#1
I just had this really good idea of turning a piece for a string quartet to bass.


Is this possible to do without completely wrecking the tune?
#2
Without ruining the tune? Sounds like **** to me, but I guess it's a matter of opinion.
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#3
you probably won't be able to ply it solo.
but...just get the sheet music and play the melodies on your bass?
#4
Quote by BluesLP1990
you probably won't be able to ply it solo.
but...just get the sheet music and play the melodies on your bass?


I can't because the piece I had in mind has large tacit sections in the bassline and two of the instruments used are in treble clef.


What I had in mind was an amalgamated version of the song, where there is one part only.
#5
It could be done, definitely.

It might sound like shit though. What's the piece in question?
#7
Quote by Flying Couch
It could be done, definitely.

It might sound like shit though. What's the piece in question?



I was thinking of either Adagio for Strings or Medea's Dance of Vengence.
#8
Bass would play the cello part. You'd need three guitars to cover the two violins and viola.

And yeah, it would sound horrible, unless the piece is written entirely pizzicato.
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#9
treble cleff, bass cleff, they're all the same notes. if you want to play it on your bass you're obviously going to be limited to the three or so octave ranges on your neck. that's where you'll have to get artsy about transposing it.
#10
Quote by BluesLP1990
treble cleff, bass cleff, they're all the same notes. if you want to play it on your bass you're obviously going to be limited to the three or so octave ranges on your neck. that's where you'll have to get artsy about transposing it.



This is the problem because transpostion isn't my strong point.....
#11
What you are talking about is an arrangement.

Arranging a quartet piece for solo bass guitar is tricky, but it's probably achievable. The two most important things you will need to cover is the melody and continuo (bass lines). Arrange it in such a way that you can play the melody lines while reaching for a central note in the chord progressions.

For example, if the melody holds on a C with the chord being A minor, you can play a C and an A (root), or C and E(5th), and etc. I'm using double stop examples to be simple. There are much more possibilities. But the goal is to always being able to play the melody while implying the chords behind it.

Jazz guitarists often perform a piece unaccompanied by other instruments and often use these techniques to execute a good solo. See Joe Pass for examples.

...modes and scales are still useless.


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Last edited by Xiaoxi at Mar 3, 2008,