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Partitur, Solostimme
Titel nach Uploader: Sonata for Electric Bass and Piano
Instrumentierung |
Klavier, Bassgitarre |
Partitur für |
Solo, Klavierbegleitung |
Art der Partitur |
Partitur für zwei Interpreten, Solo Stimme |
Satz, Nr. |
1 bis 3 von 3 |
Verleger |
Jason Sullivann |
Schwierigkeitsgrad |
Fortgeschritten |
A new Sonata for Electric Bass and Piano. This piece combines modern writing for electric Bass as a solo instrument with a neo-classical Sonata-Allegro form. It is of interest to Contrabass players who double on electric Bass as well as electric Bass players looking for substantial Music to practice reading in
standard notation. Several intermediate-to-advanced techniques are utilized, including double stops, natural and artificial harmonics, and fingerboard tapping. The Sonata is offered in both complete and separated versions for convenience. The third movement especially can be a good start by itself as both
a reading etude and a concert piece. The influences of several modern Bass players can be heard (Victor Wooten, Stu Hamm, Gary Willis, et al), but it is the influence of composers like Hindemith, Halsey Stevens, and Andrew Lloyd-Weber that makes it truly unique.
Movement I – score
Titel nach Uploader: Sonata for Electric Bass and Piano - 1st mvt. only
Instrumentierung |
Klavier, Bassgitarre |
Partitur für |
Solo, Klavierbegleitung |
Art der Partitur |
Partitur für zwei Interpreten, Solo Stimme |
Satz, Nr. |
1 bis 1 von 3 |
Verleger |
Jason Sullivann |
Schwierigkeitsgrad |
Fortgeschritten |
This piece uses idiomatic themes for the bass in a duo (chamber) setting that requires careful listening and ensemble playing skills. The main theme of the first section is constructed like a typical bass line, but other melodies are traded between the bass and piano equally. It isn't secretly a Piano sonata with Bass accompaniment. As a whole the movement utilizes the entire range of the traditional 4-string Electric Bass and presents several motives that are challenging as both a reading exercise in standard notation and a musical setting that uses modern harmonies and metric patterns.
Movement II – score
Titel nach Uploader: Sonata for Electric Bass and Piano - mvt.2 Only
Instrumentierung |
Klavier, Bassgitarre |
Partitur für |
Solo, Klavierbegleitung |
Art der Partitur |
Partitur für zwei Interpreten, Solo Stimme |
Satz, Nr. |
2 bis 2 von 3 |
Verleger |
Jason Sullivann |
Schwierigkeitsgrad |
Fortgeschritten |
Here in the second movement the Bass part is given a melodic line that is based more on intervals than scale patterns. The second theme, however, is slightly more lyrical and uses open strings as pedal tones in a guitar-like texture. The piano remains in an accompaniment mode, punctuated by a repeated descending phrase in Hindemith-style tonality. Both natural and (if desired) artificial harmonics are featured by the Bass. If performed separately, this piece really gives the Bass soloist an opportunity to demonstrate the quieter and lyrical qualities of the instrument, rather than the rowdy slap/pop qualities that we already know it can produce quite well (if such a thing is desired...)
Movement III – score
Titel nach Uploader: Sonata for Electric Bass and Piano - mvt.3 Only
Instrumentierung |
Klavier, Bassgitarre |
Partitur für |
Solo, Klavierbegleitung |
Art der Partitur |
Partitur für zwei Interpreten, Solo Stimme |
Satz, Nr. |
3 bis 3 von 3 |
Verleger |
Jason Sullivann |
Schwierigkeitsgrad |
Fortgeschritten |
The "Horsetooth Reel" is written in the most traditional duo-style of the three movements and is probably the most feasible as a single piece for recitals. Here the Bass usually remains in a melodic solo mode. The themes are stated in the higher range of the 12th fret area of the neck. However, there is still equal
interplay between the instruments, with the Bass providing either simple rhythmic accompaniment, a bit of 2-handed tapping on the neck, and even a Bagpipe-style drone. This piece could be equally at home in a recital setting or as a special feature on a band gig.
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