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Double Bass Messiaen - Louange a l'eternite de Jesus...

koricancowboy

koricancowboy

Supporting Member
Jun 10, 2003
812
422
#1
from [SIZE=-1]"Quatour pour la fin du temps" by Olivier Messiaen. I recently got hip to this and was wondering if anyone out there has a transcription for bass. I have the cello part and will transcribe it if I have to. But you know how that is. If not has anyone played it? If you have I would love to have a chat or see your notes or both.:help:

Cheers,
Oz
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#2
Hi there! I remember performing parts of this piece by Messiaen last year. I played the majority of the cello part at pitch but had to take it down at certain points. I don't currently have the music at my disposal but I played the Danse de la fureur, pour les sept trompettes (ie movement 6)
 
#5
quenoil said:
I play this piece - I took the cello part down an octave. There's a recording of it at my web site (brianroessler.com).
Click to expand...

That's some really nice playing Brian. I'm considering arranging this piece for my senior recital next year but I'm concerned that the Bass part might be too low in relation to the piano therefore resulting in the solo frequency not really cutting through. I'm considering raising it a minor third or maybe even minor 6th and perhaps then use solo tuning. I'll tell you how it fares. :)
 
#6
Very rich tone Brian! Good show. I'm gonna arrange this for a recital next semester too. I really want to play it at pitch but am considering taking everything down just a major second so I can accomadate date for the Eb and E towards the end of piece. If I did keep it at pitch does anyone have suggestions as to how to reach those notes without losing fundamental tone? Anyhow thanks. Now to figure out about the other 7 mvmts.;)
 
#7
koricancowboy said:
Very rich tone Brian! Good show. I'm gonna arrange this for a recital next semester too. I really want to play it at pitch but am considering taking everything down just a major second so I can accomadate date for the Eb and E towards the end of piece. If I did keep it at pitch does anyone have suggestions as to how to reach those notes without losing fundamental tone? Anyhow thanks. Now to figure out about the other 7 mvmts.;)
Click to expand...

I think playing it at pitch may be too high. I'm considering a minor 6th because you have the fundamental tone as a harmonic and the range between the bass and the piano is growing larger...but there's still that issue of the harmonics near the end.
 
#9
Calvin Marks said:
I think playing it at pitch may be too high. I'm considering a minor 6th because you have the fundamental tone as a harmonic and the range between the bass and the piano is growing larger...but there's still that issue of the harmonics near the end.
Click to expand...

Why would it be too high? As I don't really transcribe too many things into bass range. I am really asking what range is I deal to capture the nuances and earnesty in the piece. (I usually just get editions of pieces already transcribed ;))

What is the logic behind bringing everything down a minor sixth? Which harmonic are you referring to. If you are talking about the B the piece revolves around for a big chunk of the piece, wouldn't that make it a D#? Which harmonic is there? If it is the E that the pieces key signature supposes to imply then that would be a G#, I'm still confused.

Three bars before D (the subito ppp) is when it gets off my fingerboard, i.e. the Eb and E. Now if I bring it down a M2 that in effect would allow me to hit a nice ringing false harmonic for Db and that beautifully ringing D harm right at the edge of my fingerboard.

I am just playing it at pitch right now and using false harmonics both when asked and to actually play the notes when they are supposed to be closed.

It works but I don't know if it is the best. Oh well I will post more thoughts as I experiment and Calvin please do as well, or anyone else for that matter.

Cheers,
Oz
 
#10
koricancowboy said:
Why would it be too high? As I don't really transcribe too many things into bass range. I am really asking what range is I deal to capture the nuances and earnesty in the piece. (I usually just get editions of pieces already transcribed ;))

What is the logic behind bringing everything down a minor sixth? Which harmonic are you referring to. If you are talking about the B the piece revolves around for a big chunk of the piece, wouldn't that make it a D#? Which harmonic is there? If it is the E that the pieces key signature supposes to imply then that would be a G#, I'm still confused.

Three bars before D (the subito ppp) is when it gets off my fingerboard, i.e. the Eb and E. Now if I bring it down a M2 that in effect would allow me to hit a nice ringing false harmonic for Db and that beautifully ringing D harm right at the edge of my fingerboard.

I am just playing it at pitch right now and using false harmonics both when asked and to actually play the notes when they are supposed to be closed.

It works but I don't know if it is the best. Oh well I will post more thoughts as I experiment and Calvin please do as well, or anyone else for that matter.

Cheers,
Oz
Click to expand...

My apologies I meant a major 6th below aka a minor 3rd above. This works nicely as you can achieve the harmonics at D easily, and you have many other harmonics to use as a reference. At pitch is too high in my opinion, I think it loses a bit of character on the bass if it were played that high. I'd rather hear it on a cello at pitch instead of a bass. This way you can achieve a very nice dark bass tone while still showcasing the higher range of the instrument
 
#11
Ah! Makes more sense to me now. That does indeed open up quite a bit of harmonic anchors. Well I'm still gonna try it at pitch as I enjoy it. I do understand what you are saying about it maybe not being exactly the most bass like sound in the world. But I think it can happen. I played around with your transposition and really do enjoy the way it sounds. Having said that I think it dramatically alters the feel of the piece. I will look forward to hearing your version when you get it together as I will try to post mine. Good luck.

Cheers,
Oz
 
#12
koricancowboy said:
Ah! Makes more sense to me now. That does indeed open up quite a bit of harmonic anchors. Well I'm still gonna try it at pitch as I enjoy it. I do understand what you are saying about it maybe not being exactly the most bass like sound in the world. But I think it can happen. I played around with your transposition and really do enjoy the way it sounds. Having said that I think it dramatically alters the feel of the piece. I will look forward to hearing your version when you get it together as I will try to post mine. Good luck.

Cheers,
Oz
Click to expand...

Excellent, I look forward to hearing your version as well! My fingerboard isn't that long so I couldn't play it at pitch convincingly but if you can, power to you! :)
 
#16
MESSIAEN, Olivier (1908-1992)
Quartet for the End of Time (Quatour por la fin du temps).
For Clarinet, Violin, Cello and Piano.
Pub: DURAND/ U.S. sales agent Hal Leonard.
HAL50561457 octavo score $22.95
HAL50561641 set of parts $65.00

Score and set of parts available for sale from any music dealer. Individual parts or movements are not sold.
As the work is under copyright world wide, photocopies are illegal.
 

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