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RADAR Research Archive and Digital Asset Repository A Portfolio of Compositions Expanding the Role of the Electric Bass Guitar in Contemporary Western Art Music Samuel C Roberts (2013) https://radar.brookes.ac.uk/radar/items/2170e787-93d7-4739-a7cd-ef6105beab6d/1/ Note if anything has been removed from thesis: fig. 36, p. 82; fig. 37, p. 83 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, the full bibliographic details must be given as follows: Roberts, S C (2013) A Portfolio of Compositions Expanding the Role of the Electric Bass Guitar in Contemporary Western Art Music PhD, Oxford Brookes University WWW.BROOKES.AC.UK/GO/RADAR A Portfolio of Compositions Expanding the Role of the Electric Bass Guitar in Contemporary Western Art Music Samuel Christian Roberts Commentary A portfolio of compositions and accompanying commentary submitted in partial fulfilment of the requirements of the award of Doctor of Philosophy to Oxford Brookes University Oxford Brookes University October 2013 Abstract My original contribution to knowledge is a portfolio of work that, through composition, improvisation and performance, expands the role of the electric bass guitar in contemporary Western art music. More specifically, these works address three areas that were hitherto underexplored in existing repertoire: • Works for solo bass guitar and electronics. • Works for bass guitar and ensemble that incorporate the instrument as an equal and important part of an overall sound. • The use of the bass guitar in sonic arts idioms. This research, as well as challenging the role of the bass guitar, also aims to expand the sonic and technical palette of the instrument whilst demonstrating its potential to be a valued part of the modern composer’s instrumental resource. This project comprises: a compositional portfolio of solo and ensemble works; eight CDs, containing recordings of both improvised and scored works; an accompanying written commentary (original musical scores are included as an appendix in the commentary). Preface ........................................................................................................................................... 2 List of Summative Works ......................................................................................................... 3 1. Introduction ............................................................................................................................ 4 2. Initial Improvisation Studies ............................................................................................. 8 3. The Bass as a Sound Object ............................................................................................. 16 Deconstructed Bass ...................................................................................................... 31 Starship ......................................................................................................................... 37 4. Pitch-Based Improvisations and Scored Solo Works ............................................. 47 Kairos ............................................................................................................................ 59 5. The Bass Guitar with Ensemble ..................................................................................... 74 Go! ................................................................................................................................. 77 Graceful Ascent ............................................................................................................. 82 6. Conclusions ........................................................................................................................... 98 Appendix 1 – Original Musical Scores by Samuel Christian Roberts ................... 102 Appendix 2 - CD Track Listings ......................................................................................... 151 Appendix 3 – Examples of Notation in Existing Works for Bass Guitar and Ensemble .................................................................................................................................. 153 Appendix 4 – score of Slip Sliding (Part I) by Samuel C. Roberts ........................... 160 Bibliography ........................................................................................................................... 162 Preface This portfolio of compositions and the accompanying commentary are the result of a lifelong musical journey. Having been born into a family where both parents were professional musicians, I have always been exposed to a wide range of music. At home, I would always hear practice regimes and recordings of music, whilst my parent’s babysitting routine would usually involve me reluctantly sitting backstage through rehearsals, concerts and recording sessions. This musical background is reflected in my education. Alongside formal music education in school and at university, I have been classically trained as a cellist and pianist and have also undertaken formal training in music theory and composition. It is the bass guitar, however, that has provided the most direction in my musical life. Having become interested in popular and jazz idioms as a teenager, I took up the instrument in order to play in bands with friends. Since then, I have played professionally in a wide variety of settings, performing across Europe with pop groups and singer/songwriters, function and wedding bands, contemporary art music ensembles, avant-garde jazz groups, free improvisation collectives and as a soloist. It is this experience that has not only inspired this research, but has also offered genuine focus to my work as a composer. As discussed in this commentary, I have been frustrated with the lack of challenging and expansive bass guitar repertoire in contemporary art music and also the perception that many modern composers and ensembles have of the instrument. Therefore, this PhD is a response to my musical journey so far. It is a body of work that aims to expand the role of the bass guitar and to begin to realise the potential of an instrument that, in my view, has unique characteristics and a lot to offer within contemporary Western art music. 2 List of Summative Works Deconstructed Bass for improvising bass guitar and ‘Deconstructor’ device (2012) Performed by Samuel C. Roberts at Audiograft Festival, Oxford, February 2013 (CD 5 Track 5) 12’42 Starship for improvising bass guitar (2013) Performed and recorded by Samuel C. Roberts, Birmingham 2013 (CD 6 Track 1) 32’36 Celestial for improvising bass guitar (2013) (see p.54) Performed and recorded by Samuel C. Roberts, Birmingham, 2013 (CD 5 Track 3) 8’56 Kairos for 5-string bass guitar and electronics (2013) Performed and recorded by Samuel C. Roberts, Birmingham, March 2013 (CD 6 Track 2) 22’32 Go! for soprano and tenor saxophones, trumpet, trombone, electric guitar and electric bass guitar (2012) (score only) 8’30 Graceful Ascent for 5-string bass guitar, percussion and brass (2013) Performed by Samuel C. Roberts and the Royal Academy of Music Aarhus Brass Ensemble at the RAMA Festival, Aarhus, Denmark, April 2013. (CD 6 Track 3) 12’21 Total Duration – 97’37 3 1. Introduction This research project focuses on the composition of a series of works that expand the role of the electric bass guitar within contemporary Western art music. For the purposes of discussion, throughout this commentary I define ‘contemporary Western art music’ as musical works created outside the generally accepted genres of popular and commercial music since 1960. As a bass guitarist and composer, I have been frustrated by the lack of art music written for bass guitar, especially considering the plethora of expansive works within popular idioms. The bass guitar has the potential to be an important part of modern orchestration due to its flexibility, versatility and compatibility with electronics. Modern advances in technology have also reduced the issues associated with balancing electronic and acoustic instruments. The range of the modern instrument has also been increased in recent years, with extended range instruments featuring extra strings and long scale necks that span over two octaves per string. The array of timbres and tones the instrument can produce is also exceptional. Multiple combinations of on-board and external electronics (pickups, EQ, effects pedals etc.), paired with a vast range of extended techniques (such as two-hand tapping, slapping, palm muting etc.) permit the bass guitar to prosper in a multitude of musical applications. This portfolio of compositions and accompanying commentary represents an original contribution to knowledge, as this is a sparsely populated field when viewed alongside the practice and literature for other instruments. Current works within contemporary Western art music are limited and do not realise the full potential of the instrument. Whilst undertaking a thorough literature survey, it became clear that there were certain areas that had received more attention than others. Works for bass guitar