![]() In this sense also double bass is a perfect instrument for the composers to look for due to its large variety of sounds,massive body and still developing shape and playing styles.Īs my conclusion to the introduction and beginning to the thesis, my goal is to look for how it happened and what were the facts preparing to these and what will happen in theįuture… Chapter 1 General view to musical scene and orchestras before 19th CenturyĪs the time goes by like everything changed, musical scene also had a paralel and also simalar changes like art, literature and so on. There is no right or wrong anymore just plain expression. More and more I started to play contemporary pieces I realised that the music was changing a lot still and actually was much more different change then before. The happenings like French revolution or industrial revolution, technolocigal developments and wars had major influences on the music, which is why I was more interested in the period. The fact that I chose 19th, 20th and 21th centuries was because of the more recent changes in the actual life as well as the music life. This fact suprised me and give me a push to go a bit deeper about the subject for what is the main goal of the bass in the orchestra. In my former school I heard people saying when double basses play you do not hear them but when they do not play you hear the big gap in the music. From this view was my starting point to go a bit deeper and search for the question “what is our main role in the orchestra?”. For this reason we have to be aware of the fact that most of the bass players will play in an orchestra for a time of our lives. IntroductionĪs double bass players, the orchestra is almost our highest priority due to the fact that our instrument is still not considered a solo instrument. Introduction chapter from the Unterweisung im Tonsatz “the craft of the musical composition” by Paul Hindemith (1937). Whoever wished to make any progress gave himself unreservedly to the New, neither helped nor hindered by theoretical instruction, which had simply become inadequate to the occasion.” Confidence in inherited methods vanished they seemed barely adequate now to guide the beginner’s first steps. Either it fell into the same frenzy as practice, and devoted itself to flimsy speculation, instead of adapting its systems of teaching to a new material, or it lapsed into inactivity, and what had never been a very strong urge towards novelty turned into a barren clinging to the past. Blinded by the immense store of materials never used before, deafened by the fantastic novelty of sound, everyone seized without reflection on whatever he felt he could use. ![]() It seemed as if the sun had risen upon a new, iridescent land, into which our musicians-discoverers rushed headlong. New combinations of tones came to be recognized, and new ways of bending a melodic line were discovered. The discovery, in the last century, of the extreme limits of power and subtlety in the effect of the musical tone extended the boundaries of the tonal domain at the disposal of the composer into hitherto undreamed-of distances. “It is not surprising that things have developed as they have. Early Double bass in the left corner, Malaga 1745 Motto
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