Kontrbasta Genişletilmiş Tekniklerin İcra Pratikleri Açısından İncelenmesi
Yirminci yüzyılın ikinci yarısından günümüze kontrbas repertuarı incelendiğinde, diğer çalgılarda olduğu gibi kontrbasta da farklı tınılar elde edebilmek için genişletilmiş icra tekniklerinin sıklıkla kullanıldığı ve bu teknikleri içeren eserlerin sayıca arttığı görülmektedir. Besteci ve icracı arasındaki interaktif ilişki, çalgı reper tuarlarını oldukça zenginleştirmiş ve bu sayede birçok yeni çalım tekniği icra pratik lerinde yer almaya başlamıştır. Standart notasyonun dışına çıkılmış, yeni tekniklerin ifadesini sağlayan farklı notasyon kullanımları ortaya çıkmıştır. Bu kullanım besteci den besteciye farklılık gösteren bir nitelik de sergilemektedir. Günümüz bestecileri, eserlerindeçalgıların ifadeolanaklarınıüstdüzeydekullanmayaçalışmakta,çağımızın teknolojik imkânlarını da kullanarak farklı tınılar ve kompozisyonlar ortaya çıkart mak istemekte, eserlerinde kimi zaman bu teknikleri kendileri ürettikleri görülmek tedir. Bu çalışmada, kontrbasta genişletilmiş icra tekniklerinin neler olduğu, nasıl sınıflandırıldığı ve icra pratikleri bağlamında nasıl uygulandığı açıklanmış, günümüz repertuarını oluşturan solo kontrbas eserleri içerisinde kullanımlarına örnekler ver ilmiştir. Genişletilmiş icra teknikleri ve bu tekniklerin kompozisyondaki yansıları çerçevesinde yapılan değerlendirmeler ve elde edilen veriler nitel araştırma yöntem lerinden betimleme yoluyla sunulmuştur. Genişletilmiş icra tekniklerinin ortaya kon ması, açıklanması ve notasyonun anlaşılması ile çağdaş müzik içerisinde kontrbasta genişletilmiş icra teknikleri, bu teknikleri içeren repertuar, notasyon ve icra pratikleri hakkında bilgi sahibi olunması hedeflenmektedir.
Examination of Extended Techniques on Double Bass in Terms of Performance Practices
When examining the double bass repertoire from the second half of the twentieth century to the present day, it becomes clear that, similar to other instruments, extended performance techniques are frequently used to achieve different timbres on the double bass, and the number of works incorporating these techniques has increased. The interactive relationship between composers and performers has significantly enriched the instrument’s repertoire, leading to the introduction of many new playing techniques in performance practices. There has been a move beyond standard notation, with the emergence of different notational systems that express new techniques. This use varies from composer to composer. Contemporary composers strive to use the expressive possibilities of instruments to their fullest, and by leveraging modern technological advancements, they seek to create different timbres and compositions. Sometimes, they develop these techniques themselves. This study explains what extended performance techniques on the double bass are, how they are classified, and how they are applied in performance practices. Examples of their use in contemporary solo double bass works are provided. The evaluations and data obtained regarding extended performance techniques and their reflections in composition are presented through descriptive qualitative research methods. The goal is to provide information about extended performance techniques on the double bass within contemporary music, including the repertoire that incorporates these techniques, notation, and performance practices.
The opportunities created by industrialization and advancing technology from the twentieth century to the present have also brought about a process of increased efficiency in music. Developments in instrument making have achievedgreat success in researching, developing, producing, and distributing the necessary tools and materials. The interactive relationship between composer and performer has significantly enriched the instrument’s repertoire, leading to the inclusion of many new performance techniques in practice. Some of these techniques are now referred to as standard playing techniques. Standard notation has been expanded with different notations to express new techniques, and this usage varies from composer to composer. Traditional notation was inadequate to express new demands, and it became necessary to design a series of newsymbols and expressions to adapt to newmusical concepts. Traditional compositional understanding was rejected. Instead, the use of ambiguity, improvisation, unpredictable sound, and conditions emerged. All these required a new notation with a radical approach that would completely abandon traditional symbols and expressions. All these expressions greatly benefited from the artists’ imagination and creativity, providing them with the greatest possible freedom of interpretation. Technological advancements that accelerated instrument production have also added many new features to instruments based on the demands of performers and composers. The efforts to obtain different timbres through electronic instruments or electronic devices attached to these instruments have initiated a period where electronics guide music. The double bass began to gain the characteristic of a solo instrument in the 19th century. Composers started to write more original and independent parts for the double bass in their works, giving it more prominence, and the number of solo works for the double bass increased. The musical changes of the 19th century opened the doors to the Contemporary Period as the century drew to a close. The Contemporary Period generally began with the more experimental turn of trends and inclinations present in the Romantic Period, along with the work aimed at these. While some composers preferred to use the traditional harmonies and timbres that had developed throughout the 19th century, others pursued the new and unconventional. These composers began to base their works on elements such as rhythm, texture, tone, and timbre instead of traditional musical elements like harmony and melody by seeking out non-traditional sounds. The changes in musical style, taste, and preferences in the Contemporary Period have also given instruments new identities in terms of performance and practice, with efforts and searches to produce new, different, and unconventional sounds and timbres. These sound production methods and performance styles vary from instrument to instrument and are developed according to the physical capabilities of each instrument. While bass sounds have constituted an indispensable element of music from the past to the present, during this period, the large body of the double bass has also served as percussion, giving rise to new techniques, introducing new aesthetic understandings to music, and adding new expressive techniques to composition. All these developments have led to the emergence of new performance practices and techniques applied to the double bass in unconventional ways. The methods of producing sound from the instrument, obtained by exploring ways outside of traditional performance practices, are referred to as "Extended Performance Techniques" (Extended Instrument Techniques). These new techniques and developments in performance practices naturally change the role of performers as well. Extended performance techniques, characterized by the blending of musical styles and the use of instruments in ways that push the boundaries of their conventional sound characteristics, attribute new characters and features to the instrument and performer beyond their traditional identities. Explaining how these techniques are classified and expressed, and how they are applied in performance practices, will be an important resource for double bass performers and composers who want to gain knowledge in this area.
