The g-d-G-C scordatura tuning for the double bass : a historical survey, theoretical rationale, pedagogical study, and compositional demonstration

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dc.contributor.advisor Steinke, Greg A., 1942- en_US
dc.contributor.author Jackson, Bruce Rogers en_US
dc.date.accessioned 2011-06-03T19:27:12Z
dc.date.available 2011-06-03T19:27:12Z
dc.date.created 1996 en_US
dc.date.issued 1996
dc.identifier LD2489.Z62 1996 .J33 en_US
dc.identifier.uri http://cardinalscholar.bsu.edu/handle/handle/177013
dc.description.abstract The purpose of this study is to investigate the g-d-G-C scordatura tuning for the double bass. The study will survey the historical use, develop a theoretical rational, investigate the pedagogical implications, and explore the compositional opportunities of the scordatura tuning.Though there are many unanswered questions concerning the historical use of this tuning system, it is clear that the double bass has a long history of using scordatura tunings. The sympathetic/fifths tuning (g-d-G-C) was the basis of Violoncello Suite No. 5 by J. S. Bach, and there are three known later uses of it.After a brief history of temperament, the study concludes that this particular tuning greatly improves the resonance and intonation of the double bass. The placement of the g/G strings between the d and C strings strengthens the sonic output and vibrancy of the bass because of the close relationships between the natural harmonic series of each string. The proximity of the tuning to the upper part of the circle of fifths (C/G/D) is an additional benefit.Though the scordatura tuning creates more difficult technical challenges than the all-fourths tuning, this tuning system works well in orchestral, solo and jazz performance. The scordatura tuning is easily adapted to the bass guitar and offers many new opportunities for jazz improvisation. This tuning system is not particularly effective in popular commercial music venues.Since the 1960's new pedagogical approaches to sequence of instruction, concepts of position and approaches to fingerings have emerged. This new school of bass pedagogy suggests how a method could be developed for learning the scordatura tuning.Most of the traditional orchestral, ensemble, solo and jazz literature can be adapted to the tuning. Though it may be technically possible to play a work originally written for the all-fourths tuning using sympathetic/fifths, such a transcription may not be appropriate.Finally, the study includes four original compositions with analysis and discussion that demonstrate the idiomatic possibilities of the tuning: Sonata No. 5 for Scordatura Double Bass, Quartet No. 3B for Mixed Double Basses, Overture for Jazz Combo, and Concerto No. 3 for Scordatura Double Bass.Total Words of Abstract: 347 (does not include title) en_US
dc.description.sponsorship School of Music
dc.format.extent 2 v. ; 28 cm. en_US
dc.source Virtual Press en_US
dc.subject.lcsh Double bass -- Tuning. en_US
dc.subject.lcsh Double bass -- Instruction and study. en_US
dc.subject.lcsh Double bass music. en_US
dc.title The g-d-G-C scordatura tuning for the double bass : a historical survey, theoretical rationale, pedagogical study, and compositional demonstration en_US
dc.description.degree Thesis (D.A.) en_US
dc.identifier.cardcat-url http://liblink.bsu.edu/catkey/1041733 en_US


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  • Doctoral Dissertations [3248]
    Doctoral dissertations submitted to the Graduate School by Ball State University doctoral candidates in partial fulfillment of degree requirements.

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