All right here is the answer to the solo tuning questions (basically a compilation of the previous threads plus some more stuff). Any piece that is written for solo tuning will be read a whole step down. Why is this so? Why not just write an orchestraly tuned part for Bottesini no.1 in F# minor? The answer lies in the placement of harmonics, finger positioning, and string tension. If one were to attempt to play a solo tuned piece with standard tuned strings in the solo tuned key, it would be very awkward intonation wise in thumb position and pretty much all harmonic passages would be impossible because the natural harmonics are static (on the G string, G,B,D,F,G,A,etc. upper thumb position harmonics don't change). So the next logical question is why on earth didn't Bottesini just orchestrate the first concerto in e minor? This is where string tension comes into play. Solo strings are, naturally, tighter than orchestral and produce a much more rich, brilliant sound...in Bottesini's opinion, a sound he felt suited the bass better than standard tuning. Bottesini actually went further than most people: he played a three string bass tuned a minor third up from standard tuning! That's why the original key for No.2 in B minor is actually C minor. Of course, the player reads it in A minor. There's a brief explanation. Basically, the bass is such a big, harmonically awkward instrument that solo tuning is needed to realize its full solo potential. Confusing, yes, worth it, hell yes. We're bassists!
