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Alternate Tunings For Bass

Alternate Tunings For Bass

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Published by Lee Barry
Unconventional tunings, or scordatura (It., from scordare, to mistune); were first used in the 16th century by Italian lutenists. They were primarily used to facilitate difficult passages, but also used to alter timbral characteristics, reinforce tonalities through the use of open strings, and to extend the instrument's range.

Violin scordatura was employed in the 17th and 18th centuries by Italian and German composers, namely, Biagio Marini, Antonio Vivaldi, Johann Pachelbel and J.S. Bach; whose Fifth Suite for Unaccompanied Cello calls for the lowering of the A string to G. In Mozart's Sinfonia Concertante K. 364, all the strings are raised one-half step--most likely to make more open strings available. Scordatura for the violin was also used in the 19th and 20th centuries in works by Paganini, Schumann and Bartok. In Bartok's "Contrasts", the violin is tuned G#/D/A/E-flat to facilitate the playing of tritones on open strings. American folk violinists of the Appalachians
and Ozarks often employ alternate tunings for dance tunes and ballads. The most commonly used tuning is A-E-A-E.
Unconventional tunings, or scordatura (It., from scordare, to mistune); were first used in the 16th century by Italian lutenists. They were primarily used to facilitate difficult passages, but also used to alter timbral characteristics, reinforce tonalities through the use of open strings, and to extend the instrument's range.

Violin scordatura was employed in the 17th and 18th centuries by Italian and German composers, namely, Biagio Marini, Antonio Vivaldi, Johann Pachelbel and J.S. Bach; whose Fifth Suite for Unaccompanied Cello calls for the lowering of the A string to G. In Mozart's Sinfonia Concertante K. 364, all the strings are raised one-half step--most likely to make more open strings available. Scordatura for the violin was also used in the 19th and 20th centuries in works by Paganini, Schumann and Bartok. In Bartok's "Contrasts", the violin is tuned G#/D/A/E-flat to facilitate the playing of tritones on open strings. American folk violinists of the Appalachians
and Ozarks often employ alternate tunings for dance tunes and ballads. The most commonly used tuning is A-E-A-E.

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Published by: Lee Barry on Oct 01, 2011
Copyright:Attribution Non-commercial

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09/01/2013

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2
 ACKNOWLEDGEMENTS
 Very special thanks to Larry Benedetto, Michael Greco andChris Colletti; Sant Darshan Singh and Levia Hoppszallern fortheir spiritual inspiration; Tom Multon for his artistic input. .
Copyright 1992, 2001 L.A. Barry. All rights reserved. International copyright secured. All musical examples copyright 1992, 2001 L.A. Barry
Contact
leebax@gmail.com www.leebarry.net
 
3
 TABLE OF CONTENTS
Historical Note ................................................... 4Introduction ..................................................... 5Suggestions for use of this book................................... 6 -9
E - A - C# - E ............................................ 10-11E - G# - D - F#...........................................12-13E - G - D - E .............................................14-15E - F# - B - F# ...........................................16-17E - E - B - E .............................................18-19E
- A - C - F#............................................20-21E

- F - E

- F.............................................22-23D - A - D - A .............................................24-25D - G - D - G.............................................26-27C# - A - C# - F#..........................................28-29C# - G# - C# - A..........................................30-31C - A - C - A..............................................32-33C - G - D - G .............................................34-35C - G -C - F ..............................................36-37

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