I am working on an orchestral composition and there is a part where I want the basses to play 2 measures of running sixteenth notes from Bb (2nd line bass staff) up to G (2nd line treble staff) and back down at MM=145. Is this asking too much? If so, how would you suggest I write this to get a similar effect? Thank you.
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Double Bass Sixteenth Notes?
- Thread starter hdsjr55
- Start date
Perfect spot on the bass to shred som sixteenth-notes. Depending on the skill level of the orchestra, of course; you might get more ompf-sounds instad of actual notes if it's a semi motivated youth orchestra or something.
Maybe your best bet would be to listen to a recording of the fourth movement of Beethoven 4, or any Strauss tone poem, or the fourth movement of Mozart 35 to get a grasp on -some- of the speed capabilities of the double bass. We've even been known to play the odd 32nd note recently!
SIXTEENTH NOTES!?!?!
You've gotta be kidding, buddy. Ok, here are a few tips.
Please bear in mind that the highest note realistically achievable on a double bass is G, the open string.
If you write notes faster than 60 bpm, we'll run into some serious problems. This is due to the limitations of the double bass bow. It just doesn't respond well to anything faster than that.
Slower that 40? No. The bass bow is quite short, and the strings are really long. This means long notes are very challenging, and should be avoided.
Preferred notes are E, A, D and G. Please try to avoid accidentals when writing for bass, as this usually involves the use of the left hand, which is notoriously tricky.
Because the bass is so big, the realistic dynamics options available are: (a) Loud.
Also bear in mind that due to the size and register of the bass, it usually takes about 3 to 4 seconds for notes to actually sound, so, traditionally the cellos play the start of the note, and we kind of sneak in underneath at some vague point. Just make sure you don't write any separate lines for us. This is a terrible mistake.
Also, when writing exposed pizzicati, DON'T give it to the basses: it's physically impossible to get multiple basses playing a pizz at the same time. This is because of the length of the string, it makes it really really hard, unlike violins, which are tiny, and a breeze to play. Give it to them instead.
Also, if you HAVE to writing something loud and just for basses and celli (of course with celli NEVER solo basses), best add in some brass to 'smooth out' the intonation. Basses, when played loud, are really, really hard to get to sound in tune. Especially if there are more than about 1 of us, but even with 1.... This is because of the length of the fingerboard. In order to play 'in tune' as, say, a fiddle does, we'd need fingers the size of a small child's arms.
When trying to write quiet stuff for basses, it's best to write it 'sul pont', and 'forte'. Playing quiet on a bass is not possible. This is due to the size of the f-holes. Loads of sound comes out of there, not matter what you do, because they're really big. I once lost a watch in there. Never saw it again.
Hope this was some help.
You've gotta be kidding, buddy. Ok, here are a few tips.
Please bear in mind that the highest note realistically achievable on a double bass is G, the open string.
If you write notes faster than 60 bpm, we'll run into some serious problems. This is due to the limitations of the double bass bow. It just doesn't respond well to anything faster than that.
Slower that 40? No. The bass bow is quite short, and the strings are really long. This means long notes are very challenging, and should be avoided.
Preferred notes are E, A, D and G. Please try to avoid accidentals when writing for bass, as this usually involves the use of the left hand, which is notoriously tricky.
Because the bass is so big, the realistic dynamics options available are: (a) Loud.
Also bear in mind that due to the size and register of the bass, it usually takes about 3 to 4 seconds for notes to actually sound, so, traditionally the cellos play the start of the note, and we kind of sneak in underneath at some vague point. Just make sure you don't write any separate lines for us. This is a terrible mistake.
Also, when writing exposed pizzicati, DON'T give it to the basses: it's physically impossible to get multiple basses playing a pizz at the same time. This is because of the length of the string, it makes it really really hard, unlike violins, which are tiny, and a breeze to play. Give it to them instead.
Also, if you HAVE to writing something loud and just for basses and celli (of course with celli NEVER solo basses), best add in some brass to 'smooth out' the intonation. Basses, when played loud, are really, really hard to get to sound in tune. Especially if there are more than about 1 of us, but even with 1.... This is because of the length of the fingerboard. In order to play 'in tune' as, say, a fiddle does, we'd need fingers the size of a small child's arms.
When trying to write quiet stuff for basses, it's best to write it 'sul pont', and 'forte'. Playing quiet on a bass is not possible. This is due to the size of the f-holes. Loads of sound comes out of there, not matter what you do, because they're really big. I once lost a watch in there. Never saw it again.
Hope this was some help.
I am not a double player, but I can't imagine that playing anything like that with a bow if you do indeed know the proper technique, could be too far out of the realm of possibility. I've heard some upright players that can flat out play the crap out of their upright just as someone like Geddy Lee does with their electric. Bow or fingers. And besides, if it's a challenge, I'd keep it. A challenge makes one grow as a player, and if someone can compose and play something that is a challenge to the player, the player will usually admire the composer all the more.
Ha... Yeah, I realised that.. Was just wondering what other people might chime in with what can't be done on a bass.
we're all hacking away at the Bach suites, the Bottesini, all sorts of orchestra excerpts...bring it on! We can play whatever you can write.
