One movement Version 1

One Movement

VERSION 1

For Amplified Double Bass

Sean Harold 2009 (rev. 2015)

One Movement (Version I) Duration: 5’ Time should be kept with a stopwatch.

Scordatura: The scordatura for the bass is shown on the first page of the score. To tune, the fourth string should be tuned one octave below the third string’s normal A. The second string’s 4th (twooctave) harmonic should be tuned to the 11th harmonic of the fourth string. The first string’s 4th harmonic should be tuned to the 7th harmonic of the third string.

The bass should not be tuned far in advance of the performance. As the piece progresses, it is expected that the bass will fall further and further “out of tune.”

Amplification: The bass should be amplified using a pickup. A microphone setup will not allow for the physical-movements at the end of the piece.

Heavy reverb may be used depending on the acoustics of the room, and may be specifically exploited to increase the feedback at the end of the work. No other effects should be used, however.

The end of the work should be exceptionally loud.

NOTATION Microtones: Microtones are notated by showing the cent deviation from 12-EDO above the pitch. All microtones are derived from the overtone series (up to & including the 25th partial).

All theoretical deviations are shown, but it is not expected that the performer will be perfect. If you can hear the difference between 2 cents on a bass, color me impressed.

Tablature: Tablature is used to show three different things throughout the piece: 1. For the bulk of the work, the upper staff is dedicated to bow placement, indicating where on the string to play, from the bridge (MSP at the bottom of the staff) to the neck (MST at the top of the staff).

2. At the end of the piece, the upper staff switches to indicating manipulation amounts on the tailpiece. Greater width indicates more up and down pressure on the tail with the hand.

3. The end of the piece also sees the lower staff switch to tablature. The lower staff indicates how far from the amp the bass (pickup) should be positioned, with the top of the staff indicating about 3 feet, and the bottom of the staff indicating that the performer should be directly next to the amplifier.

Improvisation: There is leeway given in the notation of this work intentionally. It is expected that the performer will improvise to some extent within the given form of the piece.

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Tail

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drone ends; let ring let feedback build; control the volume of the feedback through bass proximity to the amp

heavy alterations

One Movement

4:00

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no alterations (subito)

3

light to heavy ad lib.

move bass ad lib.

less and less movement

no alterations

directly next to amp

TURN OFF AMP