Crushed sounds come out well here. The resulting harmonics are very clear. It may be necessary to put a nut on certain tailpieces ( a simple horizontal string).

The tuning is not totally reliable, varying from the 3rd to the 5th between each string.

~ When plucking the string or playing the harmonics behind the bridge, the performer plavs with borh hands on the same side of the instrument, held in place by his left knee. In this case, preparation time is needed.

Harmonics up to the 6th partial are possible.

i 17 II. ABOVE THE LEFT HAND

->

The bow is played above the left hand. One can play on strings I and IV.

i 18 II. ABOVE THE NUT

From two to four defined sounds, depending on the instrument.

ex. : Philippe Boivin, ZAB ou La passion selon St Nectaire. 2Tui mvt. 1981.

... not. : note the strings I, II, III, IV

... not. by :

Krzysztof Penderecki

~ dyn.: all intensities possible

... not. by: PhiUppeBoivin

the fingering with this symbol, _ ..... _-_ .......... _-- ..

or the relative pitches with a curve:

~dyn.:

... not.by :

~dyn.:

\ 20 III. THE. TAILPIE.CE.

The tailpiece produces a defined sound with a hoarse quality, which varies according to the instrument. The sounds may be different on the top and bottom of the tailpiece.

Pont. and Tasto are possible. Crushed sounds are not.

,121 III. THE TAILPIECE HOLDER

Two very high, defined sounds, varying according to the instrument.

'\ 22 III. THE. E.ND PIN

A defined sound, which can be tuned by changing the length of the end pin. The sound is low and breathy. • This sound is possible only if the end pin does not touch the ground.

\ 23 •• THE. FOUR PE.GS

The pegs can sometime produce 4 different defined sounds, varying according to the instrument. However, they are not reliable.

,~24 •• THE RIBS

The ribs produce a sound of rubbing, somewhat like the sound of breathing . • Pizz. cf. Percussion. p.13

III. SOUNDS OF THE BRIDGE (top and sides)

- There are two sounds on top of the bridge:

\

1 25 '/26

". with normal pressure: a breathing sound.

". with strong pressure and low speed: a defined and very powerful sound that makes the whole instrument vibrate.

This sound is not reliable, as it depends on the width of the bridge and does not sound on every instrument. It requires a lot of rosin on the hair of the bow.

The attack is very slow.

modes of playing the double bass

... not.:

... not.: » dyn.:

ideogram

from pp tof

... not.: ideogram
» dyn.: from mf to f
... not.: [f]
» dyn.: weak ... not.: ideogram

» dyn.: from pp to p

... not.:

... not. by :

("I,

Krzysuof P enderec ki

[lJ

- There are two sounds on the side of the bridge: ,,'* with normal pressure: a very loud, grating sound . ,,~ with strong pressure: a lower-pitched sound.

... not.:

...... a.t'''''IIIi::' •••• ...,....,,.. ..... 16 ... _ ..... 11.11"'1 .... _..,

1. RIGHT HAND

\

1 27 . / 28

'i 29 III. THE FINGERBOARD

The fingerboard produces a rubbing sound which is almost defined.

... not.: » dyn.:

'i 33 II. RESULTING HARMONIC /

\

1 30 ,/

\

1 31 /

II. NORMAL PRESSURE

... not.: press. nonn.

This indication means traditional technique, producing the normal tone color of the sound.

II. FLAUTANDO

... not.: » max. dyn.:

This indicates that there should be little bow pressure. This technique gives less resonance and power than the above.

II. CRUSHED BOWING

... not.: » min. dyn.:

This indicates greater pressure than normal; the sound seems forced, it is louder, with less resonance.

Very strong bow pressure and poco tasto produces the low-pitched major 7 th of the fingered note.

... not.: ... not. by :

• Difficult to maintain constant, as the bow speed is difficult to control.

In lower registers, it may be necessary to hold the bow with both hands.

Notation in increasing order by Philippe Boivin:

crushed

jlautando

-4/-

,~34 II. BOW VIBRATO

Periodic variation of bow pressure. Same function as the left hand vibrato.

,~35 III. DETACHE BOWING

Detache bowing consists in alternately up-bowing and down-bowing from one note to the other. Detache bowing is slightly harsher and more marked at the heel of the bow than in the middle. Detache at the tip of the bow is softer and can even become blurred if played flautando.

The faster the detache, the shorter the bowing.

Very fast de tache is known as sautille. However, it is possible to play sautille slower or « on the string" faster if necessary .

-, ~ 36 II. ON THE STRING

The string is played in such a way as to maintain a constant sound for the duration of the note. Bowing must be precise and flexible .

. ~ 37 III. MARTELE BOWING

Martele bowing is a specific de tache played between the tip and the middle of the bow. Attacks are reinforced by a slight pressure on the bow.

The bow adheres to the string; the attack has precision and richness of quality .

. ~ 38 II. LlSCIO

Liscio is a technique of using the bow so as not to hear changes in strokes. Long and rather fast bowing.

~ 39 II. LEGATO

This indicates that several notes are played in one bow.

The regularity of the legato depends un the left hand movements and changes of strings. c f. interval limits III,. page 9

... not.

with the bow' ---------------

... not.: no notation means detache technique

U max. speed in the medium range : ±

... not.:

= 140

alla corda, on the string

... not.: martellato

... not.:

... not.:

Iiscio

legato

cnapter II : bowing techniques 1. RIGHT HAND

\

1 40 /

\

1 41 /

-4L-

II. DETACHE IN THE SAME BOW

- can be a « loure » bowing, with a sustained sound, non legato.

- or a specific up or down bowing « da bravura », linking short detache « bene marcato » notes.

Played faster, this can become a «flying staccato » - when up bowing- , or saltanclo - when down bowing- A minimum speed is required. This technique necessitates a certain amount of skill on the part of the performer, and more or less notes can be played, depending on his ... bravura.

- this technique is also an efficient way to replace a detache when it is necessary to bow up or down on a specific note.

III. SAUTILLE BOWING

This is a kind of detache in which the bow is made to bounce up and down.

The sautille makes it possible to execute a very fast de tache . With a slow sautille, one can hear the resonance of each note.

Spiccato requires a shorter, even more marked bowing.

II. BATTUTO BOWING

In this technique, one hits the string with the hair of the bow. I@f Preferably used for isolated notes.

~ 43 II. GETTATO BOWING

This is a kind of battuto in which one uses the bow as it ricochets onto the string. I@f It is used to play groups of notes .

. ~ 44 III. TREMOLO BOWING

This is a short and fast detach" bowing on one or several notes.

i 45 III. SPECTRAL PHASE DIFFERENCE

This is a specific flautando bowing, played with a slow tremolo and using a medium length bow. It gives the impression of hearing two consecutive attacks for each stroke, bringing out the harmonic spectrum. It is perceptible on repeated notes.

I@f a stroke probably «invented" by Horatiu RADVLESCU.

• not.:

n min. speed :±

• not.:

• not.:

o max. speed on one note : ±

• not.:

Zoure

j j j j

sautille, saltando, balzato

arco battuto, batt.

• not.: ricochet, areo gettato gett.

.10. not.:

• not.:

~dyn.:

from fJ1J tof

-43-

,~ 46 II. CONTINUOUS SAUTILLE.

\

1 47 "'c/

This produces an effect close to the roll of percussion instruments. It is executed like the sautille, but the bow almost adheres to the string. It uses the spring of the stick and is more successful when down-bowing and at the tip.

max. duration: 5'

Premere is possible (very slow bowing). Very little variation of speed.

ex. : Philippe Boivin, ZAB ou La passion selon St Nectaire. 2nd mvt. 1981.

»- dyn.:

... not.: ... not. by :

.>: sp---- ......

~st.'L /jb _

\ 48 II. ACCENTUATION BY BOWING SPEED

rebondi continu or Philippe Boivin,

W

frompp tomp

There are various ways of accentuating, although pressure and speed are always involved.

Accentuating notes by means of bowing speed is mostly used for <dong accents» ( with some duration ).

... not. : sforzando, sf, rinforzando, rfz

i 49 •• ACCENTUATION BY BOWING PRESSURE.

//

This technique is mostly used when down-bowing, but can also be used when up-bowing.

... not.: smorzando, smz

\ 50 •• ACCENTUATION BY PONTICELLO

A fast change is made from Pont .. N.

\ 51 II. ACCENTUATION BY PIZZ

A fast change from Pir: to Arco ; down bow.

,~ 52 III. ACCENTUATION BY THE RING Ir=================~------~

• RIGHT HAND

A fast change ring to arco, down bow.

ri~.

P. N.

p~.

A few notations:

:>-

j

rinif

:>-

j

srrif

:>-

j

if

.~ 53 •• THE SCREW OF THE BOW

This technique is similar to Legno battuto, and has more metallic sound. It is possible on one string, or between two strings.

Same technique with the frog:

ex. : Jacques Rebotier, JEAN DES PISTES.

s reo

~~tf~ D DOD Q ~wafJj

Sin

~l.,,,, l. r, :. .,J~ s(nZ.2 ar-ee ,

(ff'r(''''Hi'u'\. MG. 5VJIt.)

p

r--- r-- ~ r-- r-- - r-- r-- .--- r--
11 .. .. .. _ . ~ .. .. - . ... • !~
J
• ,f~ -#- +-- t- . ~-. ~ 41' ...
/ ~ .... -- -- -- -- ... not.: far 2 strings

LEFT HAND

a. LEFT

II. VIBRATO

Vibrato is a periodic wave in either the tone or the pitch of the sound. Two parameters playa part in the vibrato: amplitude and speed.

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 is the fastest. Arm vibrato is an oscillation.

Vibrato has more potential in the high register than in the low.

.A. not.:

~ It should also be noted that the vibrato, usually thought of only as an ornament, also has an amplifying role. Moreover, though the role of vibrato range is well known, that of the tonic function of vibrato speed is not often taken into consideration.

It is difficult to discuss the vibrato, because each musician has his own ideas on the subject; from this point of view, the above indications are also doubtless subjective.

In some cases, relative frequencies and amplitudes are transcribed by means of a curve above the staff.

~ Not to be confused with L. V. : laissa vibrare: let the sound vibrate, resonate ... non vibrato: gives the sound a flat or tense character.

.A. not.:

i 55 II. BEATS

//

Two notes of almost equal pitch played simultaneously produces the effect of beats. The closer the notes, the slower the beats. The perception of beats is not instant if the two timbres are not balanced.

.A. not. by :

the number of beats per second is noted above the staff:

i 56 •• GLISSANDO /

Generally speaking, there are two types of glissando: glissando itself,

.A. not.:

vibr., vibrare, sanza vibraTe, poco vibraTe, etc.

non vibr •

Philippe Drogoz

I (T:>-<D---(3) I

gliss. or

chapter II : bowing techniques 2. LEFT HAND

\ 1 /

\

1 57 /

-46-

and portamento in which one hears in succession: the first note, followed by the glissando, then the final note.

Changes of strings must obviously be taken into account in the notation of long glisscmdos. However, in some cases, the performer can place his fingers simultaneously on different strings and let the hand slide, with the bow changing strings very « liscio ". Breaks of fourths will occur in the glissando, but are often hardly perceptible..

Another special case is that of the double stop glissando in reverse movements, which can sometimes require a change of fingering during the glissando:

ex. :

(written sound)

corde

and,

is played thumb on I and finger 3 on II

II corde

is played finger 3 on I and thumb on II

II corde

In this case:

An exchange of fingers must be made simultaneously on both strings. This can be done, and in some cases, the slight alteration of the glissando is hardly perceptible.

cf· p.l1, ex. ; Iannis Xenakis, THERAPS. for double bass. 1981. Ed. Salabert. 1st edition. p.3, line 8.

II. GLISSANDO OF A NATURAL HARMONIC

Generally speaking, the position of the bow on the string favours one particular zone of the harmonic spectrum. 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 of a glissando of harmonics, the harmonic is played, and as soon as the sound is produced, one stops the string (with this technique, the harmonic continues to sound). If one immediately slides that finger, the pitch will vary in keeping with the initial harmonic partial.

This technique is impossible beyond the limits of the fingerboard and works best when played in the neck. Variations in dynamics are difficult.

"'not.: port. or

... advised notation :

or: gliss

I

-47-

\ 58 II. THE (( SEAGULL » EFFECT

If one slides an artificial harmonic fingering without changing the distance between the two fingers, the harmonic slides for a short time, changes partial, then slides again, etc ...

The shorter the interval between the two fingers, the more frequently these changes will occur.

.A. not. :

Seagull effect: from high pitch to low.

~ This effect is also possible from low ro high register and produces a less animal-like sound ..

'\ 59 II. MULTIPHON/C GLISSANDO

This type of glissando is possible with multiphonics played like artificial harmonics (3n1 finger at a perfect 4th minus 'a quarter tone from the thumb.)

Artificial Multiphonics : cf. p.22.

Very difficult to perform .

. \ 60 II. HARMONIC SCANNING WITH THE LEFT HAND

By lightly touching the string with the finger, one can hear a sequence of harmonics.

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.

.\ 61 •• « PETITS DIABLES »

This is a technique of hitting the fingers on the highest harmonics of either an open string or a stopped note. One hears simultaneously the fundamental and 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 by the forefinger and the the harmonics are hit with 2, 3 and 4.

~ To our knowledge. this bow stroke was « invented" by Horatiu RADULESCU.

.A. not.

No PiZZo

. f\

IS I \

r - , I

07 '""

No Pizzo

No Pizzo

chapter II : bowing techniques 2. LEFT HAND

-48-

b. LEFT

\

1 62

_//

I. HARMONICS (tables Cf. p 17)

Harmonic sounds are partials of the harmonic spectrum. These partials can be isolated from other com', ponents by lightly touching the open string at the following sections of the string: 1/2, 1/3, 2/3, 1/4, 3/4, 1/5,2/5,3/5, 4/5,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 «Lst partial»: musicians call the open string octava the « 1 st harmonic ». Kcechlin speaks of « sounds 1, 2, 3, etc ... » of the open string. Kcechlin's « sound 2 »is therefore the musicians'« 1st harmonic »,md the physicists'« 2nd partial » ! The variations Pmu c-Tasto do change the sound very little. The bow is played a little faster and closer to the Pont. than normaly.

Il@f The" 0» symbol above the note leaves the performer to his own choice of fingering. Trills are possible.

II. ARTIFICIAL HARMONICS

Artificial harmonics are the harmonics of fourths or fifths played on a section of string limited by the thumb (written 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. When the 3rd finger lightly touches the ascending fifth from the thumb, the sound heard is the high twelfth. The effect is sometimes noted in brackets (notation advised in written sounds).

Glissando is possible with the bow.

ex. : Georges Aperghis, LA SIGNATURE, LA DATE, ETC. fOT double bass. 1985. Ed. Salabert. page 11, line 2

II. LIGHTLY TOUCHED ARTIFICIAL HARMONICS (tables Cf. p 19)

Some artificial harmonics sound without stopping the string with the thumb: both fingers touch the string lightly. In this case, a diatonic glissando is possible.

... not. :

o

max. -,peed of tTills :

~ Indicate the string, so as to avoid confusion with a natural harmonic double stop.

... not.

= 120

~ dyn.: all intensities

... not. :

-49-

II. DOUBLE STOPS stopped note I artificial harmonic (normal or lightly touched)

Such double stops are limited to two cases;

- 1st case; The stopped note is played on the lower string, while the artificial harmonic,( stopped or not), is played on the higher string and produced with a thumb-S fingering. Only the following examples are possible;

- 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.

- 2nd case; The stopped note is played on the higher string, and the artificial harmonic, (stopped or not), is played on the lower string and produced with a thumb-Z 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 .

II. MULTIPHONICS (of double stops Cf. p 21)

Any combination of multiphonics with stopped notes, harmonics or another multiphonic are possible.

Pont. bowing brings out the high pitch of the agregate.

Trills between two multiphonics are possible.

.&. not. :

o max.speed: ±

Trills between harmonics and multiphonics are possible; it is important to accentuate slightly the harmonic.

o max. speed : ±

i 63 II. LIGHTLY STOPPED NOTES /

The left hand stops the string only slightly. The sounds are similar to those of normal playing, but slightly < greyer ". On the Pont., some harmonics come out, but are not reliable.

i 64 II. CROSSED STRINGS

//

Strings are crossed and kept in position by pressing them on the fingerbuard. Only a left hand glissando technique is possible.

.&. not. :

.&. not. :

-'

~ at J = 120

= 80

-50-

Entr'acte

The same musical sign can have many different meanings, once we accept that the concept of sound includes attack, timbre, and vibrato. A sound that one person might qualify as « pure" can 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 closely, musical signs give rise to a multitude of questions, which in tum bring forth a myriad of definitions, digressions and exceptions.

To this effect, we can quote Schrenberg : « 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 «moreover, 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).

And also Stravinsky: « Above and beyond a perfect translation of a score, we expect the performer to consider it with affectionate attention, which in no way should be an attempt at recomposition. »

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, it is 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's 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.

CHAPTER m: pizzicato techniquE

RIGHT HAND

a. PIZZICATO

/"-. 2 1 \

Infrequent in written music, pizzicato has been used and developed mostly in jazz music. As a technique, it is as rich as arco playing and offers a wide range of extremely subtle phrasing (a fact that many ignore, which is surprising).

Pizzicato can be played both Ponticello and Tasto and there is also another « Pont. » sound near the nut. Pizz • are played with thumb and fingers 1,2,3 of the right hand. The sound can be interrupted either by the right hand, or by releasing the left hand.

~ Afrer Pizzo has been played for a long rime, bowing may remporarilv be hampered by perspiration (long notes especially) , until the string is once again coated with rosin.

II. SUSTAINING TIME

Sustaining time is the normal vibration time of a string, for any specific sound. It is short in the high register and can be very long in the low register (rnax.: 20 sec.}: varies with each instrument. Vibrato helps maintain sustained notes, downwards glissandos shorten it, and upwards glissandos prolong it, and can even produce a cresc- decresc. effect. Open strings have a long sustaining time.

II. LEGATO

Legato is produced by means of the « hammering on » and « pull off» techniques: a neighboring ascending 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 pizzo (pull off), when releasing the string.

2 • ex: Pascal Dusapin, IN AND OUT for double bass. 1989 Ed. Salabert. (pA, line 1 and 2.)

\

/" 2 4 \

II. DOUBLE AND TRIPLE STROPS

These are possible simultaneously or in arpeggios.

II. TAILPIECE VIBRATO

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.

o max. speed: ±

'" not.:

'" not.:

one repeated

,

at J = 120

Casella et MOTtari treatise indications for the orchestra

=72

sLUTS to be noted

with the tailpiece ~

-53-

/~" 5 I. STOPPING THE SOUND WITH THE FINGERNAIL \

... not. by : John Cage

[]

Moving the fingernail close to the string during the sustain produces a « zinguer » - like sound.

b. RIGHT III. CROSSING HANDS

One can play with the right hand above the left hand and produce bi-tones (ci. B. Turetzkv ). c f. hi-tones ill" page 14

/,

2 6 without the voice ex. : Georges Aperghis, 2e 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 (r.h, l.h.).

/ /~

2 8 \

/",

2 10 \

• •

ITlm

CtL

IL elL ~

II. BEHIND THE BRIDGE

A technique for open strings only. cf.: "," page 38

II. TAILPIECE

One can play pizz or with a flick. Rubbing with the finger produces a loud sound. cf.: '"" page 39

II. TAILPIECE HOLDER cf.: '"" page 39

II. END PIN

The sound is loud if the double bass is in a horizontal position. ci.: "," page 39

... not.: the effect in. brackets

... not. :

... not. :

... not. :

... not. :

a

<-- r.

~ I. h.

ideogram

ideogram

-..),-

2 12 \

II. FUNKY PIZZ

• not. : fk. or r
• not.: IT]
>dyn .. : from mf to .ff.f
• not.: I r1 I
• not.: I~I
>dyn .. : from ppp tof • RIGHT HAND

c.

RIGHT HAN

This is a Pizz technique played with the outside of the 1st knuckle of the thumb.

It has a long sustain. In fortissimo (ff), the string should hit the fingerboard, as in the Bartok Pizz

/~" 13 II. BARTOK PIZZ \

This is the traditional pizz, except that the string hits the fingerboard.

i" 14 m. STOPPING THE STRING WITH A PERCUSSION \

The string can be immobilised by making it hit the fingerboard

i" 15 II. LENGTHWISE SCRATCHING \

The string is scratched with the thumb nail, using the bow or another accessory.

II. TREMOLO

/"""

2 16

\17

-There are two ways of producing a right hand tremolo:

• it can be played alternately with fingers 1-2 or 1-3.

• it can be played with an up and down finger movement (alternately tip and nail).

This technique enables one to play quite loud on string IV.

- Left hand tremolo: possible on a thumb fingering, with an up and down movement of the 3rd finger.

/::""

2 19 \

I. HITTING THE FINGERBOARD WITH A PIZZ ON STRING IV

One can combine a light striking of the right hand finger on the fingerboard with a Pizz on string IV. The pizz attack is covered up by the rich resonance of the fingerboard.

-55-

2"20 II. PIZZ. WITH THE FINGERNAIL \

<,

2 21 \

a.

/"

2 3 \

The pizzo is played with the nail. Little velocity is possible.

ex: Philippe Boivin, 3e DES 7 ALGORITHMES for double bass. 1989. Ed. Salabert. (pizzicati with the nail are noted here, tails up)

>- dyn .. : from PPP to mf

p----========~==~=== mj

IlJ ~! urf I ti~ rf!fc I rJ

r

p mf

et

LEFT HAND

II. LEFT HAND PIZZICATO.

I. SLAP

Hitting the string with the left hand makes the string vibrate. This sounds like a soft funky pizz

~ In jazz rock music, a " slapper» is a combination of what is called "Bartok pizz - in classical music and what I call funky pizz. I@f The hammering on and pull off techniques use the pre-existing vibration of the string, its legato function.

The slap and the left hand Pizz have a detach" function.

... not.:

... not.:

chapter III : pizziccato techniques 2. LEFT HAND

b.

/~'"

2 22 \

-56-

LEFT HA

III. HARMONICS

Pizricasi on 1st partial harmonics are possible if played Pont. For higher harmonic partials, fingernail or plectrum should be used. One can also play right hand above left hand, near the nut. These pizzicati are possible up to the 4th partial.

~ dyn .. : from :p to mf

Pizzicato can be played with the left hand only;

• either in the thumb positions: the lozenge fingering is played with thumb and the Pizz with finger 3.

• or in the neck positions; the lozenge fingering is played with finger 4 and the pizz with finger 1 (above). This is difficult to perform, but possible up to the 5 th partial.

.... adv. not. : harmonic pizz left hand

II. ARTIFICIAL HARMONICS

These harmonics produce a very imprecise sound.

~"23 II. (( ZINGUER » \

.... not. by : Philipp¢Boivirt

o

This noise is produced during the sustain by slightly releasing left hand pressure . • Very difficult to play

The string hits the fingerboard; it prolongs the sustain.

It is only possible on long notes and in the low and medium registers of the 4 strings.

/z~ 24 II. MUTED PIZZ (left hand half stopped) \

rn

These sounds are hardly defined, and have a short sustain. Attacks can be loud.

... adv, not., ~

~57~

2~ 25 11. SITAR EFFECT \

/ /--~

2 26 \

2 27 \

... not-by: Philippe Boivin

This is close to the « zinguer » effect, but produced by pulling strings I 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.

> min. dyn. : mJ'

II. CROSSED STRINGS

The strings are crossed and kept in place by pressing on the fingerboard. This technique is used only for a left hand glissando.

... not.:

II. WATER DRUM EFFECT

Pull and hold the string away from the fingerboard with the left hand and play pizzo with the thumb or other fingers.

... not.:

c. LEFT HAND M

/--...

2 28 \

II. GLISSANDO

c f. effects on the sustain ,,'. page 52.

II. NATURAL HARMONIC GLISSANDO (2nd and 3rd partials only)

... not. :

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 fingernail.

Bi-tones are heard on the 2nd partial. It is not reliable.

w IT]

o

> dyn .. : from pp to mJ'

Professor of double bass at the CNSM of Paris, soloist with the Ensemble Intercontemporain

entr'acte - a dialogue with Frederic Stochl

Jean-Pierre Robert - I could very well have considered the different ornaments (trills, gruppettos, mordents, etc ... ) as playing techniques. In that case, it would have been necessary to speak about the historical 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 importance 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 temperament mirrors that of the XVIII th 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 ... the orchestra itself is a playing technique: a performer plays differently CIS CI soloist or as a member of an ensemble. For the composer, the conductor is another playing style, a «meta-mode» of playing. He also is a mode of playing for the performer, much the same as the cultural institution.

These « meta-modes » 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 metamodes of playing too, as is the public.

At this stage, the question that should be asked is: who is whose mode of playing?

Frederic Stochl - That makes me think of a related idea that I will try to express differently; you may consider it a truism, but it is a fact that the instrument does not exist without a technique that brings it out, or 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.

J.-P. R. - I am thinking of the «baroque revival» (is it really a playing technique ?). Baroque technique is obviously not modern, however it is certainly modern the way that 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 instrumental technique. That is what I find interesting I Oral tradition as the indispensable interface of the written note.

Our daily paradox!

F. S. - Your treatise is a sort of manifesto of a context which gives extreme importance to the written note:

I mean that composers write and performers transcribe their ideas into sound, in the same way as architects conceive projects and builders make them a realirv. And this doesn't just happen with no conflicts, because 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. It is that aspect that we have to talk about: where exactly is music? Does it exist on paper, or when the bow touches the stnng ? Is It in the ears of the listener? Where is music!

april 1991

-59--

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 ahsolutely necessary to have four strings, three, or two, fifteen musicians or one hundred and fifty, or ... a saucepan? In the end, is it absolutely necessary to know from what or where music is born? Whether it is actually born from instruments or whether instruments are fashioned from music. It is the old story of the chicken and the egg ...

If we look at your list of all the instrumental techniques possible, we can see that music is moving in the direction of the greatest possible freedom and also towards a dissolution of all instrumental techniques, 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 more 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 ribs, but 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 it.

A sort of tabula rasa.

When I think of my personal experience, sometimes I feel 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, a tam-tam, a bell; a flute, a hurdy-gurdy, a gamba, and others ... The instrument remains limited: although it has a broarl range from the point of view of sound volume, it is not a clarinet or a tromhone; yet in my experience of the instrument, I feel I tend to push it to assimilate and identify with other things, other sounds, other instruments, so that in the end what I have is a double bass, but a double bass transformed 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's why it is so interesting to find scores that challenge our know-how skills, proposals - be they oral ur written, asked for or completely unexpected - that enrich our inner, individual work. It would be useful to shuw 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 based 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 i», "what did you have in mind when you wrote that ?», and «this is what r 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 perhaps destined to remain so. There are the questions you are trying to get through this treatise.

Though perhaps it is 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.

INDEX a
page
Aperghis Georges 11, 53
48
Berlioz Hector 22
Brogoz Philippe 45
Boivin Philippe 11,38,43
12,40
55
Boulez Pierre 13
Cage John 12
Couperin 58
Dusapin Pascal 52
Fernevhough 64 Recitations. 1976. Ed. Salaher}. La signature, la date, etc. 1985.

Zab au la Passion selon St Nectaire. 1981. 4e des 7. 1989. Ed. Salabert.

Domaine.

Concert for piano.

Ed. Peters.

In and out. 1989. Ed Salabert. Trittico per G.s. 1989. Ed. Peters.

CD REF

\ 1

/

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

COMPACT DISC n" 1

Iannis Xenakis, THERAPS .

Georges Aperghis, 4e des RECITATIONS

arcn bowing . .. . . ..

legno bowing .

half-legno bowing .

crushed leg no bowing .

legno battuto bowing .

bow speeds . .

normal position .

tasto bowing .

ponticello bowing .

harmonic scanning with the bow

circular bowing: - in circle .

- in 8 .

vertical movement .

-60-

page
11 16
11 17
34 18
34 19
34 20
34 21
35 22
35 23
36 24
36 25
36 26
37 27
37 28
37 29
37 30 page
Kcechlin 13,48
Kurtag N. 40
Mahler Gustave 12 Is: Symphony.
Murail Tristan 37,40
Penderecki Krzysztof 34,38
Radulescu Horatiu 22,35,47
Rameau 58
Rebotier Jacques 44 Jean des pistes.
Schn,~nberg 50
Stravinsky Igor 50
Turetzky B. 53
Xenakis Iannis 46
11 Theraps. 1976. Ed. Salabert.
11 Phelgra. behind the bridge .

above the left hand .

above the nut .

Philippe Boivin, ZAB OU LA PASSION SELON ST NECTAIRE. .

the tailpiece ..

the tailpiece holder .

the end pin , .

the four pegs . .. . ..

the ribs... . .

top of the bridge: - normal pressure

- strong pressure .

sides of the bridge: - normal pressure .

- strong pressure ..

sounds of the fingerboard .

normal pressure .

page

38 38 38 38 39 39 39 39 39 39 39 40 40 40 40

31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64

tlautando .

crushed bowing .

resulting harmonic .

bow vibrato .

detache bowing ..

on the string .

martele bowing .

liscio .

legato . '" '"

detache in the same bow ..

sautille bowing .

battuto bowing .

gettato bowing '" '" ..

tremolo bowing .

spectral phase difference .

continuous sautille .

Philippe Boivin, ZAB OU LA PASSION SEWN ST NECTAIRE .

accentuation by bowing speed

accentuation by bowing pressure ..

accentuation by ponticello .

accentuation by pizz .

accentuation by the ring .

the screw of the bow .

Jacques Rebotier, JEAN DES PISTES. .. .

beats .

glissando .

glissando of a natural harmonic .

the" seagull» effect .

multiphonic glissando .

harmonic scanning with the left hand .. , ,

« petits diablcs » .

harmonics '" .

lightly stopped notes .

crossed strings

/"

2

\

COMPACT DISC nO 2

1 2 3 4 5

sustaining time

legato. Pascal Dusapin, IN AND OUT

slap .

tailpiece vibrato .. , . ..

stopping the sound with the fingernail.

-6/

40 40 40 41 41 41 41 41 41 42 42 42 42 42 42 43 43 43 43 43 43 44 44 44 45 45 46 47 47 47 47 48 49 49

page

6/7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38

page

crossing hands. Georges Aperghis, 2EME RECITATION ' .

behind the bridge . .

the tailpiece .

the tailpiece holder '" '" .

the end pin .. '" .

funky pizz '" '" .

Bartok pizz ..

stopping the string with a percussion ..

lengthwise scratching .

tremolo: - alternated 1 and 2 ..

- up and down finger movement '" .

- with the 3 (thumb position) ..

hitting the fingerboard with a pizz on string IV .

pizz with the fingernail. .

Philippe Boivin, 3eme des 7 ALGORlTHMES '" .

53 53 53 53 53 54 54 54 54 54 54 54 54 55 55 56 56 56 57 57 57 57 21 22 22 22 12 12 12 15 16 18

harmonics pizz « zinguer »

mured pizz '" .

sitar effect

crossed strings water drum effect

harmonic glissando . " '" .

multiphonic sound .

artificial multiphonics .

multiphonics with a pluck: - pizz .

- arco .

Philippe Boivin, ZAB OU LA PASSION SELON ST NECTAIRE .

Vibraphone sticks .

plectrum . .. .

bi-tones :

string I string IV

succession of natural harmonics lightly touched artificial harmonics

strmg I: - fingering of fourth '" .

- fingering offifth .

corde IV : - fingering of fourth '" .

- fingering of fifth .

19 19 20 20

39 40 41 42

52 52 55 52 53

mulr iphonics :

43 a 5 0 string I : sound 1 ro 8

5 1 it 58 string II : sound 1 to 8

59 it 66 string III : sound 1 to 7

67 it 73 string IV : sound 1 to 7

30 30 30 30

INDEX OF SYMBOLS

p_e!~':I~~i~_n_s _

r

micro-intervals

1/4 1/2 3/4

: I ; I ;

. higher ~ I t I j

predefined 9 *

intervals 1 L h ~

ower r 1 ~

At A

\ 1 /

4

7

\ 1 /

12

~«:~r:-~ _~~~!'!~ _

L.

L.B.

_b_~~ _sp~~~_s _

.. ;:.

T., V.T., S.T., I s.T.1 P., V.P., S.P., I s.p.1

_h_a_r!'::l?~!C: ~c::~~~i_n_g_ _

Np \ eo Z .... \

......... "'""""'" V T ------------~~

_clr:c:~I~~ _b_~~~~g _

-- OL--

vertical movement

I 1

the tailpiece

,

above the left hand

above the nut

\ 1

7

18

30

or

\ 1 /

16

8

!>~!'l~c:t _t!,~_ '?r:i~g~ _

~/

the four pegs

\ 1 /

33

~?~~~~ _o_f_t~_e_ ,?~i~~_e _

\ 1

27/2

top

sides

bow vibrato

with the bow ~

tremolo

45

continuous sautllle

\ 1

46

_the _ {{ ~ea~IJ~I_» ~!~e_c~ _

accentuations

\ 1 /

P. N.

J -" I

07 ""

,

48

-------------------------
a >- := >- ,y-premere
J J J :::>
'52 J
~f rinif Smf screw

beats

$!i~~~~~~ _

(.)

(.)/

\ 1 /

p~-~~~~~~~--------------

,,/"

56

'12"

/ \

63 24

!~ p~!i~~ !ij~'?I_e_s_}~ _

\ 1 /

61

harmonics

\ 1

62

o

r

o

artificial harmonics

_Iig~~._~o_u_c_h_~c! ~!1_:i!i~!~I _

~ *

II

_ ~!l!til?~~!'!c_~ _

M o

\ 1

2 \

26

~ C.C.

64

!~i!ei~_c~_ ~i!>_r~~? _

with the tailpiece ~

~!~eei!l_g_ ~!~h_ ~~~ _f~~~~r:.n_aJ~ _ X

!u_n'9' plzz _

r

!,~_r~~~ J).i~~ _

6

r

~~~eei!l_g_ ~h_~ ~!r:i~g_~~t_h_[>~~c_ 6

r V

2'

\

15

!~,!gt_h_~~s~_ ~C!~~~~~n_g _

Zipp

~

2 \

20

_ ~e_~ ~~!I~_ p~z_zj~~~~ _

+

j

/ 2' \

23

_(~ ~~n_~u_.::.r:. ~ _

sitar effect

waterdrum effect

2~

\

27

r W.D.

_ ~~!~r:~I_ ~~r:.~= _g!i~~. _

o

/ \ 2' 1 \ /

28 57