Double Bass Playing Baroque Chamber Music

[dkm1300]

So, my performance experience is primarily in jazz bass, with a decent amount of orchestral experience.

A violinist friend of mine is having me play on her recital. For a sonata she’s doing by Francois Francoeur she’ll have a trio. I’ll be playing the continuo part on my double bass (she’s hoping to find a harpsichordist but will settle for piano if she has to).

I was wondering if any bassists had tips on playing with a group like this and in this style. I know some general stuff, like having a higher bow hold (I play French), a light touch, and being especially communicative with the other musicians, but I’d like some guidance for stylistic aspects. Planning bowings (i.e. if/when to put slurs, bow directions) my rhythmic approach, tone, that sort of thing. Any tips would be appreciated!

 

[David Potts]

If you type "baroque double bass" into Youtube there are what looks like several good items to watch, both by women players. You could broaden the search by including the words "in continuo playing" and watching/listening to baroque groups playing French music. From my own experience it can initially quite daunting to arrive at the balance between being very definite and incisive (the orchestral approach) with note starts and being gentler, almost making a slight swell and feathering off after less aggressive note starts. But it is a fabulous musical experience when you come together as a group. Be guided by your soloist because she can probably hear a truer sound from your bass than you can. And smile as you play (a good tension breaker IME).

 

[csrund]

One stylistic technique with the modern bow that was ingrained in me long ago by my teachers was to emulate the articulation of the period bow by not bouncing the strokes (i.e. spiccato), especially with faster notes like running 16th-note patterns. Stay on the string and do more of a light “scrubbing” motion. For shorter articulations, like 8th note patterns, you can lift the bow, but don't use the hair tension to produce any kinetic bouncing motion. @David Potts, I may need some help with this feeble explanation; it's kind of difficult to explain.

 

[David Potts]

Not sure how much more I can add, csrund. I am not a great believer in using spiccato for running 16th note patterns anyway, preferring to use on-the-string strokes of enough length to sound musical across a wide range of dynamics. I watch and listen to articulation as strokes become shorter in relation to the speed. I also believe that the best sounding note starts are in the "comfort zone" that starts about 3 inches from the frog and goes just past 1/2 way, perhaps a bit more to 2/3rds the hair length. My fast notes I will play close to the balance point for ease of articulation and string crossing. Portato bowing softens the attack for repeated 1/4 and 1/8th notes in softer passages. I am not averse to using a carried bounce at the balance point and call it off-the-string for repeated 1/8th notes or in moving passages if the style requires it (eg Mozart Eine Kleine Nachtmusik). The sound is warmer and has more body that blends better with on-string 1/16th notes. The Italian spiccato towards the middle of the bow suits their music, eg Vivaldi Four Seasons, as it chuckles along to gradually become semi-off-the-string as it gets faster.

 

[AndersLasson]

No vibrato!
Smile!
Make people dance! Or at least make them bop their heads!

 

[CaseyVancouver]

My chamber orchestra is playing baroque music and we are fortunate that our conductor is very knowledgeable in baroque style. It is very interesting when he explains what should be happening style wise. Perhaps there is someone like him you can recruit for one of your trio sessions for pointers. Or, maybe the violinist is that person.

Minimal or no vibrato, some parts are like conversations with other sections, know when to be forceful and when to be delicate. Pay attention to who is musically talking and who should be listening.

In cut time in the Brandenburg Concerto 3 he has indicated we should not think of counting but thinking of an overall flow to the music. Everybody knows the piece, so you don’t need to count, but think of ebb and flow

 

[slappahdabass]

I would avoid whale shape notes/swelling on the attack. Keep the attack clean. Just like any other era or style, make it beautiful. I think the main difference will be emphasis on releases rather than attacks - always tapering. Fast bow is great for this if you can maintain clean starts to your notes. Harpsichord is a great example of how I conceive this - attack is always clean and has minimal variance (due to the mechanism plucking rather than hammering) with a nice taper to nothing.
Vibrato is contentious but anyone claiming to know how it was used pre-romanticism is drawing on speculation. Do it or don't as long as you're playing in tune.
There is always horizontal motion - the emphasis in most baroque and classical music is on progression and less so on harmony. Harmonies are always leading to or coming from somewhere and you can create this sense of motion in the continuo section.

 

[dkm1300]

If you type "baroque double bass" into Youtube there are what looks like several good items to watch, both by women players. You could broaden the search by including the words "in continuo playing" and watching/listening to baroque groups playing French music. From my own experience it can initially quite daunting to arrive at the balance between being very definite and incisive (the orchestral approach) with note starts and being gentler, almost making a slight swell and feathering off after less aggressive note starts. But it is a fabulous musical experience when you come together as a group. Be guided by your soloist because she can probably hear a truer sound from your bass than you can. And smile as you play (a good tension breaker IME).

Super insightful reply, thanks!

 

[CaseyVancouver]

Further thoughts, you may be in baroque tuning, especially if going with a harpsichord
A = 415

Gut strings are an option