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The Creative Application of Extended Techniques for Double Bass in Improvisation and Composition

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The Creative Application of Extended Techniques for Double Bass in Improvisation and Composition The creative application of extended techniques for double bass in improvisation and composition Presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy (Music) Volume Number 1 of 2 Ashley John Long 2020 Contents List of musical examples iii List of tables and figures vi Abstract vii Acknowledgements viii Introduction 1 Chapter 1: Historical Precedents: Classical Virtuosi and the Viennese Bass 13 Chapter 2: Jazz Bass and the Development of Pizzicato i) Jazz 24 ii) Free improvisation 32 Chapter 3: Barry Guy i) Introduction 40 ii) Instrumental technique 45 iii) Musical choices 49 iv) Compositional technique 52 Chapter 4: Barry Guy: Bass Music i) Statements II – Introduction 58 ii) Statements II – Interpretation 60 iii) Statements II – A brief analysis 62 iv) Anna 81 v) Eos 96 Chapter 5: Bernard Rands: Memo I 105 i) Memo I/Statements II – Shared traits 110 ii) Shared techniques 112 iii) Shared notation of techniques 115 iv) Structure 116 v) Motivic similarities 118 vi) Wider concerns 122 i Chapter 6: Contextual Approaches to Performance and Composition within My Own Practice 130 Chapter 7: A Portfolio of Compositions: A Commentary 146 i) Ariel 147 ii) Courant 155 iii) Polynya 163 iv) Lento (i) 169 v) Lento (ii) 175 vi) Ontsindn 177 Conclusion 182 Bibliography 191 ii List of Examples Ex. 0.1 Polynya, Letter A, opening phrase 7 Ex. 1.1 Dragonetti, Twelve Waltzes No.1 (bb. 31–39) 19 Ex. 1.2 Bottesini, Concerto No.2 (bb. 1–8, 1st subject) 20 Ex.1.3 VerDi, Otello (Act 4 opening, double bass) 20 Ex. 2.1 Scott LaFaro, ‘In Your Own Sweet Way’ 29 Ex. 2.2 Scott LaFaro, ‘Gloria’s Step’ 29 Ex. 4.1 Barry Guy, Statements II (Letter G) 64 Ex. 4.2 Barry Guy, Statements II (opening) 70 Ex. 4.3 Barry Guy, Statements II (seconD subject) 71 Ex. 4.4 Barry Guy, Statements II (Letter F) 71 Ex. 4.5 Barry Guy, Statements II (Letter R) 72 Ex. 4.6 Barry Guy, Statements II (Letter Q) 72 Ex. 4.7 Barry Guy, Statements II (staccato articulations) 73 Ex. 4.8 Barry Guy, Statements II (legato notation) 73 Ex. 4.9 Barry Guy, Statements II (intervallic notations) 73 Ex. 4.10 Barry Guy, Statements II (durations) 74 Ex. 4.11 Barry Guy, Statements II (Letter M, bb. 6–7) 75 Ex. 4.12 Barry Guy, Statements II (Letter V) 75 Ex. 4.13 Barry Guy, Statements II (bow area notation) 77 Ex. 4.14 Barry Guy, Statements II (Letter T, b. 2) 77 Ex. 4.15 Barry Guy, Statements II (bow positions) 79 Ex. 4.16 Barry Guy, Statements II (amplification stave) 79 Ex. 4.17 Barry Guy, Statements II (symbols, i) 80 Ex. 4.18 Barry Guy, Statements II (symbols, ii) 80 Ex. 4.19 Barry Guy, Anna (Fig. 4g, b. 9) 84 Ex. 4.20 Barry Guy, Anna (Fig. 4g, bb. 5–8) 85 iii Ex. 4.21 Barry Guy, Statements II (Letter K) 86 Ex. 4.22 Barry Guy, Anna (Fig. 4g, bb. 12–14) 86 Ex. 4.23 Barry Guy, Anna (Fig. 4g, bb.18–20) 86 Ex. 4.24 Barry Guy, Anna (Fig. 12, bb. 6–7) 88 Ex. 4.25 Barry Guy, Statements II (Letter U) 88 Ex. 4.26 Barry Guy, Anna (Fig. 4) 89 Ex. 4.27 Barry Guy, Statements II (Letter W, b. 14) 89 Ex. 4.28 Barry Guy, Anna (Fig. 13) 90 Ex. 4.29 Barry Guy, Statements II (Letter H) 90 Ex. 4.30 Barry Guy, Anna (Fig. 27) 91 Ex. 4.31 Barry Guy, Anna (Fig. 3–4) 92 Ex. 4.32 Barry Guy, Anna (Fig. 12) 92 Ex. 4.33 Barry Guy, Anna (Fig. 8, bb. 17–19) 94 Ex. 5.1 BernarD RanDs, Memo I (pitch duration) 111 Ex. 5.2 BernarD RanDs, Memo I (velocity notation) 111 Ex. 5.3 BernarD RanDs, Barry Guy: percussive articulation notation 115 Ex. 5.4 Barry Guy, Statements II (percussive attack plus pizzicato b.10) 115 Ex. 5.5 Alternation of rapid pizzicato phrases anD greater number of sustaineD pitches* 118 Ex. 5.6 Expansion of chordal material combined with rapiD, linear single-note phrases* 119 Ex. 5.7 As in Ex. 5.6, but culminating in a tremolo pizzicato chorD* 119 Ex. 5.8 Spiccato phrases in a suggested register alternating with more sustaineD 120 material* Ex. 5.9 A variety of techniques alternated to create passages of increasing density* 120 Ex. 5.10 A sustaineD arco pitch coloureD by left-hand percussive articulations* 121 Ex. 7.1 Ariel, opening phrase 149 iv Ex. 7.2 Ariel, opening phrase (A) 149 Ex. 7.3 Ariel, seconD phrase (A2): broadly descending phrase with velocity increase 150 Ex. 7.4 Ariel (from b1) – group of 6 150 Ex. 7.5 Ariel, (from b2) – group of 9 150 Ex. 7.6 Ariel, (from b2) – group of 14 (2+6+6) 150 Ex. 7.7 Ariel, development of rhythmic cells in section C 151 Ex. 7.8 Ariel, section D 152 Ex. 7.9 Courant, tuning and resulting harmonic series 158 Ex. 7.10 Courant, opening phrase 159 Ex. 7.11 Courant, p. 2, 7th stave 162 Ex. 7.12 Polynya (opening phrase) 166 Ex. 7.13 Lento (i), opening (bb. 1–3, solo bass) 174 Ex. 7.14 Ontsindn, Letter B, phrase structure with techniques (bb. 31–36) 180 * Comparative examples which contain more than one musical excerpt v List of Tables and Figures Tables Table 4.1 Explanation of symbols 66 Table 4.2 Statements II: structural analysis 67 Table 4.3 List of dissonant intervals 69 Table 4.4 Anna/Statements II: motivic similarities 87 Table 4.5 Anna: structural analysis 95 Table 4.6 Eos: structural analysis 99 Table 5.1 Memo I/Statements II: comparative features 122 Table 7.1 Ariel: structure 148 Table 7.2 Ariel: table of techniques 154 Figures Figure 7.1 Cello bridge preparation detail 172 Figure 7.2 Nut pick-up detail 173 vi Abstract This submission contains a thesis, a portfolio of compositions and recorded improvisation, and a website which details extended techniques for the double bass. Exploring extended technique led me to consider the extent to which a set of techniques begins to form a progressive praxis (and thus an idiom) and how this is reflected within a composition. The thesis explores this question by exploring past examples of such idioms and my own approaches to such concerns within my own work. My own praxis is represented by recordings which demonstrate my approaches to technique and musical language and a series of composed works which explore them in a different context. The website is intended for use as a resource for performers and composers who wish to explore the specifics of extended technique within their own work. I similarly examine how such facets within my own work present problems for a performer which must be solved empirically. The process of scrutinising my own performance traits led me to consider how the study of certain works that present significant innovations in technique and expressive devices can act as a means of developing technique heuristically. Such works require a set of procedures which invite the performer to conclude the musical argument and thus instigate a creative response. The double bassist and composer Barry Guy’s solo bass work Statements II is such a piece, and within this thesis I assess the extent to which the work is representative of a core set of musical choices on behalf of a performer/composer, and how the piece functions as a systemisation of his working practices in improvisation within a composition. The piece is examined alongside a work by another composer, Bernard Rands, which demonstrates a continuity of language both in terms of its technical resources and in its wider musical concerns. vii Acknowledgements and Thanks Throughout this project there have been various individuals who have made the whole thing possible and to whom I would like to extend my warmest appreciation. Firstly, my thanks must go to my partner, Hannah, who has never wavered in her support of my various endeavours, as well my family, who have always shown nothing but encouragement for my chosen career. I would also like to express my gratitude to the staff at Cardiff for their support and generosity of spirit throughout this project; foremost must be my supervisors, Robert Fokkens and Charles Wilson, who seem to be blessed with unending insight, good humour and patience. I would also like to thank those from my time as an undergraduate at the Royal Welsh College of Music and Drama who provided much of the impetus for this research. In particular: Timothy Raymond, Paula Gardiner, Dominic Seldis and Peter Reynolds (1958–2016). There have been many colleagues both academic and professional who have shown an interest in the project, helped me with research materials and provided much food for thought. This list includes (but is not limited to): Daniel Bickerton, Tom Jackson, Clair Rowden, Mike Collins, Roger Marsh, Dave Jones, Lynne Gornall, Paul Dunmall, Richard McReynolds, Maja Palser, Adam Flynn, Andrew Mabey, Trevor Taylor, Ben Davis and Lyndon Owen. Special mention must also go to Barry Guy and Maya Homburger for their generosity with scores and recordings, (to say nothing of years of wonderful music) and to the late Keith Tippett (1947–2020), who was responsible for awakening my interest in improvised music. viii Introduction As a performer who has specialised in new music for the past 14 years, I have been fortunate to have engaged regularly with works that seek to expand the boundaries of instrumental technique.
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