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08-16-2005, 08:34 AM
| | Registered User | | Join Date: Dec 1999 Location: Paris, France | | | Contrebasse Solitaire
It's the tittle of a thesis by Anne Salliot and available on the net. OK, it's in French, but the Annexes are of special interest: a list of pieces for solo db and a compedium of unusual notations for db which are pretty well documented...
here is the link: http://www.metronimo.com/fr/contrebasse/
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08-16-2005, 07:03 PM
| | I'm absent from Talkbass for an indefinite period | | Join Date: Dec 1999 Location: Québec, Canada | | | Allo Olivier!
Merci beaucoup pour le lien!
Is there a PDF version of the thesis or something?
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08-16-2005, 07:16 PM
| | Registered User | | Join Date: Jun 2001 Location: SE Wisconsin | | | For those non-French speakers among us, I took the liberty of using free Web-based translation software to interpret the opening paragraph:
As early as the sixteenth century, two families of instruments to rubbed ropes mix with: the one of the violins and the one of the violate. This parallel existence nourishes an ambiguity as for the origin of the current double bass. For certain musicologists, the current double bass is affiliated with the double bass of violates. Alone would have changed the number of ropes, the form of the heard, the resonance cash register. Dolmetsh in concludes that the "sonorité more vigorous but more impure and more vulgar of the double bass" 1 originates of this metamorphosis of the original instrument.
Fascinating.
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08-16-2005, 11:02 PM
| | Registered User | | Join Date: Dec 1999 Location: Paris, France | | Quote: |
Originally Posted by francois Allo Olivier!
Merci beaucoup pour le lien!
Is there a PDF version of the thesis or something? | I don't know. Would be neat. |
08-16-2005, 11:06 PM
| | Registered User | | Join Date: Dec 1999 Location: Paris, France | | Quote: |
Originally Posted by Mike Goodbar For those non-French speakers among us, I took the liberty of using free Web-based translation software to interpret the opening paragraph:
As early as the sixteenth century, two families of instruments to rubbed ropes mix with: the one of the violins and the one of the violate. This parallel existence nourishes an ambiguity as for the origin of the current double bass. For certain musicologists, the current double bass is affiliated with the double bass of violates. Alone would have changed the number of ropes, the form of the heard, the resonance cash register. Dolmetsh in concludes that the "sonorité more vigorous but more impure and more vulgar of the double bass" 1 originates of this metamorphosis of the original instrument.
Fascinating. | Anne Salliot writes pretty well. An automatic translation is just as bad as a midi rendition of a tune... no soul, no sense. |
08-17-2005, 07:14 AM
| | Registered User | | Join Date: Jun 2001 Location: SE Wisconsin | | | I just did it for a giggle, SIR LAWRENCE. I'm sure that Mlle Salliot is a fine writer.
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08-17-2005, 08:25 AM
| | Registered User | | Join Date: Dec 1999 Location: Paris, France | | Quote: |
Originally Posted by Mike Goodbar ... I'm sure that (Anne) Salliot is a fine writer. | How ?  (just giggling)
As I said, the meaty part of the stuff is on pages 48, 49, 50, & 51. |  | Thread Tools | Search this Thread | | | | 
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