Samenvatting

This research investigates the process of soloistic development on the double bass through the compositional application of the partial series. There are many misconceptions surrounding this area of contemporary music and the avant-garde, relating largely to the sheer complexity of its notation and the ever-expanding world of additional unconventional techniques. As a result, it can be daunting to navigate this area of learning, in which the process easily becomes predominantly scientific rather than creative. This research aims to bridge the gap between the underlying theory and successful execution of the partial series, combined with an intuitive exploration of new sounds and approaches that occur naturally on the double bass – channeled into a series of vegetable-themed compositions. The theme itself is intended to add an element of humour to an otherwise daunting area of study, through harnessing the instrument and its ‘unrestrained sound’ (Thelin, 2011, p. 1), whilst straying away from clichés of love or endless
‘untitled’ etudes. Specific areas of focus include: an enquiry into foundational theory and literature (informed
by a range of pioneering bassists from the past and present), different notation methods for the double bass with a particular focus on the partial series, enquiry into existing works and recordings, and last but not least, a full album of Vegetable Bass compositions/recordings and unreleased compositional sketches. The results achieved have surfaced organically and expressively over time, culminating together to ignite a lifetime of continuous discovery.