simplification and octavation in double bass performance .../67531/metadc... · octavation only on...
TRANSCRIPT
APPROVED: Jeff Bradetich, Major Professor Paul Leenhouts, Minor Professor Daphne Gerling, Committee Member John Holt, Chair of the Division of
Instrumental Studies Benjamin Brand, Director of Graduate Studies
in the College of Music John W. Richmond, Dean of the College of
Music Victor Prybutok, Vice Provost of the Toulouse
Graduate School
SIMPLIFICATION AND OCTAVATION IN DOUBLE BASS PERFORMANCE: AN OVERVIEW OF
HISTORICAL AND CONTEMPORARY PRACTICES
Wen-Ling Shih
Dissertation Prepared for the Degree
DOCTOR OF MUSICAL ARTS
UNIVERSITY OF NORTH TEXAS
May 2017
Shih, Wen-Ling. Simplification and Octavation in Double Bass Performance: An Overview
of Historical and Contemporary Practices. Doctor of Musical Arts (Performance), May 2017, 47
pp., 45 figures, bibliography, 36 titles.
Two important performance practices in the modern orchestral performance are
discussed in this document: simplification and octavation. Due to the differing opinions and
common practices which bass players have around these two performance practices,
simplification and octavation have become two of the most complex issues faced by orchestral
sections. The first part of the document will provide a brief history of simplification and
octavation. The second part of the document will offer recommendation for double bass
orchestral practice in the 21st century and examine key works of the bass repertoire in which
simplification and octavation occur. The research and practice of leading pedagogues and major
orchestral players and the solutions they have developed to reduce the discrepancy inherent
within section playing will be discussed. This document will propose several empirical solutions
to major excerpts in the bass repertoire, demonstrating how it is to achieve the most
uniformed playing, and offer applicable and suggestive guidelines for contemporary orchestral
double bass performers.
ii
Copyright2017
by
Wen-LingShih
iii
ACKNOWLEDGEMENTS
Iwouldliketoexpressmysinceregratitudetothemanypeoplewhohelpedmethrough
thisproject.First,Imustthankmymentors,ProfessorBradetichandProfessorO’Brien.Without
theirguidance,thisprojectwillneverbewritten.Imustalsothankmycommitteemembers,
ProfessorLeenhoutsandDr.Gerling,fortheircountlesshoursofreading,advicingandediting.
Finally,Imustalsothankmyparentsandmyhusband,Jia-ChengLin,fortheirunending
supportsandencouragement.Withoutthem,Iwouldneverbeabletocompletethisproject.
iv
TABLEOFCONTENTS
Page
ACKNOWLEDGEMENTS.................................................................................................................iii
LISTOFFIGURES..........................................................................................................................viii
CHAPTER1.MODERNORCHESTRALPRACTICEFORTHEDOUBLEBASS........................................1
1.1 Introduction............................................................................................................1
1.2 Purpose...................................................................................................................1
1.3 CurrentStateofPractice........................................................................................2
CHAPTER2.THEINSTRUMENT,SIMPLIFICATIONANDOCTAVATION............................................3
2.1 HistoryoftheInstrumentandTuning....................................................................3
2.1.1 TuningSystemandNumbersofStrings......................................................3
2.1.2 TheFive-StringBassandMechanicalExtension.........................................4
2.2 HistoryofSimplification.........................................................................................5
2.2.1 SimplificationDuetotheConcernforClarityintheBassLine...................6
2.2.2 SimplificationDuetotheInadequateAbilityofthePerformer..................7
2.2.3 SimplificationDuetotheLimitationofInstrumentRange.........................7
2.2.4 Application..................................................................................................7
2.3 HistoryofOctavation..............................................................................................8
2.3.1 Problem:LimitationofInstrumentRange..................................................8
2.3.2 ModernSolutionsfortheLimitationsofInstrumentRange.......................8
v
2.4 TheCommonProblemsinherentintheApplicationofSimplificationand
OctavationinModernOrchestralPerformance.....................................................9
CHAPTER3.RECOMMENDATIONSFORDOUBLEBASSORCHESTRALPRACTICEINTHE21ST
CENTURY..........................................................................................................................10
3.1 BasicRulesforSectionConstitution.....................................................................10
3.2 GuidelinesforSimplification................................................................................10
3.3 GuidelinesforOctavation.....................................................................................11
3.4 GuidelinesforRetrievingtheDistortedBassLine,De-Octavation.......................11
3.5 DevelopingExtensionTechnique.........................................................................12
CHAPTER4.SELECTEDORCHESTRALEXCERPTSFROMTHEBAROQUEPERIODAPPLYING
SIMPLIFICATIONANDOCTAVATION.................................................................................13
4.1 Background...........................................................................................................13
4.2 Problems...............................................................................................................14
4.3 Results..................................................................................................................14
4.4 ModernPlaying....................................................................................................15
4.5 SelectedOrchestralExcerpts................................................................................16
4.5.1 Vivaldi,TheFourSeasons,ConcertoNo.2inGminor,Op.8,RV
315,“Summer”(1723)...............................................................................16
4.5.2 J.S.BachOrchestralSuite2inBminor,BWV1067(1738-1739)...............19
vi
CHAPTER5.SELECTEDORCHESTRALEXCERPTSFROMTHECLASSICALPERIODAPPLYING
SIMPLIFICATIONANDOCTAVATION.................................................................................21
5.1 Background...........................................................................................................21
5.2 Problems...............................................................................................................21
5.3 Results..................................................................................................................22
5.4 ModernPlaying....................................................................................................22
5.5 SelectedOrchestralExcerpts................................................................................23
5.5.1 MozartSymphonyNo.35inDmajor,K.385.............................................23
5.5.2 MozartSymphonyNo.39inE-flatMajor,K.543......................................25
5.5.3 BeethovenSymphonyNo.9inDminor,Op.125,1stmovement..............28
CHAPTER6.SELECTEDORCHESTRALEXCERPTSFROMTHEROMANTICPERIODAPPLYING
OCTAVATION....................................................................................................................31
6.1 Background...........................................................................................................31
6.2 Problems...............................................................................................................31
6.3 Results..................................................................................................................32
6.4 ModernSolutions.................................................................................................33
6.5 SelectedOrchestralExcerpts................................................................................33
6.5.1 BrahmsSymphonyNo.2inDMajor,Op.73.............................................33
6.5.2 StraussAlsoSprachZarathustra,Op.30...................................................36
6.5.3 ShostakovichSymphonyNo.5inDminor,Op.47...................................40
6.6 Conclusion............................................................................................................43
vii
BIBLIOGRAPHY..............................................................................................................................44
viii
LISTOFFIGURES
Figure1.Quantz’sillustrationofhisprinciples...........................................................................15
Figure2.Vivaldi,TheFourSeasons,“Summer,”Allegrononmolto,measure160-174..............16
Figure3.Vivaldi,TheFourSeasons,“Summer,”Allegrononmolto,measure160-169,
rearrangedversion...............................................................................................................17
Figure4.Vivaldi,TheFourSeasons,“Summer,”Allegrononmolto,measure170-174,
rearrangedversionsuggestedbyBradetich.........................................................................17
Figure5.Vivaldi,TheFourSeasons,“Summer,”Presto,measure55-59.....................................18
Figure6.Vivaldi,TheFourSeasons,“Summer,”Presto,measure55-59,suggestedversion......18
Figure7.Bach,OrchestralSuiteNo.2,Badineriemeasure20-33...............................................19
Figure8.OctavationonlyontheD,Bach,OrchestralSuiteNo.2,Badinerie,measure29..........20
Figure9.RearrangedVersion,Badinerie,measure20-33,suggestedbyBradetichandO’Brien20
Figure10.MozartSymphonyNo.35,movementIV,measure9-40............................................23
Figure11.Motiveofthisexcerpt,MozartSymphonyNo.35,movementIV,measure9-40.......24
Figure12.MozartSymphonyNo.35,movementIV,measure9-40,withsimplificationmarked24
Figure13.MozartSymphonyNo.35,movementIV,measure26-27,rearrangedversion..........24
Figure14.SymphonyNo.39,movementI,introduction.............................................................25
Figure15.MozartSymphonyNo.39,movementI,measure1-2.................................................26
Figure16.MozartSymphonyNo.39,movementI,measure1-2,octavationapplied.................26
Figure17.MozartSymphonyNo.39,movementII,measure105-108.........................................26
Figure18.MozartSymphonyNo.39,movementII,measure105-108,octavationapplied........27
Figure19.MozartSymphonyNo.39,movementIV,measure247-264.......................................27
ix
Figure20.MozartSymphonyNo.39,movementIV,measure241-250,suggestedversion........27
Figure21.Beethoven'sNinthSymphony,movementI,letterS..................................................29
Figure22.Commonoctave-transpositionpracticefordoublebass............................................30
Figure23.RearrangementsuggestedbySankey.........................................................................30
Figure24.BrahmsSecondSymphony,movementI,measure54-58...........................................35
Figure25.BrahmsSecondSymphony,movementI,measure244-250.......................................35
Figure26.BrahmsSecondSymphony,movementII,measure82-86..........................................35
Figure27.BrahmsSecondSymphony,movementI,measure309-314.......................................35
Figure28.StraussAlsoSprachZarathustra,onemeasurebeforeNumber10tosixteenmeasures
afterNumber10...................................................................................................................37
Figure29.FriedrichWarnecke,tripartitebasses.........................................................................37
Figure30.StraussAlsoSprachZarathustra,beginningofbassquartet.......................................38
Figure31.StraussAlsoSprachZarathustra,fourmeasuresbeforeNumber3............................38
Figure32.StraussAlsoSprachZarathustra,fourmeasuresbeforeNumber3,withmusical
directionremark...................................................................................................................38
Figure33.StraussAlsoSprachZarathustra,fourmeasuresbeforeNumber3,rumblingeffect
suggestedversion.................................................................................................................39
Figure34.StraussAlsoSprachZarathustra,elevenmeasuresbeforeNumber4........................39
Figure35.StraussAlsoSprachZarathustra,elevenmeasuresbeforeNumber4,rearranged
version..................................................................................................................................39
Figure36.StraussAlsoSprachZarathustra,sixteenmeasuresbeforeNumber4.......................40
x
Figure37.StraussAlsoSprachZarathustra,sixteenmeasuresbeforeNumber4,suggested
version1...............................................................................................................................40
Figure38.StraussZarathustrasixteenmeasuresbeforeNumber4,suggestedversion2..........40
Figure39.ShostakovichSymphonyNo.5,twomeasuresafterNumber18................................40
Figure40.ShostakovichSymphonyNo.5,twomeasuresafterNumber18,withalargejumpin
theend.................................................................................................................................41
Figure41.ShostakovichSymphonyNo.5,twomeasuresafterNumber18,octavatingthelast
threenotesforabasssecionusingonly4-stringbasses......................................................41
Figure42.ShostakovichSymphonyNo.5,sixmeasuresafterNumber22..................................41
Figure43.ShostakovichSymphonyNo.5,sixmeasuresafterNumber22,octavationonly
appliedonthenotesbelowtheE,resultinginbigjumps....................................................41
Figure44.ShostakovichSymphonyNo.5,sixmeasuresafterNumber22,suggestedversionby
O’Brien.................................................................................................................................42
Figure45.ShostakovichSymphonyNo.5,sixmeasuresafterNumber22,octavationappliedfor
theentirephrase..................................................................................................................42
1
CHAPTER1
MODERNORCHESTRALPRACTICEFORTHEDOUBLEBASS
1.1 Introduction
Thestandardizationofthedoublebassintermsofitssize,shape,andtuninghasbeenin
fluxforcenturies.Thevarietyofsizesandtuningsoftheinstrumenthavecreatedseveral
problemsandattendantsolutionstoplayinginlargeensembles.Thisgradualprocessof
standardizationhashadahugeimpactontheinstrument'sorchestralrepertoireandhowitis
interpretedandperformed.
Specifically,asorchestralwritingforthedoublebassevolved,twopracticesdeveloped:
thatofsimplifyingcomplexpartstomakethemmoreplayable,andthatofchangingoctavesto
accommodatebassestunedinwaysthatdidnotreachthelowestnotesrequiredbythe
composers.Theseareknownrespectivelyassimplificationandoctavation.
1.2 Purpose
Inthisdissertation,Iwillprovideabriefhistoryofthepracticesofsimplificationand
octavation,andIwillexaminekeyworksofthebassrepertoireinwhichtheyoccur.Foreach
work,Iwilldiscusstheresearch,thepracticeofleadingpedagoguesandmajororchestral
players,andthesolutionstheyhavedevelopedtoreducethediscrepancyinherentwithin
sectionplaying.Thisiscrucialbecausebassplayershavedifferingopinionsandhavecreated
commonpracticesaroundsimplificationandoctavation,makingthemtwoofthemostcomplex
issuesfacedbyorchestralsections.
2
1.3 CurrentStateofPractice
Historically,verylittlewrittendocumentationexiststonotatethisbodyofknowledgeof
simplificationandoctavation,whichispassedbyplayerstotheirsections,andbyteachersto
theirstudents.Thisthesiswillofferseveralpracticalsolutionstomajorexcerptsinthebass
repertoire,demonstratinghowitispossibletoachievethemostuniformplayingpossible,and
offerapplicableguidelinesforcontemporaryorchestraldoublebassperformers.
3
CHAPTER2
THEINSTRUMENT,SIMPLIFICATIONANDOCTAVATION
Thesecondchapterwillfocusonthehistoryofthedoublebassandtracethecausesand
generalapplicationofsimplificationandoctavation.Wewilldiscusstheproblemsinherentin
thatapplication,andhowtheseissuesareappliedtothemoderndoublebassinstrumentwith
andwithoutitscompanionC-extensionand5-stringbass.
2.1 HistoryoftheInstrumentandTuning
2.1.1 TuningSystemandNumbersofStrings
Thedoublebassexperiencedaslowerevolutioncomparedtothestandardizationof
otherinstrumentsintheviolinfamily.Varioustuningsystemsanddifferentnumbersofstrings
wereinusesimultaneouslyfromthelate1650stothemid-1800s,beforetheE-A-d-gbecame
thestandardtuningsystemfortheinstrumentinthemid-19thcentury.1
Thepredecessorofthedoublebass,thebaroqueviolone,hassixstringstunedina
combinationof3rdsand4ths.ThefamousViennesetuning,commonlyusedintheClassical
period,hasfivestringstunedF-A-d-f#-a.Thedifferentnationaltuningsthatexistedintheearly
19thcenturyindicatethevariousstringsandtuningsusedfromcountrytocountry.2For
example,theItalianspreferredthree-stringbasses,withthebrighterA-d-gtuning,andthe
GermanswereinfavorofthelowerpitchE-A-d-g.
Allthesevariations,inturn,affectedthedoublebassregisterforwhichcomposers
wroteinorchestralworks.Fortheworkswrittenbeforethemid-19thcentury,theorchestral
1PaulBrun,ANewHistoryoftheDoubleBass(Villeneuve:PaulBrunProductions,2000),256.2Ibid.,126.
4
basspartcouldbeintendedforthe3-stringbass,the4-stringbassorthe5-stringor6-string
violone,withtheirvarioustunings.Fortheworkswrittenafterthatperiod,duetothe
increasingdemandforricheracoustics,composersoftenextendedthebassregisterdownto
lowC,anoctavelowerthanthelowestnoteofthecello.Ineithercase,modernbassistsoften
needtoplaynoteswrittenlowerthanthestandardE-A-d-gtuningallows.
Thelackofuniformityintuningandstringingsystemscreatedadelayinthetechnical
advancementofthebass.Ithinderedaplayer’sexecutionofthebass.WenzeslasHause
complainedthat"bassistsinmid-19thcenturyrarelywenttothetroubleoflearningtheir
instrument'stechniquethoroughlyandsimplyreliedontheirmusicaljudgmenttoguidetheir
playing."3Hewroteaninstructionbookspecificallyforthe4-stringbasstunedin4ths,E-A-d-g,
whichatthetimewasthe“German”systemoftuning.4Hause’spublicationwasinstrumentalin
bringingtheGermantuningsystemtoPrague,andthentothewiderworld,whicheventually
ledittobecome“standard”inEuropeanorchestralplayingbythemid-19thcentury.Duringthis
period,thestandardofplayingwasgenerallylow.Duetoalackoftraining,playersoften
neededtoalterorsimplifytheirpartsaccordingtotheirinstrumentsandability.Thenecessity
ofreassessingplayingstandardswasinevitableasrepertoiresbecameevermorecomplex.
2.1.2 TheFive-StringBassandMechanicalExtension
Considerablechangesandimprovementsininstruments,suchasthemakingofstrings
andbows,haveoccurredoverthepast350years.Theadvancementinstringdevelopment
playedacrucialroleintheinventionofthe5-stringbassandthe4-stringbasswitha
3Ibid.,89.HausewasthefirstbassprofessoratthePragueConservatory.Hisinstructionbookwas
publishedinthreepartsin1809.4Ibid.,126-127.
5
mechanicalextension.Onlyafterlow-pitchedstringscouldbeproducedatthesamelengthas
higherstringsdidthe5-stringbassbecomeareality.Onlyaftertheloweststringscouldbe
lengthenedwithadesirableresultwasthe4-stringbasswithanextensioninvented.5Both
newlyinventedsetupsinthelate19thcenturyenabledtheregisterofthedoublebasstoreach
thelowC.
Althoughthesedevelopmentshavegreatlyhelpedelevatethelevelofplayingtechnique
andexecutionofthenotes,theycannotcompletelyresolvetheregisterandtuningproblems.
Simplificationandoctavationarestillprevalentandnecessary.Thequestionofhowtoproperly
applythemisstillhotlydebated.
2.2 HistoryofSimplification
Reasonsforsimplificationtraditionallyfallintothreecategories:simplificationdueto
theconcernforclarityinthebassline,simplificationduetotheinadequateabilityofa
performer,andsimplificationduetolimitationsoftheinstrument’srange.
Thesimplificationofdoublebasspartsisadouble-edgeddilemma.Scholarsand
composersfromdifferenttimeperiodshaveexhibiteddifferingopinions.Advocatesfor
simplificationclaimitslegitimacybasedonQuantz'sandCorrette'streatises.6Thedetailofthis
argumentwillbediscussedinChapterIV.
Berlioz'scriticismofsimplificationgreatlyinfluenceddoublebasspart-writing.He
expressedhisobjectionclearlyonthissubjectinhisbookTreatiseonInstrumentation.7The
5Ibid.,161.6JerryFuller,"BacktoBasics-AnApproachtoEarlyMusic,"TheDoubleBassandVioloneInternetArchive,
<http://earlybass.com/articles-bibliographies/back-to-basics-anapproach-to-early-music>,(Accessed29September,2011).
7HectorBerliozandRichardStrauss,TreatiseonInstrumentation,trans.TheodoreFront(NewYork:Kalmus,1984),112.
6
practiceofsimplificationwastoblameforbeingachronicdiseaseforthedoublebass,8altering
thecomposer'soriginalideasandunderminingboththedevelopmentofdoublebasstechnique
andthecomplexityoforchestralwritingfortheinstrument.Regardingthissubject,Berliozsaid,
"composersshouldthereforetakecaretoaskdoublebassplayersnomorethanispracticable.
Onlyinthiswaycantheybesureofanaccurateexecution;andonlythiswilldoawaywiththe
oldsystemofsimplificationbythedoublebassplayers."9Hebelievedthatthedoublebasspart
neededtobewrittenseparately,notjustdoublingthecello,andthereforethecomposer
shouldonlywritenotesthatcouldbetechnicallyplayedbytheinstrumentandperformersof
histime.Berlioz'sthoughtshadastrongimpactonhisfellowcomposers.
2.2.1 SimplificationDuetotheConcernforClarityintheBassLine
Simplificationwasacommonorchestralpracticeintheeighteenthcentury.Inhis
VersucheinerAnweisungdieFlötetraversierezuspielen,Quantzpointedoutthatclaritywas
moreimportantthanalargesoundindoublebassplayingandencouragedtheuseof
simplificationtoemphasizebothharmonyandrhythm.10Similarly,thedoublebasstreatiseby
MichelCorretteadvisedbassplayerstooutlinetheunderlyingharmonyandrhythmfor
efficiencyandeffectiveness.11
8HughMcDonald,Berlioz'sOrchestrationTreatise:ATranslationandCommentary(Cambridge:Cambridge
UniversityPress,2002),58-59.9BerliozandStrauss,op.cit.,112.10JohannJoachimQuantz,VersucheinerAnweisungdieFlötetraversierezuspielen,(Berlin,1752).Edward
R.Reilly,trans.OnplayingtheFlute.(NewYork:SchirmerBooks,1985),246.InVersucheinerAnweisungdieFlötetraversierezuspielen,Quantzdoesnotlimithisessayonlytotheflute.Thisessayprovidessubstantialcommentaryonmusicnotation,ornamentation,andhowthevariousinstrumentsshouldbeplayedinthisera,includingcommentsonorchestrasofhistime.
11MichelCorrette,Méthodepourapprendreàjouerdelacontre-basseà3,à4,età5cordes,delaquinteoualtoetdelavioled’Orphée,(Paris,1773).HeatherMillerLardin,"MichelCorrette'sMéthodespourapprendreàjouerdelaContrebasseà3.à4.età5.cordes,delaQuinteouAltoetdelaVioled'Orphée:ATranslationwithCommentary,"(DMAdiss.,CornellUniversity,2006),35-69.
7
2.2.2 SimplificationDuetotheInadequateAbilityofthePerformer
Bythe19thcentury,assymphonyorchestrascontinuedtoexpandinsizeandscope,
composersandconductorsstartedlookingforafullerandheavierorchestralsound.Projection
andintelligibilityofthebasslinebecamecrucial,andsimplificationfromtheoldschoolwasno
longertolerated.However,thedevelopmentofthebasswasfarbehindotherorchestral
instruments.Thesizeandshapeofthedoublebasswereofthemselvesbulkyandsometimes
difficultforaseatedmusiciantomanageinperformance.Moreover,thepartforthebassline
wassharedbycelloandbass.Itwasoftentoocomplicatedfortheinstrumentatthetimeto
handle.Itwasassumedthatplayerswouldbesimplifyingthepartthemselves.Thecommon
practiceprovidedanexcuseforplayersnottoimprovetheirskillsandthecompetentplayer
becamehardtofind.
2.2.3 SimplificationDuetotheLimitationofInstrumentRange
BeforeBeethoven’stime,thebasslineplayedbythecellowasmostoftendoubledby
thebassoneoctavelower.Theverylowestnotesinthepartwereoftenoutofthebass’srange,
withtheloweststringinuserangingfromGtoE.Withanincreasingdemandofthelowerand
heaviersoundintheorchestra,thelowCrangebecamecommoninthewritingoftheromantic
period.However,beforethe5-stringinstrumentorthe4-stringinstrumentwithC-extension
wasinvented,playershadnochoicebuttosimplifyoroctavatethepart.
2.2.4 Application
Theplayersapplysimplificationusingtheirownjudgment.Thereisnospecificrule.
Therefore,thesectionplayinghasnouniformity.Itisthebiggestconcernforbassplayersin
modernorchestraperformance.
8
2.3 HistoryofOctavation
2.3.1 Problem:LimitationofInstrumentRange
Thealterationoftheorchestralbassparthasbecomenecessarywhenencounteringthe
noteswrittenbelowthepitchoftheloweststring.Astheconcerthallandorchestrasize
expandedsignificantlyinthe19thcentury,richeranddeepersoundwasfavoredbymost
composers.Theircompositionsexploredthelowestacousticpossiblebyaddingnotesbelow
thebass’sstandardrange.Bassistsusuallytakethenotesthatfallbelowtheirrangeupan
octave,theso-called"octavation."
2.3.2 ModernSolutionsfortheLimitationsofInstrumentRange
Inordertoperformnoteslowerthanthestandardtuningallows(lowE),bassistshave
madevariousattemptstosolvethisregisterissueintheperformanceoforchestralrepertoire.
2.3.2.1 5-StringInstrument
InEurope,manyorchestrasuse5-stringbasses,withthe5thstringtunedtothelowB.
Thissolvestheregisterconcerns,butthe5-stringbasshasaslowerresponsethanthe4-string
bassbecauseoftheexcesstensioncausedbytheaddedpressureofa5thstring.Also,its
fingerboardiswiderandthecurvebetweenstringsismuchflatterthanthe4-stringbass,which
makestheclarityofthestringcrossingsmoredifficult.
2.3.2.2 TheInstrumentwithC-Extension
TheveryfirstbasswithC-Extensionwasinventedinthelate19thcentury.MaxPoike,
principalbasswiththeBerlinStateOperaandmemberoftheRoyalChapel,introducedan
9
improvedC-extension.12ThisdeviceenabledthedoublebasstoplaydowntoalowCwithout
addingthefifthstring.IntheUnitedStates,manybassistsusethe4-stringbasswitha
mechanicalextensionthatisinstalledonanextendedfingerboardfortheEstringtoallowthe
performertoplaythelowC.Thebasswithanextensionpreservesthefasterresponsequality
ofthe4-stringbass,buttheplayerfacesthetechnicalchallengeofjumpingbetweenthe
normalfingerboardandtheextensionarea.Boththe5-stringinstrumentandthe4-string
instrumentwithanextensionhavetheirownprosandcons.13Thereisstillmuchdebate
betweenthesetwoset-ups.14
2.3.2.3 Octavationforthe4-StringInstrument
Forthosewhoplaythestandard4-stringinstrument,octavationistheonlyoptionwhen
encounteringanoteoutoftheirinstruments’playingrange.
2.4 TheCommonProblemsinherentintheApplicationofSimplificationandOctavationin
ModernOrchestralPerformance
ForsythpointedoutinhisbookOrchestrationthatoctavation"lackedtheartisticnicety
andexactitudewhichwenowregardasessentialtofineorchestralplaying."15Byapplying
eitheroctavationorsimplification,playershaveanadditionalchallengetoreproducethelogic
ofthemusicallinewhichfollowsthecomposers'originalwriting.Inordertobringback
composers’originalmusicallines,playersneedtobetterunderstandsimplificationand
octavation.
12Brun,op.cit.,161.13JasonHeath,"ReachingtheLowNotes,"JasonHeath'sDoubleBassBlog,
<http://doublebassblog.org/2006/07/reaching-low-notes.html>,(Accessed4February,2015).14Brun,op.cit.,164.Brundescribestheintensedebatesonthistopicinthebasscommunity.15Forsyth,op.cit.,437.
10
CHAPTER3
RECOMMENDATIONSFORDOUBLEBASSORCHESTRALPRACTICEINTHE21STCENTURY
Thischapterwillofferrecommendationsformodernorchestralpractice.Thegoalisto
eliminatethediscrepancyinorchestralplayingandtoachievegreaterunifiedsectionplaying.
Theserecommendationsarenotnecessarilyforauditionpurpose.
3.1 BasicRulesforSectionConstitution
ThebasssectionsinmodernAmericanorchestrasusuallyconsistofamixof4-string
basses,4-stringbasseswithextensions,andoccasionally5-stringbasses.Withthemixed
section,the5-stringbassandthe4-stringbasswithanextensioncanfulfillthelownoteswhile
the4-stringbasscanmaintaintheclaritybyapplyingoctavation.However,theneedforthe4-
stringbasstooctavateusuallyhasanegativeeffectonuniformity.Toachievebetteruniformity
inthesection,mutualideasforoctavationbecomeveryimportant.
3.2 GuidelinesforSimplification
Formodernbassplayers,simplificationshouldbeproperlyappliedonlyinearlymusic
forstylisticreasons,notforthemusicfromtheotherperiods.ComposersintheRenaissance
andtheBaroquewrotethebassocontinuopartwithoutspecifyingwhichinstrumenttouse,so
therangeofthebassocontinuopartisnotnecessarilyspecified.Composersatthattime
expectedmusicianstosimplifyorimprovisethepartwiththeunderstandingofoutliningthe
harmonyandrhythm.Theconstructionofthemodernbassproducesadifferenttonequality
whencomparedtotheperiodinstrument.Inperformingearlymusic,baroquebowsare
recommended.Thespecialstructureofthebaroquebownaturallyhelpsplayerstorecreatethe
sound,articulationandstyleoftheperiod.Therulesofsimplificationforearlymusicshould
11
followQuantzandCorrette’ssuggestionsforharmonyandrhythmdelineation.ChapterIVwill
discussindetailhowtoappropriatelyapplysimplificationwithaharmonyandrhythm
delineation,whichQuantzandCorrettestronglyadvised.
3.3 GuidelinesforOctavation
Thetworulesforoctavationaretopreservetheoriginalshapeofthemusicallineandto
avoidawkwardjumpswhichmaycauseperformancedifficulties.Octavationisnecessaryforthe
4-stringbasswithoutanextensionbutitcandistortthecontourofthemusicallines.Inorderto
retaintheoriginalmusicalcontour,theneedtooctavatecertainnoteswhicharenotbelowthe
lowEbecomesunavoidable,andtheplacementofwheretostartandtoendtheoctavationis
crucial.Goodplacementofoctavationcanpreventawkwardjumpswhichnotonlycause
difficultiesinperformance,butalsomisrepresentthemusicallinesintendedbycomposersin
theirworks.Furthermore,theunderstandingofgoodplacementforoctavationwill
fundamentallyimprovetheuniformityinsectionplaying.Differentexampleswillbeexamined
indetailandsuggestedversionsforoctavationwillbeproposedinChapterVandVI.
3.4 GuidelinesforRetrievingtheDistortedBassLine,De-Octavation
UndertheinfluenceofBerlioz'santi-simplificationdoctrine,Brahmsdidnotlikebassists
toalterhiswriting,andhewrotethebassparttofitwithinthenaturalregisteroftheE-A-d-g
tuning.However,manytimes,themusicallinethatBrahmshadinmindisclearlyinterrupted
duetotheregisterlimitation.Evidenceforthiscanbefoundinthemanuscriptarrangement
Brahmsmadeforfour-handpianoofhissymphonicworks.16Inthemanuscript,thebassline
oftendescendstothelowC.Foreitherthe5-stringbassorthe4-stringbasswithanextension,
16Brun,op.cit.,p.147.
12
thistypeofmusicallinecouldberetrieved.Therecoveryofthedistortedmusicallineiscalled
“De-Octavation.”ThisiscriticalformodernbassplayerswhenperformingBrahms.Butthere
arealsoexceptionswhenthelinedoesnotreachdowninBrahms'manuscripts.Different
examplesofmusicallyadaptingthebasslineofselectedworksbyBrahmswillbereviewedin
ChapterVI.
3.5 DevelopingExtensionTechnique
RichardStraussconsideredthenotesbelowtheEwithinstandardrangeforthebass.In
AlsoSprachZarathustra,heevenwrotethelowB,ahalf-stepbelowthelowC,forbasses.
TheselowBscallforthe5-stringbass,whichiscommoninEurope.Comparingthe5-stringbass
and4-stringbasswithextension,itismucheasiertoplaythoselownotesbelowtheEonthe5-
stringbass.Toplaythesamelownotesonthe4-stringbasswithextension,theexecution
involvesunavoidablejumpstoextension.Bassistsrequirematuretechniquesforexecutingthe
extension.Thesetaketimeandthepropertrainingtobedeveloped,butareworththeeffort,
asawell-roundedbassplayerwillbeabletotackleanyrepertoire.SelectedworksbyStrauss
willbediscussedinChapterVI.
13
CHAPTER4
SELECTEDORCHESTRALEXCERPTSFROMTHEBAROQUEPERIODAPPLYINGSIMPLIFICATION
ANDOCTAVATION
Thenextthreechapterswillexaminetheselectedorchestralexcerptswhichapply
simplificationandoctavation.Thesuggestedapplicationofsimplificationandoctavationwillbe
offeredaccordingtoadvicefromleadingpedagoguesandorchestralplayers.These
examinationswillbeusedtosupporttherecommendationsofferedinChapterIII.
4.1 Background
Beforetheeighteenthcentury,itwasarequirementforbassplayerstobeschooledin
compositioninordertoproperlyimprovisethefigurationpart.Thesetrainedbassplayerswere
respectedasartistsfortheirhighlyskilledimprovisations.However,ascompositionaltraining
forbassplayerswasgraduallyabandoned,untrainedmusiciansbegantotreatthefiguredbass
asasimplificationofthewrittenbasspart,playingonlytheprintednotesaswritten,butnot
fillingintheimpliedharmony.
Thebassocontinuopartiswrittenforbothchord-playinginstrumentssuchas
harpsichordandtheorbo,andforagroupofbassinstrumentsincludingviols,cellos,double
bassesandbassoons.Thewrittenrangeisunspecific.Likesimplification,whenencountering
notesbelowaninstrument’splayingrange,playersareexpectedtoapplyoctavationorto
arrangethenotesasneeded.
14
4.2 Problems
AccordingtothetreatisespublishedbyQuantz17andbyCorrette18,thecompetenceand
expertiseofbassplayersintheeighteenthcenturywasregressingduetotheconstant
applicationofsimplification,whichresultedfromalackofcompositionalunderstanding.
Correttepointedoutthat“surely,itwouldbeappropriatetohavealittleunderstandingof
compositionsoastobeabletoplaythemainnotesonly,fortotrytoplayallofthenotesisto
beeagertocauseconfusion,especiallywhenthereareseveraldoublebasses”19Clearly,when
bassplayersdonothaveauniformideaaboutsimplificationorcapabilitytooperatetheir
instruments,especiallywithmultipleplayers,playinginrapidpassages,itwillonlyresultina
chaoticharmonyofsoundsorrhythms.Furthermore,potentiallyawkwarddissonanceswill
confusenotonlyplayers’earsbutalsotheaudience’s.Therefore,aminimalknowledgeof
simplificationandthoroughtechnicalproficiencyaretwoimportantelementsforbassplayers.
4.3 Results
Regardingtheprinciplesofsimplification,bothCorretteandQuantzofferedsuggestions
forpassagesthatbassplayerswereunabletoexecutedistinctlyduetotheirrapidity.Corrette
advisedbassists“tocontentthemselveswithplayingthefirstofagroupofevennotestied
togetherandthefirstnoteoneachbeatwhenrunsoccurred.”20Quantzsuggestedthatbassists
“playonlythefirst,third,orlastnoteofeachfigure,whethertheybesemi-quaversor
demisemiquavers.Ineachcase,hehadtodeterminewhichnotesweretheprincipalnotesin
17Quantz,op.cit.,246.18Corrette,op.cit.,35-38.19Brun,op.cit.,73.20ibid.,73.
15
thebassline.”21Quantz’sillustrationofhisprinciplesareasfollows22(theupwardstemsare
originalandthedownwardstemsareasuggestedsimplifiedversion):
Figure1.Quantz’sillustrationofhisprinciples
4.4 ModernPlaying
Inmodernbassplaying,afterthelate19thcentury,advancesweremadeinhowthe
doublebasswasconstructed,andplayingstandardsinorchestralmusicrosesignificantly.The
skillsandtechniquesforbassplayersbecamemuchmoreaccessible,andthenotesinrapid
passagesbecamelessdifficult.Theinstrumentconstructionevolvedoverthecenturies,
completelychangingthequalityandthevolumeofthebasssound.Steelstringsandthenew
archtechniqueofthebowaddedsolidityandweighttothemodernbasssound,incontrast
withthebaroqueviolone’stransparenttimbre,livelinessandquietervolume.Inorderto
representthesoundofthebaroqueinmodernbassplaying,simplificationagainbecomes
necessary.Sincethewrittenrangeforbassocontinuoisundefined,thenotesbelowthelowest
21ibid.,74.22ibid.,74.
16
noteofthe4-stringbassareoftenfound.Thus,octavationisrequiredforthebassistwiththe
standard4-stringinstrument.
4.5 SelectedOrchestralExcerpts
4.5.1 Vivaldi,TheFourSeasons,ConcertoNo.2inGminor,Op.8,RV315,“Summer”(1723)
Thecontinuopartfor“Summer”fromVivaldi’sFourSeasonscontainslotsofrapid
passageswhichCorretteandQuantzwouldcategorizeasrequiringsimplification.Althoughthey
areplayableformodernbassplayers,toexecuteeachnoteweighsdownthecontinuosection
andchangesthestylisticcharacterofthepiece.Therefore,theapplicationofappropriate
simplificationisnecessary.Thefollowingexampleisfromthefirstmovementof“Summer”.
Thispassagecanbedividedintotwopartsbythepatterns.Thefirstpartisfrommeasure160to
169andthesecondpartisfrommeasure170totheend.Eachbarofthefirstparthasonlyone
pitchwithdifferentoctavepositionsandeachpitchleadsthechordprogression.Sinceeachbar
hasonlyonepitch,thesimplifiedversioncouldbejustonenoteperbaronthefirstbeat.Butin
ordertokeeptherhythmicvitalityandtheflowofthechordprogression,therearranged
versionbelowwouldbemoresuitableinthispassage.
Figure2.Vivaldi,TheFourSeasons,“Summer,”Allegrononmolto,measure160-174
160
?bb
?bb
?bb
U
œœœœ œ œ
œœœœ œ œ
œœœœ œ œ
œœœ œ œ œ
œœœœ œ œ
œœœœ œ œ
œœœ œ œ œ
œœœ œ œ œ œ#
œ#œ œ œ œ œ
œœ œ œ œ
œœ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ ™
17
Figure3.Vivaldi,TheFourSeasons,“Summer,”Allegrononmolto,measure160-169,
rearrangedversion
Thesecondpartisarumblingpassagemeanttoimitatethunder,whichconsistsof
“demisemiquavers”,orthirty-secondnotes.Quantz’ssuggestionofonlyplayingthefirst,third
orlastnoteofthefigurecanbeappliedhere.TherearrangedversionsuggestedbyJeff
Bradetich23usesthefirstandthirdnotesofthesecondandthirdbeatandkeeponlythefirst
noteforthefirstbeattoavoidthepossible7thdissonanceinafasttempo.
Figure4.Vivaldi,TheFourSeasons,“Summer,”Allegrononmolto,measure170-174,
rearrangedversionsuggestedbyBradetich
Thefollowingpassageisfromthelastmovement,Presto,of“Summer”.Itisanother
rapidpassageforwhichQuantz’sorCorrette’ssuggestionsforsimplificationarebeneficial.
23JeffBradetich(born1957)isaleadingperformerandpedagogueofdoublebasswithaninternational
reputation.Heisanactivelecturerandclinicianandhehastranscribedmorethanahundredworksfordoublebass.In2009,hepublishedDoubleBass–theUltimateChallengeonpedagogyandperformanceonthebass.HewastheExecutiveDirectoroftheInternationalSocietyofBassistsfrom1982-1990andservedaseditorofthemagazinefor6years.HewasonthefacultiesoftheInterlochenArtsAcademy(1980-1983),UniversityofMichigan(1980-1983),andNorthwesternUniversity(1983-1994)priortohis1994appointmentasdirectorofthelargestdoublebassprogramintheworldattheUniversityofNorthTexas.HehasalsobeenvisitingprofessorattheClevelandInstituteofMusicandatNorthwesternUniversity.HefoundedtheBradetichFoundationandhostedthe2010InternationalSoloCompetitionwiththelargestprizesindoublebasshistory,<http://bradetich.com/biography/>,(AccessedFebruary1,2017).
160
?bb
?bb
œR≈ ≈ œ œ œ œ
R≈ ≈ œ œ œ œ
R≈ ≈ œ œ œ
œr ≈ ≈
œ œ œœr ≈ ≈ œ œ œ
œR≈ ≈ œ œ œ
œr ≈ ≈
œ œ œœr ≈ ≈ œ œ œ œ#
r ≈ ≈ œ œ œ œR≈ ≈ œ œ œ
170
?bb
U
œKr ≈ ™ œ œ œ œ œ
Kr ≈ ™ œ œ œ œ œKr ≈ ™ œ œ œ œ œ
Kr ≈ ™ œ œ œ œ œ ™
18
Figure5.Vivaldi,TheFourSeasons,“Summer,”Presto,measure55-59
Thepatternofthispassageisatonicnotewithascalerunningdown.IfCorrette’s
suggestionisfollowed,playingonlythefirstnoteofeachsetofsixteenthnoteswouldbe
appropriate.Butconsideringthedirectionoftherunandtheplayabilityofthemodernplayer,
thesuggestedversionbelowwillofferabetterresult.
Figure6.Vivaldi,TheFourSeasons,“Summer,”Presto,measure55-59,suggestedversion
f
55
?bb
N Tutti
œR‰™œ œ œ œn œ
J‰
œr ‰™ œ œ œ œ œ
j ‰ œr‰™œ œ œn œ œ
j‰
œr ‰™ œ œ œ œ œ
j ‰ œr‰™ œ œb œ œ œ
j‰
19
4.5.2 J.S.BachOrchestralSuite2inBminor,BWV1067(1738-1739)
Figure7.Bach,OrchestralSuiteNo.2,Badineriemeasure20-33
Thisexcerptisoftenrequestedinorchestraauditions.ThereareonlytwolowD’swhich
arebelowthelowestnoteofthe4-stringbass.Becauseofthedifferentcontext,thetwolow
D’shaveadifferentinterpretationwhenplayedonthe4-stringbass.ThefirstlowDappearsin
themiddleofadownwardmelodicline.Itismorelikeanechoofitspreviousnote,the8-foot
D.Withtheoctavation,thisoff-beatlowDwillbeatthesamepitchasthedownbeatD.
Therefore,theimportanceofbringingoutthedownwardmelodiclinewhichiscircledinblue
becomescriticaltoidentifyingthedifferenceofthetwoD’s.TheoffbeatDneedstobe
lightened.
ThesecondlowDoccursafter2sixteenthnotesaspartofanarpeggiopattern.Ifonlyto
octavatethelowD,playerswiththe4-stringbasseswouldneedtocrosstheAstringtoreach
theDstring.Thiswouldmakethestringcrossingratherdifficultinafasttempoanditwould
alsodestroythe3-notefigureofdownwardarpeggiopatternsinthephrase.(Figure8)
Therefore,JeffBradetichandOrinO’Brien24bothsuggesttooctavatethe3-notefigureofthe
lowD.(Figure9)
24OrinO’Brien(born1935),activeassociateprincipalofNewYorkPhilharmonic,hasbeenamemberof
theorchestrasince1966.Sheservedasco-chairoftheJuilliarddoublebassdepartmentfrom1992-2002andisalsoonthefacultyoftheManhattanSchoolofMusicandtheMannesCollegeofMusic,<http://nyphil.org/about-us/artists/orin-o-brien>,(AccessedFebruary1,2017).
20
Figure8.OctavationonlyontheD,Bach,OrchestralSuiteNo.2,
Badinerie,measure29
Figure9.RearrangedVersion,Badinerie,measure20-33,
suggestedbyBradetichandO’Brien
28
?##
A E D
œœ œ
œœœ
21
CHAPTER5
SELECTEDORCHESTRALEXCERPTSFROMTHECLASSICALPERIODAPPLYINGSIMPLIFICATION
ANDOCTAVATION
5.1 Background
Attheturnofthe19thcentury,theroleofthedoublebassintheorchestrachanged
significantly.Anewapproachtotheperformancepracticeofthebasslineemergedwhenthe
ideaofabroadsoundwasrisingandthefiguredbasssystemfellintodisuse.Bassistswere
expectedtoplayfromthescore.However,thecomposersatthattimedidnotmaketheeffort
towriteaspecificpartforbassists.Instead,bassistshadnochoicebuttoplaythecellopart.
ThestandardopinionatthattimewasexpressedbyL.J.Francoeurin1772:“Composersdidnot
havetowriteadoublebasspartontheunderstandingthatsimplificationwassecondnatureto
players.”25
5.2 Problems
Allowingperformerstodecidewhatnotestoplaywasdangerous.Consideringthe
playabilityandtherangeofthedoublebass,sharingthepartwiththecellomeantthatbassists
wereexpectedtosimplifyandtooctavateasneeded.Astheorchestrawasgrowinginsize,one
bassplayerperorchestracouldnolongersatisfythedemandforalargerorchestralsoundtofill
newlargertheatersandconcertspaces.Atthetime,thedoublebasswasstillconsideredvery
awkwardanddifficulttoplay.AsKochdescribedin1802:
Nowadays, this instrumentrequiresaverycapableplayer…. In fastmovementsand inothersuchpassages,thesearpeggiostendtomakearathernoisysound,buttheymustberenderedwithclarity.Theintervalsarefarapartonaccountofthestringlength;the25Brun,op.cit.,75.
22
stringsarefarbetweenonthebridge,whichincreasesthemovementsofthebowingarmintheupanddownbows;theset-uprequiresastrongpressureofthefingersandofthebow.Allthismakesthehandlingoftheinstrumentsratherdifficult….onemayconcludethatagoodplayeronthatinstrumentisnotcommon.26
5.3 Results
Certainly,thecellopartwastoocomplicatedandtoodifficultforthislaborious16-foot
instrument27.Thus,bassistscameunderpressuretodecidewhethertoplayfromthemusic,
riskingaloweroveralllevelofaccuracyandvolume,ortoapplysimplificationbyonlyplaying
themainnotes.Thischoicecarrieditsownissues,duetothedifferentpossibleperceptions
fromplayersintheensemble.Toavoidtheseproblemscausedbysimplification,similar
principalsofferedbyQuantzandCorrettewerealsosuggestedbyCiprianiPotterinhis
instrumentationtreatisein1837:“Inveryrapidpassages,orarpeggios,thedouble-bassesare
madetoexecutethefirstofeveryfourortwonotes,thefirstnoteintriplets;or,speakingin
generalterms,toexecutetheessentialnotes.”28Fromhimwelearnthatsimplificationwasa
concerninEnglandaswellasincontinentalEurope.
5.4 ModernPlaying
Astheadvancementofthedoublebassanditsplayingtechniquematured,itbecame
significantlylessofanissueformodernbassiststoplaypreciselyfromthemusic,providedthe
partiswrittenwithinthebass’snaturalrange.Simplificationisusuallyappliedonlyinrapidor
softpassageswherebassestendtosoundmuffled.Octavation,however,remainscrucialfor
26ibid.,7527“16-foot”isborrowedfromorganterminology.Thepitchoforganisdecidedbythelengthoforgan
pipes.Thelengthoforganpipesiscontrolledbyorganstop.An8-footstopspeaksatunisonpitch.An16-footstopspeaksexactlyoneoctavebelowan8-footstop.(https://www.agohq.org/young-persons-guide/,accessed13March,2017)
28CiprianiPotter,"CompaniontotheOrchestra;orHintsonInstrumentation,"TheMusicalWorld,5/61(12May1837):132.
23
the4-stringbasseswithoutextensions.Whenoctavationcomeswithawkwardjumps,it
requiressufficientunderstandingandknowledgeofthecompositionsforplayerstoproperly
modifythepartstomaintainthemusicallineandplayability.
5.5 SelectedOrchestralExcerpts
5.5.1 MozartSymphonyNo.35inDmajor,K.385
ThetempoofthelastmovementofMozartSymphonyNo.35isPresto.Dependingon
theconductors’tempochoices,manypassagesinthismovementcouldbecomevery
challenginginfasttempo.Theexcerptbelowinvolvesmanyperfectfourthintervals.For
modernbasseswhicharetunedin4ths,thebarfingering(e.g.,usingthesamefingertopress
downtwostringsatthesametime)couldbebeneficialinfasttempo.Butbarfingeringposes
challengesduetothestrengthrequiredforpressingdoublestringsandtheintenseresistance
fromthosestringsagainstasinglefinger.
Figure10.MozartSymphonyNo.35,movementIV,measure9-40
f
9
14
21
27
sf sf sf p fp
33
?##
4
G D
4 - 1 - 4
G
4
D
4 - 1 - 4
?##
G
4
D
4 - 1 - 4
?##
G
4
D
4 - 1 - 4 4 2 4 - 1 -
G
4 1 - 2
D
4
G D
4
A
4 - 1 - 4 -
?##
4 2 4 - 1 -
D
4 1 - 2
A
4
D
4
?##
A. . . .
œ œ œ œ œ œ œ œœ œ œ œ œ
œ œ œœ œ œ œ œ œ œ œ
œ œ œ œ œœ œ œ
œ Œ Ó
˙ ˙ œ œ œ œœŒ Ó
˙ ˙ œœ œ œ œ Œ Ó
˙ ˙ œ œ œ œœŒ Ó
˙ ˙ œœ œ œ
œ œ œ œœ œ œ œ
˙ ˙ œœ œ œ œ œ œ œ
œ œ œ œœ œ
Œœ
ŒœŒœ ˙ ˙# œ
œ œ œ
œ œ œ œœ# œ œ œ
˙ ˙# œœ œ œ œ œ œ œ
œ# œ œ œœ œ
Œœ œ œ#
Œœn œ
œ œ œ
æ
˙
œnœn œ œ
æ
˙
œœ œ œ
æ
˙œœ œ œ
æ
˙œœ œ œ
æ
˙ ˙
ÓœŒœŒ
w# œ œ œ œ
24
Figure11.Motiveofthisexcerpt,MozartSymphonyNo.35,movementIV,measure9-40
Thismotivehasnotonlytheperfectfourthintervalbutalsofollowswithashiftdownto
aminorthirdandashiftbacktothesamepitch(A).Thebarfingeringaloneisnoteasy.In
addition,thepivotfingeringfortheminorthirds(A-F#-A)makesthisexcerptdifficulttoplay
eveninamoderatetempo.Inafasttempo,whenthetempogoesbeyondwhattheplayerscan
possiblymanage,thepropersimplificationwillbenefittheclarityandsavetheharmonyforthe
ensemble.Theyellowcirclesindicatethenoteswhichcouldbeomittedwhenplayerschooseto
simplify.
Figure12.MozartSymphonyNo.35,movementIV,measure9-40
withsimplificationmarked
Figure13.MozartSymphonyNo.35,movementIV,measure26-27,rearrangedversion
25
5.5.2 MozartSymphonyNo.39inE-flatMajor,K.543
Thekeyofacompositioncanbeaproblematicelementinoctavation.Mozart’s
SymphonyNo.39isinthekeyofEflatmajor.Althoughthetonicisonlyahalf-stepbelowthe
lowestnoteofthebass,allthetonicE-flatsmustbeoctavatedwhenusingaregular4-string
bass.Itobviouslydistortsthedirectioninthescalepattern.
Figure14.SymphonyNo.39,movementI,introduction
Inmeasure18,theascendingscalepatternwasthelastandtheheaviestoneofthe
threescales.Butthepatternmustbebrokenwiththe4-stringbassduetotheinstrument’s
naturalrange.Itisnotsuggestedtooctavatethewholepatterntokeepthemusicaldirection
sinceitisthelowestoneofthethreescalesanditleadstotheconclusionoftheintroduction.If
octavationisapplied,itwouldplacetheentirescaleuphighontheGstring,thehigheststring
onthebass.Theregisteristoohighforthesolidandtranquilloqualitytheintroductionis
seeking.Althoughoctavatingthefirsttwonoteswouldsacrificethemusicaldirection,itisthe
f f f p
Adagio
9
f p
13
f
17
p
20
c?bbb
?bbb
?bbb
?bbb
?bbb ∑
1
˙œ ™™ œ
r˙
Ó ˙œ ™™ œ
r˙
Ó ˙œ ™™ œ
r˙
Ó œ ŒœŒ œ
j ‰œJ ‰ œ
j ‰ œnj ‰
œ ≈ œœ ≈ œ œ ≈œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ
œ ≈œœ ≈œœ ≈œœ ≈œ ˙ ‰ œn œœœœœœ œb
œœ œ œœ
≈œ œ
≈œœ
≈œœ ≈œ ˙ ‰ œœœœ
œœœœœ œ œn œ
œ
≈
œ œn≈œb œ
≈œ œ
≈ œ ˙ ‰œb œb œ œb œ œ œ œb
œb œ œn œ œ≈œn œ ≈ œ œ ≈ œb œ ≈ œ
œ ‰™ œrœ ‰™ œ
rœ Œ Ó ˙n
˙b ˙ ˙b œJ ‰ Œ œ
j ‰ Œ
26
bettersolutionforthe4-stringbass.Thebestsolutionwouldbetousethe5-stringinstrument
orthe4-stringbasswithanextension,bothofwhichcanplayallofthenotesaswritten.
InSymphonyNo.39,Mozartusesadescendingoctaveastheopeningmotiveofhis
work.Throughoutthesymphony,octavesfeatureprominently,creatingan“octaveeffect.”To
offervariationofthepitches,hedropsthenotesdownanoctaveforemphasis.Heappliesthis
intheverybeginningofthismovement.
Figure15.MozartSymphonyNo.39,movementI,measure1-2
Figure16.MozartSymphonyNo.39,movementI,measure1-2,octavationapplied
Ifoctavationisappliedinthefollowingexamplefromthesecondmovementof
Symphony39,theemphasisonthe“octaveeffect”disappears.Inthiscase,atenutooraccent,
dependingonthemusicalcontext,isneededtoreinforcetheheavinessofthetonic.This
solutioncouldbeusedinmanyplacesthroughouttheentiresymphony.
Figure17.MozartSymphonyNo.39,movementII,measure105-108
f
Adagio
c?bbb
˙œ ™™ œ
r˙
Ó
f
Adagio
c?bbb
- - -˙ œ ™™ œR
˙ Ó
105
?bbbbœnœn œ œ
œbœb œ œ
œœ œ œ
œœ œ œ
œœ œ œ
œœ œ œ
œj ‰ Œ
27
Figure18.MozartSymphonyNo.39,movementII,measure105-108,
octavationapplied
Mozartusesmany“octaveeffects”intheendingofthefinalmovement.InFigure19,
color-codingindicatesthesamepatternindifferentoctaves.Notallofthemneedoctavation,
butwhenoctavationisrequired,itisimportanttomakegooduseofdynamicsandarticulation
todistinguishthedifferencesbetweendifferentoctavepositions.ThegreenpatternofFigure
19isagoodexampleofMozart’s“octaveeffect”.Whenthepassageisplayedbya4-string
bass,octavationisneededforthelowerstatement.Thehighandlowstatementwillresultin
thesameoctave.Inordertodistinguishthetwostatements,thefingeringissuggestedinFigure
20.DandAstringsofferdifferentsoundquality.Onplayingthesecondstatement,heavierbow
weightisrequiredtoexaggeratethedifferencebetweenthetwostatements.
Figure19.MozartSymphonyNo.39,movementIV,measure247-264
Figure20.MozartSymphonyNo.39,movementIV,measure241-250,suggestedversion
105
?bbbb
> > > >
œnœn œ œ
œbœb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œj ‰ Œ
241
?bbb
D
1 0 1 0
D A A
1 2-
2 1
œœœœœœœœ œœœœœœœœ œ œ œ œæ
˙æ
˙æ
˙ œœœœœœœœ œœœœœœœœæ
˙æ
˙
28
5.5.3 BeethovenSymphonyNo.9inDminor,Op.125,1stmovement
Asapioneerofromanticorchestration,Beethovendevotedhimselftoexploringnew
expressivequalitiesofthebass.Heisconsideredtobethefirstcomposertofullyseparatethe
doublebassfromthecelloinorchestralinstrumentation.29Beethovennotonlyfreedthe
doublebassfromthestrict,confinedoctaveduplicationofcellolines,butalsousedits
independentmusicallineasavehicleformusicalexpression.Atthattime,doublebassplayers
hadanotoriousreputationduetothewidespreadpracticeofsimplification,butBeethoven's
writingfortheinstrumentdemandedadvancedtechniquesandvirtuosity,forexampleinthe
well-knownRecitativethatopensthe4thmovementofthe9thsymphony.30
Beethoven'sacquaintancewiththevirtuosobassistDomenicoDragonettimayhave
contributedtohismorechallengingbasswriting.RodneySlatfordwrote,"Dragonettimet
Beethovenin1799andplayedoneofhissonatasforhim...,thecomposerjumpedupand
embracedbothDragonettiandhisdoublebass."31FurtherevidencecanbefoundattheRoyal
PhilharmonicSocietyofLondon,whichpreserveslettersdocumentingthatDragonettihadseen
thescoreofBeethoven'sNinthSymphonybeforeheacceptedaninvitationtoperforminthe
work’sLondonpremiere.32EventhoughDragonettiuseda3-stringbasstunedA-d-gand
Germanywasinfavorofthe4-stringbasstunedasourmoderninstrumentE-A-d-g,Beethoven,
nevertheless,wroteinhisscoresforthebasstoplaydowntothelowC.
29Fink,op.cit.,201.30Forsyth,op.cit.,454.31RodneySlatford,"DragonettiandBeethoven'sNinth,"JournalofTheInternationalSocietyofBassists
14,no.1(Fall1987):51.32Ibid.,50.
29
ThetwosignificantchallengesforbassplayersinexecutingBeethoven'sbasspartsare
rapidnotesandlownoteswhichcandescendasfaraslowC.Bothtypesofnotesweremost
likelysimplifiedbytheold-schoolplayers.Theseperformershadnochoicebuttojumpan
octavehigherwhentheycouldnotplaythenoteswrittenbelowtheEstring.Thisnotonly
distortedthemusicallinethatthecomposerintended,butalsocreatednewtechnical
difficultiesparticularlyincreatinglargeleapsinthelowestpositionsandbycreatingawkward
stringcrossings.Clearly,inperformingthistypeoflinetheproperarrangementofoctavation
wasneeded.
ThefollowingexcerptisfromthefirstmovementofBeethoven'sNinthSymphony.In
thescore,thebassdoublesthecello,playingasimplifiedversiontooutlinetheharmonic
contour.ThechromaticprogressionoverarecurringDpedaliscrucial.33However,thelowest
noteofthedoublebassinBeethoven'stimeistheEstringwhichisa2ndabovetherecurring
pedalD.
Figure21.Beethoven'sNinthSymphony,movementI,letterS
33StuartSankey,"OnthequestionofminoralterationsinthedoublebasspartsofBeethoven,"Annual
Journal,TheInternationalSocietyofBassists,vol.1,no.4(Spring1975):95-99.
°
¢
Vc.
Cb.
ff
ff
?b
?b.
..
. ..
.
. .
..
. ..
.
.
æ
æœnæ
æ
œ
æ
æ
œ
æ
æœæ
æœæ
æ
œ
æ
æ
œ
æ
æœ æ
æœnæ
æ
œn
æ
æ
œ
æ
æœæ
æœ#æ
æ
œ#
æ
æ
œ
æ
æœ
œnœ
œ
œ œœ
œ
œ œnœn
œ
œ œ#œ#
œ
œ
30
InordertoplaytheDpitch,playerswhousedtheregular4-stringbasshadnochoice
buttoapplyoctavationontheunplayablenote.Butinthiscase,ifthelowDistakenanoctave
higher,thecontourofthelinethatestablishestherecurringpedalDwillberuined.
Figure22.Commonoctave-transpositionpracticefordoublebass
InordertoavoidchangingBeethoven'soriginalharmonicoutline,thefamousdouble
basspedagogue,StuartSankey,34suggeststorearrangethepassageasshownbelowto
preservetherecurringDpedal,animportantmusicaldeviceofthispassagewhichretainsthe
musicallineBeethovenintendedinhisoriginalwriting.35
Figure23.RearrangementsuggestedbySankey
Withthe5-stringinstrumentorthe4-stringbasswithanextension,thispassagecould
beplayedasoriginallywritten.
34StuartSankey(1927-2000)wasanoutstandingpedagogueandperformerwithaninternational
reputation.HisstudentsincludedGaryKarr,thefirstbassisttomakeacareerasasoloistinthetwentiethcentury,andEdgarMeyer.HetaughtattheJuilliardSchool,theUniversityofTexas,IndianaUniversityandtheUniversityofMichigan.Hewasonthefacultyfornearly50yearsattheAspenMusicSchool.Besideteaching,healsomaintainedactiveorchestralperformancesasprincipalbasswiththeAmericanSymphonyOrchestra(1962-69)andmanyotherleadingorchestrasintheU.S.includingtheMetropolitanOrchestra,theNBCOpera,theNewYorkCityBallet,theNewYorkCityOpera,etc."TheUniversityRecord,"UniversityofMichigan,<http://ur.umich.edu/9900/May08_00/21.htm>,(AccessedMarch9,2015).
35Sankey,op.cit.,96.
?b
.. . .
etc... . .
œœ œ œ
œœ œ œ
?b
. ..
. . ..
. . ..
. etc.. ..
.œ œœ
œ œ œœ
œ œn œœ
œ œ# œœ
œ
31
CHAPTER6
SELECTEDORCHESTRALEXCERPTSFROMTHEROMANTICPERIODAPPLYINGOCTAVATION
6.1 Background
TheGermancomposerRichardWagner(1813-1883)wasalsoinstrumentalin
transformingwhatwasrequiredofbassplayersin19thcenturyrepertoire.WorkslikeDie
WalkÿreandDieMeistersingerincludedthelowestpossiblenotesintheorchestra.Soonthe
useofthislowestregisterbecamemainstreamamongcomposersinorchestralbasswriting.
Achievingfeasiblewaystoproducethenotescalledonbycomposersbecameoneofthemost
importantquestsintheRomanticera.Inaddition,advancesintheconstructionandplayingof
thelowestbrassandwoodwindinstrumentsledtothoseorchestralsectionsgraduallyreplacing
thefunctionofthe3-stringbassintheorchestra.Soonafter,bothcomposersandconductors
changedtheirexpectationforbasssectionstoproduceasmoother,fullerandheaviersound.
6.2 Problems
Althoughcomposersinthe19thcenturytrumpetedtheirneedsfortheabsent16-foot
register,thefundamentaldifficultyforthedoublebasstobringbackthislowerrangefellon
stringmanufacturers.Itwasn’tuntil1870thatthebreakthroughmetal-wrappedstringwas
finallyinvented,whichallowedanincreaseofthespecificdensityofthestringswithout
excessivelyenlargingtheirdiameter.36Thesethinner,denserstringswereeasiertoplay.The
firstdoublebasswiththe16-footCstringwasexhibitedinLondonintheInternational
36Brun,op.cit.,149.
32
Exhibitionof1872accordingtothefamousGermanacousticianHermannvonHelmoltzinhis
bookOntheSensationofTone.37
6.3 Results
Thisbreakthroughindoublebassstringsmadeitpossibletointegratelow-pitchedtones
intoorchestralworks.Composerswereofficiallyabletoexplorethelowrangeindoublebass
andthepartsweremorelikelytoachievethecomposers’expectation.Toachievetheselow
notes,bassplayerscameupwithseveralsolutionsfortuningandinstrumentset-up.These
included:re-introductionofthefifthssystemoftuning,scordaturaofthebottomstringto
lowerpitches,tuningofthedoublebassafourthlower,introductionofthefive-string
orchestraldoublebass,andcontra-Cextensionapproaches.38However,itwashardlypossible
fortheentirebasssectiontoequipthemselveswithevenjustoneofthesetupsmentioned
above.Thedifferentsetupsrequireddifferentmethodsofplaying.Asaresult,thedivergenceof
playinginthesectionwasdifficulttoavoid.
Theadventofmetal-wrappedstringsalsoallowedcomposerstomaketheirintentions
clearintheparts.Theybegantopreventunwantedtranspositionandpossibleambiguityby
placingwritteninstructionsinpartslike‘nottobetransposedupanoctave’or‘five-stringbass
only’orbyprovidingapartwithdivisiforregularbassesandthosebassescapableofthelow
pitches.
37HermannvonHelmotz,OntheSensationofToneasaPhysiologicalBasisfortheTheoryofMusic.
(London:Longmans,Green,andCo,1875),705.38Brun,op.cit.,150.
33
6.4 ModernSolutions
Unliketheorchestralworksofthebaroqueandclassicalera,modernbassplayersare
expectedtoplayeachnoteaswritten.Simplificationisnolongeraresolutionfordifficult
passages.Itistheplayers’jobtoperformthemusicaswritten.
Inthemodernbassworld,thereisasenseof“survivalofthefittest”tomostadequately
obtainthelowerpitchesdemandedbycomposers.Thishasledtotheprevalenceofthe4-string
basswithacontraCextensionandthefive-stringorchestraldoublebass.Asdiscussedin
previouschapters,bothmethodshavetheiradvantagesanddrawbacks.Butthemostcommon
scenariowhichbothmethodsface,ashappenedintheRomanticera,arethemixedsections
containingtheregular4-stringbassandthebasseswhichareequippedtoreachthelow
pitches.Theregular4-stringbassesareresponsibleforprovidingclaritywithappropriate
octavationforthesection.Thebasseswiththeequipmenttoreachthelowpitcheshavethe
responsibilitynotonlytoaccessallthelownotesaswrittenbutalsotode-octavatethose
hiddenlownotesthatcomposersoriginallyintended.
6.5 SelectedOrchestralExcerpts
6.5.1 BrahmsSymphonyNo.2inDMajor,Op.73
Owingtothediligentandmeticulousnatureofhiscompositionalprocess,Johannes
Brahms(1833-1897)wrotewithgreatawarenessoftheexactrangeforeachinstrument.His
wasnotastylethatallowedforanyimprovisation.Thespontaneousoctavationwhichbass
playerswereaccustomedtowasoff-limits.BrahmsfollowedinBerlioz’ssteps,writingouteach
noteofeverypart.Hespecifiedalltheneededoctavationinthedoublebassparts,assuming
thatallbassesusedinhisorchestralworksweretraditional4-stringinstruments.Itwasnot
34
difficulttoobserveBrahms’frustration.AsBrundescribed,“theerraticpatternofthatline
comparedwiththatofthecellospeaksvolumesabouthisfrustrationswithpremature
interruptionsthatproducepreciselytheoppositeoftheintendedeffect.”39
Tocompensateforthelimitedrangeofthe4-stringbass,Brahmsmadeoctavation
adjustmentsinhisbassparts.Whencomparedwithcelloparts,themusicallinesofthedouble
bassarebrokenandthedirectionofthelinesarechanged.Thesepassagesareoftenmarked
withforcrescendo.Thedownwarddirection,accompaniedwiththeincreasingforceinvolume
allsuggestthearrivalatalowdestination.Butduetotheinstrument’slimitationsinhistime,
Brahmschosetotakefullcontrolofhiscompositionandmadehisowndecisiononhowto
rearrangethenotesoutofthenormalrange.
ThefollowingexcerptsarefromBrahms’SecondSymphony.Figure24and25arebothf
orffandFigure26isinacrescendopassagetof.InFigure24,Brahmsoctavatedthearrival
noteinthebassline.InFigure25,therearethreenotesbelowtheEwithasf.Brahms
octavatedallthreenotes.InFigure26,althoughthereareonly3notesbelowtheE,Brahms
brokethephraseandoctavatedhalfofthephrasewhichisonemeasureandonebeat.Figure2
isinamppassage.TheD#isinthemiddleofa3-notepatternwhich,inthiscase,Brahms
omitted,insteadofoctavatingtheonenotetoavoidtheerraticjumpinthemiddleofasoft
phrase.
39ibid.,146.
35
Figure24.BrahmsSecondSymphony,movementI,measure54-58
Figure25.BrahmsSecondSymphony,movementI,measure244-250
Figure26.BrahmsSecondSymphony,movementII,measure82-86
Figure27.BrahmsSecondSymphony,movementI,measure309-314
36
AlthoughBrahmschosetobreakthemusicallineinordertotakecontrolofeachnotein
hiscomposition,hismanuscriptarrangementforfour-handpianoofhissymphonicworksatthe
LibraryofCongress40providesstrongevidencethatBrahmswouldhavepreferredthebassline
completingthephraseanddescendingtolowC.TheronMcClurecomparedthesemanuscripts
withthemodernscoreinhisarticle“BottomBrahms”,publishedintheISBAnnualJournal.41
McClurefoundthatnotallthebasslinesbelowtheEweretakendownanoctave
beneaththecellosinthemanuscripts.Whilethecellopartwouldhaveafullmusicalline,
Brahmschosetoomitnotesfromthebasspartintwoinstances:first,duringquietmoments
andduringdiminuendoswhentheadditionofbottomweightwouldinterferewiththeeffectof
diminuendo,andsecondly,duringwoodwindpassageswherethedeepcontratoneswouldnot
balancewellwiththewoodwinds.42
Instudyinghismanuscript,Brahmsprovidedthemodernplayersplayingthe4-string
bassimportantguidelinesonhowandwheretooctavatethenotesoutoftheirplayingranges.
McCluresuggestedintheendofhisarticlethat“bassistsmayingoodconsciencedropbelow
writtenEwhenmusicalconsiderationssuggestsuchdigressionfromtheprintedscore.”43
6.5.2 StraussAlsoSprachZarathustra,Op.30
InAlsoSprachZarathustra,RichardStrausstookthebassallthewaydownpastthelow
CtoalowB.Tocomplywiththisrequest,FriedrichWarnecketooktheideaofalargebass
tunedBEAdfromWenzeslasHauseand“advisedcomposerstowriteforatripartitedouble
40intheGertrudeClarkWhitallFoundationManuscriptCollection41TheronMcClure,"BattomBrahms,"JournalofTheInternationalSocietyofBassist,vol.3,no.4(Spring
1977):318-32042ibid.,81.43ibid.,81
37
basssectionincludingahigh,baritonesolobasstunedafourthhigherandalow-pitched
instrumenttunedafourthlowerthanthecurrentorchestrabass.”44
Figure28.StraussAlsoSprachZarathustra,
onemeasurebeforeNumber10tosixteenmeasuresafterNumber10
Figure29.FriedrichWarnecke,tripartitebasses
Withthistripartitebasssection,thebassesarefreeofextensionmechanismsor
practiceofscordatura.Instead,thefreedomofopenstringsoffersafullandpleasingsound.
Butthissolutionisnotpractical.Thelowrangeofthelowbassandthehighrangeofthe
baritonebassare,afterall,rare.Itisawastetousethosetwouncommonbassesforonlyone
sectionofthepiece,leavingareducedsectionofdoublebasseswithanormalset-uptoplay
therestoftheconcertprogram.
Amixedsectionwiththe4-stringbass,the4-stringbasswithanextensionandthe5-
stringbassisthebettersolutionforZarathustra.Itisnecessaryforthispiecetohaveatleast
44Brun,op.cit.,155.
?‹
Baritone bass tuning Middle bass tuning Low bass tuning
ww
ww
ww
ww
ww
ww
38
onebassthatcanreachthelowB.Octavationisneversuitableforthebeginningsoloofthe
quartet.
Figure30.StraussAlsoSprachZarathustra,beginningofbassquartet
TheothercrucialperceptionofperformingR.Straussforabassististounderstandthat
thecountlessnotesinthepartaremoreforaneffect,notnecessarilyfortheindividualpitchto
beheard.Insteadoftakinggreatefforttoplayeachnote,aimingtocreatethemusicaleffect
wasthecomposer’sprimaryconcern.
Figure31.StraussAlsoSprachZarathustra,fourmeasuresbeforeNumber3
Figure32.StraussAlsoSprachZarathustra,fourmeasuresbeforeNumber3,
withmusicaldirectionremark
TheabovemotiveistheprototypeoftherhythmicpatternthroughoutZarathustra.The
firsttriplethassevensmallnotestofitin.Thetempooftheeighthnoteequalsapproximately
112.Itisalmostimpossibletoplayatthisspeedandenunciateeachsinglepitch.Instead,the
°
¢
pp
?3. Pult.
sehr langsam.
∑ ∑ ∑ ∑
?4. Pult. 3 3
- -
3
œœ
˙ œœ# ˙ œb œ œb œ
œn œ# ˙b ˙ ˙b
f
? > B ?3
33
œ# œ# œ# œ# œ# œ œ‹ œ# œn œ# œ# ™
œn œ#R ≈ Œ
39
rumblingeffectispossiblythetonepaintingwhichStrausshadinmind.Therefore,itismore
importanttokeeptherhythmicpulsewithinthephrase,tofollowthemusicaldirection,to
outlinethenoteswhichgivethephraseshapeandtoplaygesturally.
Figure33.StraussAlsoSprachZarathustra,fourmeasuresbeforeNumber3,
rumblingeffectsuggestedversion
Thefollowingexamplehasthreenoteswhicharebelowthelowestnoteofthe4-string
bass.Thegestureofthispatternisaswiftmotiongoingupandfollowedbyagroupofrapid
separatenotes.ThegesturechangesrightaftertheGwhichisattheendoftheslur.This
passageisoftenoctavatedfromthefirstlowCtotheGtokeeptheswiftmotioninaslurandto
notlosethemusicaldirectionbythechangeofthegesture
Figure34.StraussAlsoSprachZarathustra,elevenmeasuresbeforeNumber4
Figure35.StraussAlsoSprachZarathustra,elevenmeasuresbeforeNumber4,
rearrangedversion
ThefollowingexcerpthasonlythelastthreenotesfallbelowthelowE.Itisoftenonly
thelastthreenotesthatareoctavatedasinthefirstexamplebelow:
f
? > B ?3
33
œ#œ œ‹ œ# œn œ# œ# ™
œn œ#R ≈ Œ
?bbb
3
3
3
Œ
œ œ œ œ œ œ#œ œ
æ
Ͼ
Ͼ
œ
?bbb
3
3
3
Œ œ œ œ œ œ œ#œ œ
æ
œ
æ
Ͼ
œ
40
Figure36.StraussAlsoSprachZarathustra,sixteenmeasuresbeforeNumber4
Figure37.StraussAlsoSprachZarathustra,sixteenmeasuresbeforeNumber4
suggestedversion1
ItisclearinFigure35,thatthemusicalgestureisgoinginadownwarddirection.The
onlywaytokeepthedownwardmotiontotheCinthe4-stringbassistooctavatethenine
notesofthetriplet,immediatelyfollowingalongnoteandprovidingampletimeforabigshift.
Figure38.StraussZarathustrasixteenmeasuresbeforeNumber4
suggestedversion2
6.5.3 ShostakovichSymphonyNo.5inDminor,Op.47
Figure39.ShostakovichSymphonyNo.5,twomeasuresafterNumber18
TheabovepassagehasonlyoneDbeneaththelowestnoteofthe4-stringbass.The
entirephrasecontainsarhythmicpatternwithtwoeighthnotesandonequarternote.Within
them,eachofthesegmentsconsistsofanupwardintervalofasecondorthirdandthena
f
Bewegt44
?bbb
3 3
3
3
w ˙ ™ œ œ œ œ œ œ œ œ œ ˙ ™
f
Bewegt44
?bbb
3 3
3
3
w ˙ ™ œ œ œ œ œ œ œœ œ ˙ ™
f
Bewegt44
?bbb
3 3
3
3
w ˙ ™
œ œ œ œ œ œ œ œ œ ˙ ™
?pizz. poco animando
œ# œn œœ# œ# œ# œ œb œ œn œb œ
œn œn œ
41
downwardintervalofasecondorthird.IfoneweretooctavateonlythelowD,thedownward
intervalwouldsuddenlybereplacedbyamajorsixthintervalupwhichseemsoutofplace.
Figure40.ShostakovichSymphonyNo.5,twomeasuresafterNumber18
withalargejumpintheend
Foramixedbasssection,thebestsolutionistoleavethelowDforplayerswhohavean
extensionora5-stringbass.Butforasectionlackingtheseinstruments,itisbesttooctavate
thelast3-notepatterntopreservetheintegrityofthemotive.
Figure41.ShostakovichSymphonyNo.5,twomeasuresafterNumber18octavatingthelastthreenotesforabasssecionusingonly4-stringbasses
Figure42.ShostakovichSymphonyNo.5,sixmeasuresafterNumber22
Thisexcerptisoftenaskedforatorchestraauditions.ThenotesbelowthelowEare
circledinred.Ifonechosetooctavateonlythosenotes,thelinewouldbecomeveryjumpyand
wouldbeimpossibletoplaysmoothlywithslurs.
Figure43.ShostakovichSymphonyNo.5,sixmeasuresafterNumber22,
octavationonlyappliedonthenotesbelowtheE,resultinginbigjumps
?pizz. poco animando
œ# œn œœ# œ# œ# œ œb œ œn œb œ
œn œnœ
?pizz. poco animando
œ# œn œœ# œ# œ# œ œb œ œn œb œ
œn œn œ
?
> > > >
>‰œb œb œ œ œ œb œ
œb œb œ œnœn œb œb œb œ œn
J
42
Therefore,OrinO’Briensuggestsoctavatingfromthebeginningofthisphraseand
endingtheoctavationafterthelowD.Thisway,halfofthelineispreserved,butstillbrokenby
thesuddenjumpdowntothelowE.
Figure44.ShostakovichSymphonyNo.5,sixmeasuresafterNumber22
suggestedversionbyO’Brien
Figure45.ShostakovichSymphonyNo.5,sixmeasuresafterNumber22
octavationappliedfortheentirephrase
Inordertopreservetheentiremusicalline,octavatingfromthebeginningtotheendis
necessary.Butinthisway,thelowregisteranddeepesttimbreofthedoublebasswillbe
missing.Itwouldbebesttohaveamixedsectionandallowtheextensionorthe5-stringbassto
takecareofthelownotes;the4-stringbassmusiciancanapplyO’Brien’soctavation
suggestion.
?> > >
>
>‰œb œb œ œ œ œb œ œb œb œ œn
œn œb œb œb œ œnJ
?> > > >
>
‰œb œb œ œ œ œb œ œb œb œ œn œn œb œb œb œ œn
J
43
6.6 Conclusion
Ihopethisstudyhassucceededingivinganoverviewofthewidespreadinconsistencies
presentinorchestralbassplayingthroughoutthecommonpracticeperiod.Thefactremains
thatevenintoday’sbestorchestras,octavationandsimplificationarenotalwaysapplied
uniformly,andstandardsvarywidely.Ihopethisstudywillprovidecontemporaryorchestral
doublebassperformerswithabetterunderstandingofsimplificationandoctavationandoffer
themapplicableguidelinesforrepertoireacrossseveralstylesandperiods.Finally,Ihopethis
studywillachieveitsgoalofraisingawarenessfortheneedofuniformsectionplaying,
promotingsolutionsthatwillraisetheplayingstandardofanyorchestralbasssection.
44
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