Here’s the overview of my Experimental Double Bass: 100 Days project. As I go on through the project I’ll add extra pages for things I discover through the experiments, technical notes, extended technique index, and maybe other stuff too.
Experimental Double Bass: what is this?
For 100 days I’ll make a brief recording of some experimental music for upright bass and post it online. I won’t be working on polishing up anything to perfection. Instead, it’s an endurance question. Can I make an experimental piece for double bass every single day for more than three months?
Along the way I’ll probably add some video and notation examples. There’ll be some process stuff for those who are interested.
Why bother with Experimental Double Bass for 100 days?
I want more experimental music to exist. By doing this project I know that at least 100 more experimental works for double bass will exist.
Continuously making this music will also have an impact on how I think about and perform experimental music. I know this because I did a 100 days of (electric) bass previously and it had an impact on how I think about that kind of bass playing. I’m inspired to do this new, experimental version, by Jennie Gottschalk’s Experimental Music Since 1970.
Also, it’s a chance to work on some of the technical and gear aspects of constant recording and posting. These activities are important for contemporary musicians and they only get better/faster if we do them frequently. By doing it every day I hope to build better efficiencies for the production and dissemination of work.
For music listeners:
For listeners, it’s a quick fix of experimental music that you can scan through. I doubt I’ll make many long works so it’ll be a collection of little things for your ears. I hope people find some to like but if not, that’s ok too.
For experimental musicians:
For fellow experimental musicians, I hope you become inspired to share more of your sketches and thinkings. There is a tendency to hide more than to show. I hope by plowing through 100 days of this I can show that it isn’t too scary to invite others into the process.
I hope that the resulting collection of sounds helps to inspire more experimental works that include the double bass. In particular, I hope that it highlights some of the great extended techniques and alternative sounds we can get out of this beast.
Experimental Double Bass Sketches
Here are links to the more details about the works:
- Pizzicato below the bridge: 100.001
- Left hand tapping, pizz, and pulls: 100.002
- Controlling transitions to the spectral realm: 100.003
- Sympathetic vibration on the double bass: 100.004
- Note attack and resonance: 100.005
- Multi-phonics: 100.006
- Stealing from others: 100.007
- Col legno, three ways: 100.008
- Vocalizations: 100.009
- Tapping and Bowing: 100.010
- Three flavors of double bass pizzicato: 100.011