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Abstract
Among the abundant repertoire for classical music instruments, compositions for double bass historically, were much less plentiful. Due to the size and range of the instrument, the role of the double bass has primarily been to provide a harmonic foundation. With the development of instruments and the evolution of genres, however, double bass repertoire also went through some transformation in performance techniques and types of composition. Nonetheless, double bass seemed to hardly overcome its physical limitations as a solo instrument until Elliott Carter discovered the potential of the instrument, exploring a range of techniques and compositional methods in his work, Figment III (2007). With Carter’s unique compositional tools, this piece showed new compositional possibilities for the double bass as a solo and even as a virtuosic instrument.