- Jan 24, 2002
- 2,117
- 950
- Disclosures
- NS Design / AER Endorsing Artist
To be fair, a fourths-tuned, steel-string double bass wasn't exactly what Vanhal had in mind.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Double Bass Yeah, I Know This is Blasphemy
- Thread starter LikeRaphael
- Start date
True, but with Viennese tuning and a period bow you can get pretty close (and it's a good deal easier.) I'm not exactly gung-ho for gut strings, but I'm no period performance expert.
Not exactly sure Viennese tuning would work well on a bass guitar.
Sorry to stop the feeding frenzy, folks. This user is a sockpuppet account for a twice banned BG member, and rules require that all such accounts be summarily closed. Merry Christmas, everyone!
You know, this is the most visable DB thread I've ever seen.
What was his point? I couldn't figure him out.
BTW, us BG guys weren't too impressed either. By a long shot!
Merry Christmas!
What was his point? I couldn't figure him out.
BTW, us BG guys weren't too impressed either. By a long shot!
Merry Christmas!
- Dec 13, 1999
- 11,736
- 8,941
- 70
- Disclosures
- Chuck Sher publishes my book, WALKING BASSICS:The Fundamentals of Jazz Bass Playing.
Because you were to good as what was to what? I don't think I understand your analogy.Got2SadowskyNYC said:
Really love electric bass and I am a doubler myself. I am also annoyed sometimes by the electric bass bashing by some here. BUT I rarely find classical pieces played on electric bass interesting or good. I even don't like Pattituci's version of the Bach cello prelude.
These classical pieces just don't sound right on electric bass IMHO. And also it takes a different skill to perform classical than jazz. The same way that most of the times it doesn't sound good when strictly classical musicians play jazz. With a few exceptions of course.
These classical pieces just don't sound right on electric bass IMHO. And also it takes a different skill to perform classical than jazz. The same way that most of the times it doesn't sound good when strictly classical musicians play jazz. With a few exceptions of course.
Commendable exercise. It's hard to not want to share something like this, you've done a lot if work here and it's novel to hear these melodies played on the electric bass. That said, whenever taking on the task of superimposing a new sound or concept on a very old one you must understand that you're in for a hard sell. There are moments if subtlety and surprise in your execution but overall you need to go deeper and reveal as much of the beauty of those notes as possible. You've a good beginning, now go deeper. I, for one, would much prefer you lose the orchestra track and play the piece solo or with simple accompaniment. Obviously you are not trying to imitate so why not break out all together and look for your own personal statement. The orchestra is way too heavy and burdensome, a single classical guitar player would be enough, and that would immediately snap you out of the wooden, stiltedness of trying to lead an orchestra with an electric and force you to really "play" the piece. Understand?
Haha, I figured. It's interesting, if it was a kid playing it on double bass, we would've given some nice encouragements and constructive criticism - and telling him to get a teacher. But when it's done on electric, it's suddenly blasphemy, with no room for constructive criticism or other such pleasantries.
And I have to agree with you, as an ex- BG player that this can be done better on bass guitar as well (the question whether it would be an interesting performance is another matter). But that's not any reason to scold the performance for lack of technical finesse.
Wrong instrument, wrong composer, wrong notes, and the OP clearly was inciting flames by stating from the start that he knew this was blasphemous.
This reminds me of the reaction many here have had to some transcriptions of beloved cello and violin pieces for the URB. It's novel, the effort is somehow commendable, but it *just doesn't sound as good.*
If a virtuoso EB player such as Hadrien Feraud had posted a well- executed, beautiful rendition, this would be more worthy of applause... Though I wouldn't expect any standing ovations.
This reminds me of the reaction many here have had to some transcriptions of beloved cello and violin pieces for the URB. It's novel, the effort is somehow commendable, but it *just doesn't sound as good.*
If a virtuoso EB player such as Hadrien Feraud had posted a well- executed, beautiful rendition, this would be more worthy of applause... Though I wouldn't expect any standing ovations.
This is why I have issues about playing the Bach suites. It feels wrong, sounds wrong, even though they're quickly becoming part of "standard' bass repertoire.
so much for the brotherhood of musicians. I thought it was pretty inventive. i hope to play as well someday.
D
Hmmm, would you go to an audition for a classical gig and play "Your Cheatin' Heart'?
You might not get that gig either. Too good.
Fenderfellow,
Please understand that many of us in the URB world worked our butts off 4-8 (or more) hours a day for years, even decades to play these sorts of pieces well, and expect a certain respect accordingly. This isn't a club you just stroll into casually, and this little piggy personally found the initial recording a bit disrespectful, to put it nicely. If you wish to play as well as the OP's post, just work hard. Do so, and you can accomplish whatever you want.
Eerbrev,
Have you checked out Edgar Meyer or Daxun playing Bach? It is possible to play chunks of the suites incredibly well, but we cannot do so expecting to sound like Starker or Ma. Playing Bach on the bass requires an assessment of the strengths and weaknesses of the instrument, and often a more Baroque style of interpretation.
Please understand that many of us in the URB world worked our butts off 4-8 (or more) hours a day for years, even decades to play these sorts of pieces well, and expect a certain respect accordingly. This isn't a club you just stroll into casually, and this little piggy personally found the initial recording a bit disrespectful, to put it nicely. If you wish to play as well as the OP's post, just work hard. Do so, and you can accomplish whatever you want.
Eerbrev,
Have you checked out Edgar Meyer or Daxun playing Bach? It is possible to play chunks of the suites incredibly well, but we cannot do so expecting to sound like Starker or Ma. Playing Bach on the bass requires an assessment of the strengths and weaknesses of the instrument, and often a more Baroque style of interpretation.
I'm not too sure about this idea that having standards for something being good or bad is the equivalent of "snobbery."
I think the whole thread could be about what is useful in private study vs. public performance. The OP's performance is a total disaster but could be an extremely successful private practice session as preparation to play less technically demanding music.
I think bassists must continue to play Bach. As an improviser, I see it as a way to play unquestionably great music on the bass.
On the other hand, I think only Meyer's #2 can stand with the great 'cellists (I just got Norwegian 'cellist Truls Mørk's version of the suites - very serious!).
At the same time, the recordings need to be made available to us (meaning double bassists) as a high water mark for technique & for composers to have an understanding of the strengths and weaknesses of the instrument.
I stand with Bertram Turetzky in that a "First class instrument shouldn't play transcriptions in public".
In my teaching and study I focus mostly on transcriptions (some given to me by Bert!) but I think each instrument needs to find it's own music. We are getting there, but in terms of classical music the bass guitar is far behind.
There are some works by Christian Wolff, Louis Andriseen has some ensemble work and there probably just a few more.
Damon,
This is a whole different thread entirely, but....
As we all know, the modern instrument is apples and oranges from the historic one. If players and composers had been blessed by steel strings and low action, we would have a cornucopia of pieces by big-name composers. Sadly, the difficulties of playing in ye olden style made the instrument unsuitable as a solo instrument, and left us with the short end of the repertoire stick. Remember that Dragonetti was praised for actually using more than one finger of the left hand.
Ergo, I have no issue with transcription if it's well executed. Some of our most beloved pieces are transcriptions, from Eccles to Arpeggione to Moses to Kol Nidre... Heavy emphasis on "well executed."
The electric bass has a wealth of beautiful music. You could devote a decade to Jamerson's work alone... so kindly, stay out of our yard, kids. Or better yet, start playing the big bass. We'll be happy to teach you how.
This is a whole different thread entirely, but....
As we all know, the modern instrument is apples and oranges from the historic one. If players and composers had been blessed by steel strings and low action, we would have a cornucopia of pieces by big-name composers. Sadly, the difficulties of playing in ye olden style made the instrument unsuitable as a solo instrument, and left us with the short end of the repertoire stick. Remember that Dragonetti was praised for actually using more than one finger of the left hand.
Ergo, I have no issue with transcription if it's well executed. Some of our most beloved pieces are transcriptions, from Eccles to Arpeggione to Moses to Kol Nidre... Heavy emphasis on "well executed."
The electric bass has a wealth of beautiful music. You could devote a decade to Jamerson's work alone... so kindly, stay out of our yard, kids. Or better yet, start playing the big bass. We'll be happy to teach you how.
