a composer asks about a double-stop

[KevinRaftery]

Sorry, there's not a bass player near me, so I hope someone will take pity on a composer who wants to get it right but also stretch the envelope a little bit.

If my attachment has come through, you'll see that I'd like to write a pizzicato double-stop at the low end of the instrument. I don't think the glissando will be a problem, as long as you can play bottom F and bottom C# to begin with.

In my mind the F could be played with the thumb. Non-standard, certainly, but this is for a solo, and I expect the player to be very good (although I don't know who it will be).

Am I dreaming? Many thanks.

[Ben Mitchell]

An approach using the thumb technique is near impossible. Just the leverage is the problem. Now attempting this, I am able to stretch from f natural to c#, but I also have abnormally large hands, the average bassist might have smaller hands. It may require a bassist of more skill than me for the thumb technique, but I don't think its possible.

[agreatheight]

Right hand tap?

[Herbie 80's]

Originally Posted by agreatheight

Right hand tap?

I think you're on the wrong side, buddy.

In regards to OP:

It is possible, but it wouldn't be much fun. Like the previous poster said, it might be do able with a thumb, but playing an F natural on the E string with a thumb would be a bitch.

Out of thumb position (down low) Double basses can usually have stops of a fifth, major third, minor third, fourth, and an augmented fourth. You might be lucky to find a player with massive hands.

Check out Bertram Turetzky's The Modern Contrabass; it was written for composers just like yourself to inform themselves of what the modern double bass is capable of.

[agreatheight]

Originally Posted by Herbie 80's

I think you're on the wrong side, buddy.

Lol, indeed. Sorry folks!

[bejoyous]

It's a stretch to reach both the F and C# but not impossible.

But, because of the range and the intervals, I can tell you it will sound like a pile of turd even if it is played perfectly.

Although if you really want a wobbly tritone sounding, it would probably sound best to have to play the C# to B gliss on beats 1 & 2 with the second finger, hold the B and play the F on beat 3 with the first finger.

[KevinRaftery]

Many thanks from a chastened OP.

I'll have to get my imagination to work in a different direction.

[PaulCannon]

This is absolutely possible. I just tried it and it sounds super sweet.

To be fair, it's a little complicated. But it's also been done before. Scodanibbio's "Jardins d'Hamilcar" has an extended passage where the bassist slides between a low F and F-sharp with his thumb while playing the sounding-A harmonic (under the D) on the A-string.

You'll need a player who is comfortable with such a technique.

[MartinBorgen]

probably only for sitting players, but probably doable, if a little practise is put on it.

[PaulCannon]

Originally Posted by MartinBorgen

probably only for sitting players, but probably doable, if a little practise is put on it.

It works standing if you can rest the neck on your shoulder comfortably while holding the F. Sitting would be simpler.

[Anthony Fury]

Originally Posted by PaulCannon

This is absolutely possible. I just tried it and it sounds super sweet.

X2 - Not a big deal. I tried it too and thought it sounded pretty cool.

[mjt0229]

Originally Posted by MartinBorgen

probably only for sitting players, but probably doable, if a little practise is put on it.

I gave it a shot standing and it did not work for me. Once I sat down, I started to think that it could be made to happen. I was having trouble keeping my hand curved as I made the gliss, but keeping the F down wasn't too bad.

If you go ahead with it, consider what comes before and after, because getting into thumb position that low will require a transition that's unfamiliar. The left hand may come off the neck (or nearly come off) as the thumb comes around to close the F; also, I had to bring the neck closer to my head into more of a cello position. People who already use that posture may not have as big of an adjustment.

Also, that's not going to be a particularly loud register on the bass, so it might not ring out as much as you'd hope.

[Andrew McGregor]

Alternative suggestion... I don't have a bass handy to try this. Why not stop the F as per normal, and use the RIGHT hand index finger on the C#, plucking them both with 3rd and 4th fingers of the right hand? Pretty much the equivalent of the BG tap technique, without the wimpyness of taps on DB.

[Tom Gale]

F is 1st finger. C sharp is a half step wrist pivot 4 glissing back to 2nd finger B.
Tom Gale
Asodb org

[AClark]

I wouldn't do a double stop anymore than a fifth on the lower range. If it were something under a (lowest space on bass cleft... Or technically the first a below the staff) we could just do it in thumb position. it's possible to do (like others have stated) but It'd be more "considerate" to just do it div. I know people who would throw a fit over something like that. But it is pretty cool.

[AClark]

I meant to say something *over* an a. Sorry bout that

[Tom Gale]

Originally Posted by AClark

I wouldn't do a double stop anymore than a fifth on the lower range. If it were something under a (lowest space on bass cleft... Or technically the first a below the staff) we could just do it in thumb position. it's possible to do (like others have stated) but It'd be more "considerate" to just do it div. I know people who would throw a fit over something like that. But it is pretty cool.

It's no big deal. You finger the F first finger and pivot the rest of the hand a half step higher. Easy to do and it opens a new world of possibilities of techniques.
Tom Gale
Asodb.org

[PaulCannon]

Tom, you're talking about a hand extension (which would also work), not a pivot. If you were pivoting, most of your weight would be taken from the first finger and you'd have a pretty miserable pizz.

[Tom Gale]

If you use a Low D tuning, it's easier. How about 2 on the F and 4 and 1 on the C sharp and B?
Tom Gale
Asodb.org

P.s. By pivoting, you will return shortly to the original hand position. It is a little different than using the extension or, as I call it, "open hand" technique.

[tlhettema]

If it is a double bass part in an orchestra, I would suggest to divide it between two basses or two groups of the bass section.