Divertimento concertante for double bass / Nino Rota -- Gran duetto no.3 for two double bass / Giovanni Bottesini -- Two pieces for double bass and piano, op.9 / Reinhold Gliere. / text

Cello suite no.4 in E-flat major / J.S. Bach -- Zigeunerweisen / Pablo de Sarasate -- Gran duo no.2 for two double basses / Giovanni Bottesini. / text

Peter Vasks's sonata for double bass KBB4. / text

Cello suite no.1 in G major / J. S. Bach -- Kol Nidrei / Max Bruch -- Sonata for double bass and piano / Paul Hindemith -- Passione amorosa / Giovanni Bottesini. / text

Intermezzo, op.9, Nr.1 ; Tarantella, op.9, Nr.2 / Reinhold Gliere -- Violoncello Suite #1 in G major, BWV 1007 / Johann Sebastian Bach -- Double bass concerto in B-minor / Giovanni Bottesini -- Kol Nidrei / Max Bruch / text

Four pieces for double bass / Reinhold Gliere -- Divertimento concertante / Nino Rota -- Variations for one string on a theme from Rossini's Mose in Egitto / Niccolo Paganini / text

This creative project explores the technical and musical possibilities associated with the composition of an electro-acoustic work, scored for double bass, eight-channel digital audio, and interactive electronics, that integrates the uniqueness and spontaneity of live performance with the textural, timbral, and spatial complexity that can be achieved through the use of prerecorded digital audio. The most significant compositional idea that is explored in this work is the interactions between the double bass, digital audio, and interactive electronics. These three components interact with one another on several levels. This is not limited to harmonic, melodic, or rhythmic components, but also includes such attributes as timbre, texture, dynamics, timing, improvisation, and sound projection. To create this interaction, several computer applications are used for the realization of the digital audio and score notation, and in live performance. / School of Music

Contemporary literature for the double bass includes a large body of new techniques of double bass playing. Though these techniques are not included on any didactic materials for the double bass, they are frequently found in contemporary compositions. The only work which enumerates these new techniques is Bertram Turetsky's book, The Contemporary Contrabass.This dissertation is intended to close the gap between composer and double bass performer by presenting ten etudes which systematically cover the most important of these techniques as outlined in Turetsky's work. The categories in which these new techniques have arisen are those of arco performance, pizzicato performance, harmonics, percussion sounds, and vocal and speech sounds. In addition to these categories, two which pose performance difficulties unique to contemporary music, but not unique to double bass performance, have been considered in this dissertation. These are changing meters and new notation systems. These seven categories of double bass performance techniques, then, form the essential content of the ten etudes, which are composed so that they present these techniques in their typical musical context.The first four etudes are concerned with changing meters, one of the most basic performance problems in contemporary music. The first etude is in quintuple meters only, but the metrical complexity of the first four etudes gradually increases to encompass rapidly changing meters and metric modulations. Etudes V and VI continue to use changing meters, but they are primarily concerned with contemporary pizzicato techniques. Etudes VII through X are concerned with new notational systems, including proportional notation, frame notation, and graphic notation. These latter etudes also present other contemporary techniques in conjunction with the study of notation. Etude VII introduces proportional notation, as well as the various types of harmonics common in contemporary literature. Etude VIII continues the study of proportional notation, but introduces percussion sounds. Etude IX continues the study of percussion sounds, but places them in the context of frame notation, thereby also introducing classical improvisation. Etude X uses percussive and speech sounds in the framework of a simple graphic notational system. Each of these ten etudes is preceded by a text which fully explains the new techniques used.Each etude has been written to approximate the musical styles in which these contemporary techniques are used. These etudes can be performed in concert, as well as in lessons and in practice sessions. It is hoped that these etudes will further enlighten double bass players in the use of new contemporary techniques and contribute to the increased performance of the contemporary works in which they are found.

Thesis (M.S.)--Auburn University, 2007. / Abstract. Vita. Includes bibliographic references (ℓ. 36-44)

Thesis (M.S.)--Virginia Polytechnic Institute and State University, 1991. / Vita. Abstract. Includes bibliographical references (leaves 87-91). Also available via the Internet.