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11-05-2006, 09:35 AM
| | Registered User | | Join Date: Dec 2003 Location: LOS ANGELES, CA | | | EVERYONE: Let's Notate These Modern Bass Techniques!!!
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As the electric bass continues to evolve in both performance technique and construction philosophy, there should be an equal evolution of related compositions and recordings that document these developments.
So, I've decided to write a suite of compositions that highlight the unabashed awesomeness and tonal diversity of our instrument.
Some of these techniques will certainly be featured in 12 new string quintet (*either standard 4 through 13 string bass, subcontra, piccolo subcontra, *standard string quartet, and *"percussives/battery") compositions for commission that I am working on.
Right off the bat, I can think of two commonly utilized electric bass techniques that are compositionally intriguing. First, we have the coveted "VICTOR WOOTEN DOUBLE THUMB TECHNIQUE". Secondly, I think ADAM NITTI's methodology of SWEEP-PICKING is mesmerizing with vastly untapped potential.
So I ask you fellow bassists/performers: How should composers notate a given performance technique to fit within our current standardized bass notational system?
For one piece that I just finished, I have a subcontra instrument playing a few double-thumb passages. Instead of labeling that passage "T" for thumbing, I simply notated it as "DT". It could be "V.L.W.D.T." (Victor Lemonte Wooten Double Thumb) but that would look messy on a stave system. Another piece has a curious "NSP" (Nitti Sweep-Picking) marking.
Lastly, it shouldn't surprise any of you that the string quartet section will need to learn to perform these bass techniques pizzicato on their own instruments…..through a distortion unit. 
Let's discuss how to notate Sheehan-style pinch harmonics, Billy Dickens-style syncopated 32nd note muting, Jauqo's double-thumb/speed picking technique, Garry Goodman's percussive harmonic tapping, etc., the list goes on. I encourage all of you to respond to this thread and post as many examples of "newer" bass techniques as well as the manner that you like to see them notated in.  |
11-05-2006, 01:28 PM
| | Registered User | | Join Date: May 2004 Location: St. Louis, MO, U.S. | | | Sweeping doesn't take any special marking: just write with finger to pluck with. A bunch of notes marked "p p p hammer-on p p" is pretty clearly a thumb sweep.
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11-05-2006, 06:10 PM
| | Registered User | | Join Date: Apr 2006 Location: Madison, WI | | | I've seen Vic's double-thump notated as v & ^ as well as d & u for downstroke & upstroke, respectively.
A standard isn't at all necessary as each composition should have its own key no matter what. Use what's convenient for notation and mark it in the key as such, no worries. |
11-06-2006, 08:54 AM
| | Registered User | | Join Date: Dec 2003 Location: LOS ANGELES, CA | | Cool. I've never seen that notation for up and down strokes. But, if it works for the performer, I'll use it.
Jay |
11-07-2006, 09:01 AM
| | Registered User | | Join Date: Dec 2003 Location: LOS ANGELES, CA | | I would also like to see an entirely new stave system for low (subcontra) and high (piccolo) basses as well. Something that avoids ledger line issues, etc. |
11-07-2006, 09:08 AM
|  | Registered User
Endorsing artist:see profile/Current Setup | | Join Date: Jan 2002 Location: CHICAGO,IL. | | | Hey Jay,Garry(Goodman)has some music written for the Subcontra Bass that's off the ledger lines and it's very interesting. |
11-07-2006, 09:32 AM
| | Registered User | | Join Date: May 2004 Location: St. Louis, MO, U.S. | | Quote: |
Originally Posted by Jay Terrien I would also like to see an entirely new stave system for low (subcontra) and high (piccolo) basses as well. Something that avoids ledger line issues, etc. | What's wrong with clef changes and/or a grand staff? With 8vb/15mb and seven different clefs, surely we can avoid ledger lines.
EDIT: Would something like 22mb (ventiduesimo bassa, I suppose) be needed for some basses? A regular bass is 8vb, and bass with a low C# would need 15mb, but nobody has a G#, do they? That's disappointing. 
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Last edited by lemur821 : 11-07-2006 at 09:41 AM.
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11-07-2006, 09:53 AM
| | Registered User
Endorsing artist:see profile/Current Setup | | Join Date: Jan 2002 Location: CHICAGO,IL. | | | Garry is also working on another Clef for the range of a Bass that is using Low C,Low C# and Low G# strings. |
11-07-2006, 01:29 PM
| | Registered User | | Join Date: Oct 2005 Location: The Woodlands, Texas | | Quote: |
Originally Posted by JAUQO III-X Garry is also working on another Clef for the range of a Bass that is using Low C,Low C# and Low G# strings. |  |
11-07-2006, 01:34 PM
| | Registered User
Endorsing artist:see profile/Current Setup | | Join Date: Jan 2002 Location: CHICAGO,IL. | | Quote: |
Originally Posted by Grueber | |
11-07-2006, 04:43 PM
| | Registered User | | Join Date: May 2004 Location: St. Louis, MO, U.S. | | What do you do with a low G# string (besides holding up suspension bridges)? That's around 10 Hz, isn't it?
Not that I don't think it's extremely cool. 
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11-07-2006, 09:44 PM
| | Registered User | | Join Date: Jun 2006 Location: Mother North | | | That low G# string has to be like an inch wide or something? You smack it with your fist to get a sound out of it?
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11-08-2006, 04:09 PM
| | Registered User | | Join Date: Dec 2003 Location: LOS ANGELES, CA | | Dear God, a low G# string? Is this seriously going to be made? Sweet. Quote: |
Originally Posted by lemur821 What do you do with a low G# string (besides holding up suspension bridges)? That's around 10 Hz, isn't it?
Not that I don't think it's extremely cool. | |
11-08-2006, 04:44 PM
| | Registered User | | Join Date: Oct 2006 Location: Bristol, England | | | Has anyone ever used larger F#,B, and E,A strings to make a bass an octave lower than the standard? That would make a lot of sense... |
11-08-2006, 04:46 PM
| | Registered User
Endorsing artist:see profile/Current Setup | | Join Date: Jan 2002 Location: CHICAGO,IL. | | Quote: |
Originally Posted by Mark Perry Has anyone ever used larger F#,B, and E,A strings to make a bass an octave lower than the standard? That would make a lot of sense... | How big ? |
11-08-2006, 05:16 PM
| | Registered User | | Join Date: Oct 2006 Location: Bristol, England | | | However big it'd need to be, playable at least... |
11-08-2006, 05:49 PM
| | Registered User | | Join Date: Oct 2006 Location: Summit, NJ | | | Count in Les Claypool's Flamenco Shots (strumming) |
11-08-2006, 05:56 PM
|  | Moderator
Endorsing Artist: Levy's Leathers Moderator | | Join Date: Jan 2005 Location: Toronto/Niagara Falls, Ontario | | Quote: |
Originally Posted by Mark Perry However big it'd need to be, playable at least... | IIRC, Jauqo did that. haha |
11-08-2006, 06:13 PM
| | Registered User | | Join Date: Oct 2006 Location: Bristol, England | | | cool, have to do that someday... i supose if a low G# strings possible it would be almost possible to go down another octave. Whats the limit of human hearing? 10hz or less must be close |
11-08-2006, 09:23 PM
| | Registered User | | Join Date: May 2004 Location: St. Louis, MO, U.S. | | Quote: |
Originally Posted by Mark Perry cool, have to do that someday... i supose if a low G# strings possible it would be almost possible to go down another octave. Whats the limit of human hearing? 10hz or less must be close | 20Hz is pushing it. Most people wouldn't even call that sound. The oft-quoted range of human hearing is 20Hz to 20kHz, although most older people won't actually hit the top of that.
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