Thesis (M.A.)--Ohio State University, 1974. / Includes bibliographical references (leaves 217-220). Available online via OhioLINK's ETD Center

Thesis (M.A.)--Ohio State University, 1966. / Includes bibliographical references (leaves 93-94). Available online via OhioLINK's ETD Center

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed on September 12, 2006). PDF text of dissertation: vii, 90 p. : ill., music ; 10.25Mb. UMI publication number: AAT 3208109. Includes bibliographical references. Also available in microfilm, microfiche and paper format.

The purpose of this study is to investigate the g-d-G-C scordatura tuning for the double bass. The study will survey the historical use, develop a theoretical rational, investigate the pedagogical implications, and explore the compositional opportunities of the scordatura tuning.Though there are many unanswered questions concerning the historical use of this tuning system, it is clear that the double bass has a long history of using scordatura tunings. The sympathetic/fifths tuning (g-d-G-C) was the basis of Violoncello Suite No. 5 by J. S. Bach, and there are three known later uses of it.After a brief history of temperament, the study concludes that this particular tuning greatly improves the resonance and intonation of the double bass. The placement of the g/G strings between the d and C strings strengthens the sonic output and vibrancy of the bass because of the close relationships between the natural harmonic series of each string. The proximity of the tuning to the upper part of the circle of fifths (C/G/D) is an additional benefit.Though the scordatura tuning creates more difficult technical challenges than the all-fourths tuning, this tuning system works well in orchestral, solo and jazz performance. The scordatura tuning is easily adapted to the bass guitar and offers many new opportunities for jazz improvisation. This tuning system is not particularly effective in popular commercial music venues.Since the 1960's new pedagogical approaches to sequence of instruction, concepts of position and approaches to fingerings have emerged. This new school of bass pedagogy suggests how a method could be developed for learning the scordatura tuning.Most of the traditional orchestral, ensemble, solo and jazz literature can be adapted to the tuning. Though it may be technically possible to play a work originally written for the all-fourths tuning using sympathetic/fifths, such a transcription may not be appropriate.Finally, the study includes four original compositions with analysis and discussion that demonstrate the idiomatic possibilities of the tuning: Sonata No. 5 for Scordatura Double Bass, Quartet No. 3B for Mixed Double Basses, Overture for Jazz Combo, and Concerto No. 3 for Scordatura Double Bass.Total Words of Abstract: 347 (does not include title) / School of Music

Suite no.5 in C minor for violoncello solo / Johann Sebastian Bach -- Treizieme concert a 2 instruments a l'unisson / Francois Couperin -- Concerto for couble bass in b minor / Giovanni Bottesini -- Bass trip / Peteris Vasks. / text

This dissertation is intended to fulfill a need for intermediate study material for the double bass. Studies that have been written, using twentieth century compositional techniques, are for the most part out of reach of the intermediate student. The extant contemporary studies extend the range of the instrument beyond the usual orchestral gamut and, combined with rapidly changing meters, rhythmic complexities, and new notation systems, tend to be studies for the more mature student of the double bass.The goals for the studies as instructional aids were (1) to select, arrange and create contemporary studies and pieces for the intermediate double bass player; and (2) to limit these studies to the lower gamut of the instrument and prepare the intermediate student for the technical and musical complexities that are a part of the extant studies for the more advanced student of double bass.Musical styles used are: jazz rhythms and harmonies, folk songs and dances, liturgical melody, classical suite and serial set.As an aid to understanding these studies and pieces, a tape recording of each study is an integral part of the dissertation. Included are two keyboard accompaniments and suggestions for the use of other instrumental combinations. It is hoped that some studies may be found appropriate for concert or recital performance.Study One is concerned with the performance problems of unbarred recitative and color usage. Ponticello, glissando, pizzicato, ricochet, tremolo and col legno are added to achieve color contrast in this study.Study Two consists of four traditional Greek songs. They are written in uneven meters of five and seven and combinations of two and three. Indication for rubato style, Bartok or "snap" pizzicato, portamento,and slurred pizzicato add to the performance problems of this study.Study Three is based on the entire melodic material of "Dies Irae". It is arranged in three settings: (1) improvised, (2) in tempo with guitar accompaniment,and (3) improvised with the use of natural harmonics. Other techniques employed are micro-tones and double stops.Study Four focuses on the problem of spiccato bowing. It is written in the tenor clef to advance reading ability. The piece may be played unaccompanied or with keyboard accompaniment.Study Five is a study in phrasing. It is an atonal work with piano accompaniment. and is based on a four-note set. The solo line, by transposition, eventually employs all of the tones of the chromatic scale.Study Six is designed as a study in pizzicato,. Pizzicato techniques are: slurred, drummed, left-hand, thumb, Bartok, arpeggiando and L. H. pizzicato semmre. The pitches are a combination of pressed tones and natural harmonics.Preceding each piece is a description or discussion of the technical problems peculiar to that study.

Duetto for violoncello and doublebass / G. Rossini -- Seven double bass duets / D. Anderson -- Quintet in G major, op. 77 / A. Dvorak. / text

Bird of beauty / Stevie Wonder -- The peacocks / Jimmy Rowles -- Light as a feather / Stanley Clarke -- Ornithology / Charles Parker -- Skylark / H. Carmichael, J. Mercer -- Blackbird / Paul McCartney -- Birdland / Joe Zawinul. / text

Whim of Chambers / Paul Chambers -- Falling grace / Steve Swallow -- Bohemia after dark / Oscar Pettiford -- Our Spanish love song / Charlie Haden -- Chicken scratch / Josef Butts. / text

The integration of styles in 20th century Brazilian chamber music with double bass. / text