simplification and octavation in double bass performance .../67531/metadc... · octavation only on...

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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