1/2 CLT- Both Sides Off The Bridge
A polyphonic suffering that in no way resembles how a double bass usually sounds. Wind and air are mixed with scents of metal particles and depending on how I nuance the string playing by partly the distribution of how much of the wooden side above the stable and the hair below and partly how much pressure is put on alternatives is deducted, the composition varies between them.
½ CLT Rosin Bounce
A shivering wind that is spreading a salty smell of sound. A combination of a transformation of techniques that I learned by studying the solo piece seals IV1 and a “happy accident”2. I discovered that the rosin that had stuck on the wooden side of the bow created a fantastic tremolo while I was playing ½ clt with a fast bowspeed without pressure. The British double bass player, John Edwards, is using similar techniques.3
Microtonality – Harmonics
This one is heavily influenced by the work of Mark Dresser4 and Pierre Robert5. In order to master and control the harmonics, I started to transform different technical exercises by them. One example is an etude where I play the tone and then the overtone at the same spot. I started to expand this idea to scales and then to chromatic and microtonal movements. Finally, when I started to improvise around and with these techniques it got its own life. An excellent example of what I call; “To control the uncontrollable and to let go of control within the framework of control”
1:Denerin, H (2017-19) Seals
2:Read more about my definition of “ happy mistakes” in Final Thoughts
3:We talked about this when I took classes from him in december 2020
4:I especially have enjoyed his paper Chromatic fundamentals, harmonics, & bitones
5:Robert, P. (1995) Les modes de jeu de la contrabasse. Musica Guild
Back to About The Archive
