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.
| Identifer | oai:union.ndltd.org:BSU/oai:cardinalscholar.bsu.edu:handle/174768 |
| Date | January 1981 |
| Creators | Allen, Gene Thomas |
| Contributors | Albright, Philip H. |
| Source Sets | Ball State University |
| Detected Language | English |
| Format | 3, v, 45 leaves : ill. ; 28 cm. + 1 sound cassette (26 min. : 1 7/8 ips) |
| Source | Virtual Press |
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