During my studies at the Royal College of Music in Stockholm I have been exploring how I can develop as an improviser and as an ensemble musician. The main focus has been to use more arco playing, but also to sing unison and in harmony with the bass in order to broaden my expression. Another aim has been to compose music for my trio to implement my expanded way of performing. When I began the master’s program, I wanted to return to my roots as a classical cellist. With the help from classical teachers I was able to improve my bass technique, especially with the bow, and use that as a way to further widen my improvisation and accompany- ment skills. As a bonus, my cello playing got a boost from this work and it eventually became another important part of my artistic voice. The methods of my project have been to continuously test new ideas in my freelance work outside of KMH. I also interviewed fellow musicians to be able to reflect on whether my newly acquired knowledge and technique have had an effect on the way we make music together. In the thesis I also reflect on my inspiration from other musicians and artists and my personal philosophy not being bound to certain musical genres. Instead I want to take impressions from many different kinds of music and be open to all the different techniques in playing double bass that comes with a wide range of styles. An important result of this process is the making of the album “Arrival”, with Adam Forkelid on piano, Calle Rasmusson on drums and the Polish jazz violinist Adam Bałdych as a guest soloist. The record was released in March 2020 by the international jazz label Prophone/Naxos.

This document traces a link between Pedro Valls and Giovanni Bottesini by identifying traits of Homenaje à Bottesini that resemble techniques and musical characteristics of Bottesini's music, through the comparison of Valls' Homenaje à Bottesini to Bottesini's Fantasia sur La Sonnambula, focusing on the works formal, musical and idiomatic characteristics. This is supported by documented evidence of Bottesini's presence in Spain during Valls's lifetime and Pedro Valls contact with the Italian master of the double bass school of playing and teaching method. This study also proposes adjustments in the notation of Homenaje à Bottesini to more modern and player-friendly score indications, which will help its inclusion into the active double bass repertoire. This document examines performance practice(s) of the work and what advantages or disadvantages these practices have in playing the work, and to ultimately offer a clear pathway, a road map, to performers interested in delving into Pedro Valls's work, with a better idea of what Valls's style consists of and what approach to take when performing his works.

This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming environment Max/MSP. Compositional processes used in the prototype solidify the cross-influential model, demanding flexibility and a dialectic approach. Ideas set forth in the prototype are then explored through a second pair of compositions rooted in cross-influential methodology. The first work Lusmore is scored for solo contrabass and Max/MSP. The second composition Knockgrafton is scored for string orchestra. The flexibility of the cross-influential model is revealed more fully through a discussion of each work's musical development. The utility of the cross-influential compositional model is discussed, particularly within higher academia.

I detta projekt behandlas ämnet misslyckande i relation till mitt framförande av stycket Failing: a very difficult piece for double bass, skrivet av Tom Johnson år 1975. Stycket består av musik för solokontrabas som även har en textrad som ska läsas samtidigt som musiken spelas. Detta med syftet att framföraren ska misslyckas med sitt framträdande. Stycket Failing sätter praxis för att spela musik på sin spets, då det blir oklart vad vi egentligen är ute efter i spelandet. I denna uppsats gör jag ett försök att reda ut hur musikaliska misslyckanden fungerar, samt hur min inställning till misslyckanden kan påverka mitt spelande. Detta sker genom reflektion och begreppsliga resonemang, med vissa referenser till litteratur inom psykologin. Slutsatsen är att jag så länge jag gör ett kvalificerat försök att spela Failing, så kan jag inte misslyckas med mitt framträdande. Detta synsätt leder till minskad prestationsångest vilket kan ge en förhöjd publikupplevelse. Det kan finnas värde i att applicera de begrepp jag kommit fram till på framtida framträdanden, eller fortsätta projektet att skapa tydliga begrepp kring musikaliska framträdanden. / <p><strong>Konsertprogram</strong></p><p>J.S. Bach: <em>Allemande</em> ur Cellosvit nr. 3</p><p>A. Desenclos: <em>Aria</em> ur Aria et Rondo</p><p>S. Koussevitzky: Konsert för kontrabas, Op. 3</p><p>T. Johnson: <em>Failing: a very difficult piece for double bass</em><em></em></p><p><strong>Medverkande</strong></p><p>Joel Hedtjärn, solokontrabas</p><p>Katarina Ström-Harg, piano</p>

Syftet med studien är att få syn på hur jag approprierar kulturella redskap på kontrabas inom jazzgenren och hur den sociala kontexten påverkar mitt lärande. Det sociokulturella perspektivet ligger till grund för min studie och fokuserar på ökat deltagande, mästarlära och appropriering av kulturella redskap. Perspektivet, bakgrundslitteratur och relevant forskning inom området presenteras i bakgrundskapitlet. Efter detta följer ett metodkapitel där jag presenterar metoderna; videoobservation och loggbok vilka är de jag valt att använda för att besvara mina forskningsfrågor. Därefter presenteras ett resultat innehållande två huvudrubriker; Att lära sig i en social kontext samt Improvisation och kommunikation. Resultatet behandlar gehörstraditionen, lärlingars beroende av sina mästares erfarenhet, för och nackdelar med att tillhöra en grupp samt avsaknaden av kvinnliga instrumentalister på Musikhögskolan Ingesund. Slutligen diskuterar jag resultatet utifrån refererad tidigare forskning och bakgrundslitteratur. Diskussionen innehåller bland annat kritiska faktorer inom gehörsspel, hur studenter blir mer centrala deltagare i den sociala praxisen med hjälp av sina lärare samt hur genusperspektivet kan ge en bakgrundsförståelse för de mentala svårigheter jag möter under studiens gång. / The aim of this project is to study how I develop my double bass skills in the jazz genre, using cultural tools that depend on the social context.  The sociocultural perspective focuses on enhanced participation, apprenticeship and learning trough cultural tools which is what I base my study on.  The theoretical perspective, relevant literature, and previous research is presented in the background chapter. In the following chapter I present the methods that I’ve used to answer my research questions, which are videoobservation and keeping a journal. Subsequently I present the results to my study using two headlines; To learn in a social context and Improvisation and communication. The result describes the tradition of playing by ear, apprentices’ reliance on their more experienced masters, pros and cons of group affiliation and the lack of female instrumentalist on Musikhögskolan Ingesund.  Finally, I discuss the results using the previous research and background literature. The discussion is mainly about critical factors that affect playing by ear, how students become more central participants in the social praxis guided by their teachers and how a gender perspective can explain the mental difficulties that I faced during my study.

This research investigates a microcosm of the free jazz/free improvisation environment of the 1970s in "Waterfall," from the album Dave Holland/Sam Rivers Vol. 1. This recording features Dave Holland and Sam Rivers exhibiting highly developed improvisational language and effortless interaction. The purpose of this investigation is to create pedagogical material for bassists who are unfamiliar and/or uncomfortable with performing in an improvisational style that exists separately from the rigid, instrumental role hierarchy of common practice jazz. An analysis of musical elements including melody, rhythm, form, and energy through systems of musical contour, musical forces, and form analysis reveal constituent patterns that can be isolated. These patterns are codified and presented as pedagogical suggestions to assist in the practice of free improvisation.

Labyrinth for piano sextet -- Music for oboe, clarinet, bass clarinet, bassoon and piano -- The ride-by-nights (for treble choir or female choir) / Lai Nga Ting Ada. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1998. / Abstract also in Chinese. / Abstract in English --- p.1 / Abstract in Chinese --- p.3 / Labyrinth for Piano Sextet --- p.4 / Programme notes --- p.5 / First movement --- p.6 / Second movement --- p.17 / Third movement --- p.32 / "Music for Oboe， Clarinet, Bass Clarinet, Bassoon and Piano" --- p.53 / Programme notes --- p.54 / Score --- p.55 / The Ride-by-Nights (for Treble Choir or Female Choir) --- p.75 / Programme notes --- p.76 / Lyrics --- p.77 / Score --- p.78

Made available in DSpace on 2014-07-29T16:25:16Z (GMT). No. of bitstreams: 1 Preliminares.pdf: 153854 bytes, checksum: fe019cb49b69622b03ceb1a9cc8aa297 (MD5) Previous issue date: 2010-03-31 / This paper discusses the use of bowing technique in improvisation with the bass in the Brazilian Instrumental Popular Music (MPBI). The main objective is to develop study strategies through a brief literature review on the bowing technique, its application in North American jazz and the characteristics of improvisation in MPBI. Thus, the paper discusses the results and presents them in the form of suggestion implementation. The paper is organized into three parts: 1) Review of literature on the use of the bow on strings instruments, 2) MPBI improvisation and 3) strategies for improvisation study on double bass with the use of bowing technique in MPBI. It can be concluded that the processes involved in improvisation on the double bass with bowing technique in MPBI have some particularities that should be objects of attention and study. Moreover, there are similarities in the use of the bowing technique in Classical Music, particularly the technique preparation. It also follows that the greater the knowledge of the peculiarities of bowing technique in improvisation, preparing technical and stylistic knowledge of the bassist, the performance will be better. / O presente trabalho discute a utilização da técnica de arco na improvisação ao contrabaixo acústico na Música Popular Brasileira Instrumental (MPBI). O objetivo principal é desenvolver estratégias de estudo, através de uma breve revisão de literatura sobre a técnica de arco, sua aplicação no jazz norte americano e as características da improvisação na MPBI. Assim, o trabalho discute os resultados obtidos e os apresenta em forma de sugestão de aplicação. O artigo está organizado em três partes: 1) Revisão de literatura sobre o uso do arco nos instrumentos de cordas friccionadas; 2) A improvisação na MPBI e 3) Estratégias de estudo para a improvisação ao contrabaixo com uso de arco na MPBI. Pode-se concluir que os processos envolvidos na improvisação ao contrabaixo com uso de arco na MPBI apresentam particularidades que devem ser objetos de atenção e estudo. Por outro lado, há semelhanças quanto ao uso do arco na prática da música de concerto, sobretudo à preparação técnica. Conclui-se também que quanto maior for o conhecimento das particularidades do uso do arco na improvisação, o preparo técnico e conhecimento estilístico do contrabaixista, melhor será o resultado de sua performance.

In this work I have explored different ways of communicating the notated music (even in a more abstract form) to the musicians. How can I develop the aesthetics I am aiming for by using specific techniques in notation. I have also investigated how to incorporate the strengths of each improviser and whether it is possible to use these strengths as a compositional factor The group consists of a group of seven musicians playing 9 different instruments in total: trumpet, trombone, mellophonium, alto saxophone, tenor saxophone, clarinet, bass trombone, double bass and drums. During this project I wanted to make the most of composing and arranging for this particular constellation of instruments and the musicians who plays them.   The music I have written is for the most part influenced by jazz but sometimes bordering to a more classical or orchestral approach. In this project, I have challenged myself as an instrumentalist and a composer by utilizing a low C-string on the double bass. And while it made some passages more technically difficult to execute on the instrument, it has pushed me forward as a composer in wanting to explore all the different sounds and timbres available. The project resulted in a recording session at Sunnanå Studio, Sweden. / <p>Repertoar samt mediedokumentation:</p><p>1. <strong>Preludium</strong> (kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone</p><p>2. <strong>Faktiskt</strong> (kompositör: Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p>3.<strong> Musikhandlaren</strong> (kompositör:Andreas Henningsson</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett, Kristoffer Rostedt-trummor</p><p></p><p>4. <strong>Gikt Fever </strong>(kompositör: Petter Hängsel)<strong></strong></p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>5. <strong>Humoresque pour les Chats </strong>(kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Mellofon, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett och Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>6. <strong>Interludium </strong>(kompositör: Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone</p><p></p><p>7. <strong>Three Brothers </strong>(kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>8. <strong>Roll </strong>(kompositör: Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>9. <strong>Valse des Bois </strong>(kompositör: Petter Hängsel)<strong></strong></p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Tenorsaxofon, Kristoffer Rostedt-trummor</p><p></p><p>10. <strong>KB Moods </strong>(kompositör: Andreas Henningsson)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone, Björn Hängsel - Bastrombone, Erik Kimestad Pedersen - Trumpet, Jens Persson-Altsaxofon, Rasmus Nyvall-Klarinett, Kristoffer Rostedt-trummor</p><p></p><p>11. <strong>Postludium </strong>(Kompositör: Andreas Henningsson och Petter Hängsel)</p><p>Andreas Henningsson-Kontrabas, Petter Hängsel, Trombone</p>

Made available in DSpace on 2015-05-14T12:52:23Z (GMT). No. of bitstreams: 1 parte1.pdf: 5117163 bytes, checksum: 722470222543eea4ed78ec2a347f4936 (MD5) Previous issue date: 2011-10-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work intends to contribute to the appreciation of the Brazilian music for double bass, more precisely the Concertino para Contrabaixo e Orquestra de Câmara by the composer José Siqueira. It consists of a set of studies to serve as a tool for the construction for the performance of this work. It‟s organized in three chapters. The first is a historical report about the composer's career and his compositional systems. The second chapter covers the contextualization of the concertino, revising, editing and finally a reduction for piano and double bass piano. The third is an analysis of the work addressing thematic and structural aspects as a way to help to perform it. / Este trabalho busca contribuir para a valorização da música brasileira para contrabaixo, tendo como foco principal o Concertino para Contrabaixo e Orquestra de Câmara do compositor José Siqueira. Consiste em um conjunto de estudos que funcionam como auxílio na construção da performance desta obra. Organizamos em três capítulos, sendo o primeiro, um relato histórico acerca da trajetória do compositor e seus sistemas composicionais. O segundo capítulo engloba a contextualização da obra, a revisão, edição e por fim a redução para piano e contrabaixo. O terceiro consiste numa análise da obra abordando os aspectos temáticos e estruturais como forma de subsidiar o intérprete.