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Giovanni Bottesini's "High B♭ Solo T...

Velez, Rafael A.,

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Giovanni Bottesini's "High B♭ Solo Tuning" (C, F, b♭) and Its Use for Double Bass Solo Repertoire and String/Woodwind Transcriptions /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Giovanni Bottesini's "High B♭ Solo Tuning" (C, F, b♭) and Its Use for Double Bass Solo Repertoire and String/Woodwind Transcriptions // Rafael A Velez.
Author:	Velez, Rafael A.,
Description:	1 electronic resource (135 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 83-02, Section: A.
Contained By:	Dissertations Abstracts International83-02A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28498793
ISBN:	9798516948268

Giovanni Bottesini's "High B♭ Solo Tuning" (C, F, b♭) and Its Use for Double Bass Solo Repertoire and String/Woodwind Transcriptions /
Velez, Rafael A.,

Giovanni Bottesini's "High B♭ Solo Tuning" (C, F, b♭) and Its Use for Double Bass Solo Repertoire and String/Woodwind Transcriptions /Rafael A Velez. - 1 electronic resource (135 pages)

Source: Dissertations Abstracts International, Volume: 83-02, Section: A.

This document explores the use of the high b♭ solo tuning (G, C, f, b♭) and its benefits for the modern solo double bassist. Additionally, it corroborates the use of this tuning by Giovanni Bottesini and departs from there to demonstrate its practical use on the double bass. High b♭ solo tuning enables double bassists to transcribe repertoire that would otherwise be impractical due to the double bass's considerable technical challenges. Telemann's Bassoon Sonata in F minor, TWV 41:f1, and Beethoven's Cello Sonata No. 1 in F Major, Opus 5, No. 1 are among the pieces featured, demonstrating this tuning's practical use for transcriptions. Additionally, Serge Koussevitzky's Double Bass Concerto, Opus 3 in F-sharp Minor is presented to demonstrate high b♭ solo tuning's practicality when performing standard double bass solo repertoire. The transcription of Telemann's Bassoon Sonata indicates how the high b♭ solo tuning allows for a more suitable double bass mid-register range in performance and enables smoother transitions throughout the work. The transcription of Beethoven's Cello Sonata No. 1 in F Major displays how the execution of triple and quadruple stops can be more effectively facilitated using this tuning, making use of the open string sonority commonly expected on the cello. The Koussevitzky Concerto, arranged in G minor for Double Bass and Small Wind Ensemble, demonstrates how standard solo repertoire may be successfully adapted for both professional and inexperienced wind ensembles. Finally, this document shares recommendations for transcribing and arranging music for this tuning.

English

ISBN: 9798516948268Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Bass scordatura

Giovanni Bottesini's "High B♭ Solo Tuning" (C, F, b♭) and Its Use for Double Bass Solo Repertoire and String/Woodwind Transcriptions /
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520 $a This document explores the use of the high b♭ solo tuning (G, C, f, b♭) and its benefits for the modern solo double bassist. Additionally, it corroborates the use of this tuning by Giovanni Bottesini and departs from there to demonstrate its practical use on the double bass. High b♭ solo tuning enables double bassists to transcribe repertoire that would otherwise be impractical due to the double bass's considerable technical challenges. Telemann's Bassoon Sonata in F minor, TWV 41:f1, and Beethoven's Cello Sonata No. 1 in F Major, Opus 5, No. 1 are among the pieces featured, demonstrating this tuning's practical use for transcriptions. Additionally, Serge Koussevitzky's Double Bass Concerto, Opus 3 in F-sharp Minor is presented to demonstrate high b♭ solo tuning's practicality when performing standard double bass solo repertoire. The transcription of Telemann's Bassoon Sonata indicates how the high b♭ solo tuning allows for a more suitable double bass mid-register range in performance and enables smoother transitions throughout the work. The transcription of Beethoven's Cello Sonata No. 1 in F Major displays how the execution of triple and quadruple stops can be more effectively facilitated using this tuning, making use of the open string sonority commonly expected on the cello. The Koussevitzky Concerto, arranged in G minor for Double Bass and Small Wind Ensemble, demonstrates how standard solo repertoire may be successfully adapted for both professional and inexperienced wind ensembles. Finally, this document shares recommendations for transcribing and arranging music for this tuning.
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