"Orchestration Tips For Bass"
A full orchestra is one of the largest and most astounding and epic things the human ear can pick up. But, what most do not know is that to compose music for such a large body of varying instruments is actually a science unto itself entirely! Orchestration goes well beyond simply designating parts to certain instruments or groups of instruments. One must learn to use instruments to compliment instruments that you would like featured, and then take it another step and narrow it down to using some instruments to bring out many varieties of colours as well. As you can tell, each type of instrument brings about colours and textures and timbres all of its own, and then in combination with other instruments, it will take on all new worlds of colours. It is up to the composer to select the instrument that is at the centre of the desired effect, as well as the more difficult task of selecting the complimenting instruments to strengthen what is happening. In this way, all instruments are supporting instruments. But how does bass play into the big picture?
First, one must look at the individual instrument's qualities on their own. A bass has a relatively quiet and powerful range to it, also a limited range. This limited range is very important, as the bottom range alone can only be reached by certain instruments, and not very many. Also, if the lower notes of the overall chord the orchestra is producing is wrong, the whole piece will be in shambles. A bass in the orchestra is best used as a bottom end supporting instrument for this reason: because it can and was designed for this ability. But a supporting role does not stop in this very quaint and simple area. A supporting role must make everyone sound better than they really do, and also bring out the best in all instruments that it supports. Great bassists in all genres, styles, and groups must be able to handle this task! In the orchestra, the bassist must fill in the lower piece of the puzzle as well as bring out the best colours int he instruments playing higher parts than it.
Next, we must look at what other instruments can handle the same range and how they can effect the bass. We have the bassoon in the woodwind section, and the tuba in the brass section. A rule of thumb is that strings and woodwinds have the strongest relationship of all combinations of groups. They just mix so easily, in fact, they mix the best of all! So the bassoon and bass will blend extremely well with little contrast in colour. Just as well, the brass and string sections blend least well, creating much contrast between colours. Brass is the least versatile section in the orchestra, and they are usually used in loud and powerful segments, so the mixture of bass and tuba will be overwhelmingly powerful unless it is meant to be that way. You would generally be very careful in mixing the two, especially if the trombone is already backing the tuba to begin with. In that case, give the bass a different part or rest it. Tuba and trombone can be very very strong and to add the bass will blow the whole low end sky high!
To mix bass with brass, the best choice would be to mix it with french horn, as the horns are the best bridge instrument between the strings and brass. Horns are delicate and poetic as are strings, and they relate best between the groups. If you want to mix bass and the trumpets above or the trombones below, it is best to try to relate to the horns first, and by doing this, bass can colour the trumpets nicely. You will also get a nicer, fuller sound!
Some more tricks with woodwind mixtures are also apparent! First you will want to note that to always back the bassoon all the time can be a bad idea when the bassoon is already doing the job in those situation where the woodwinds are playing alone. Try not to overshadow the bassoon, just let it do its job if the low end is too strong! What you can do though is play a part below or above it slightly to fill in space! Or even play a simple counterpoint line off of the oboes! Mixing with oboes makes for a nasally quality, so make sure this is what you want first.
Bass solos in an orchestra are rare, but when it does happen, it is best to quiet the accompanying parts. Brass can be too strong, so be careful in your employment of brass! Horns may work well to give it a slight brass flavour, and if you'd like some low end brass, use the trombone lightly. But the low end of solo bass parts would be best taken over by the bassoon, as it is a light bass instrument suited for light composition well. You can even designate a second contrabass part at the low end. The rest of the strings should be fairly quiet, if existent at all. The violins and violas may drown your bass solo, so give them a rest. The cello should have a lowend supporting part, if anything at all. And since woodwinds blend extremely well with strings and are delicate, you can be more liberal with the use of those! Just keep it soft.
Now strike it up maestro!,
Mark McAnaney
