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Spektralkompass 4: Two Sine Tones & Two Double Basses

from Spektralkompass - Sterbendes Hertz by Håkon Thelin

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about

Håkon Thelin: Spektralkompass 4, Two Sine Tones & Two Double Basses - Interference beats

Spektralkompass is a series of works exploring the spectral qualities of different playing techniques on the double bass. The musical skeleton (presented in Spektralkompass 1) consists of two sine tones, which start in unison on the note D3 and move slowly apart in a long, continuous glissando movement, until they end up on the notes D2 and D4. In all the works, the double bass lines imitate the sine tone glissandi and add various sonic phenomena such as beatings, multiphonics, and a bowing technique called «spectral phase difference». Several of the techniques are relatively unknown, and little explored in acoustic music. The idea for the series came after a friend and colleague, the Mexican bass player Rodrigo Mata, commissioned me to write a piece for his bass ensemble Mushamukas, which should be somehow inspired by the late Stefano Scodanibbio. I ended up reflecting on Scodanibbio’s multitrack work for CD called Oltracuidansa, which in turn could have been inspired by Fernando Grillo’s piece Paperoles: both works are based on a collection of fairly personal and idiosyncratic playing techniques. Similarly, Spektralkompass originates in techniques and sounds from my lexicon that continue to inspire me.

The first piece I wrote was Spektralkompass 5, which was composed for the ensemble Mushamukas. It also turned out to be one of the most conclusive works in the series, incorporating several different techniques at once. I am working closely with multiphonics, and a bowing technique called «spectral phase difference bowing», which is a specific flautando bowing played rhythmically (like a slow rhythmical tremolo). This should give the impression of hearing two consecutive attacks for each stroke, and brings out the harmonic spectrum.


The playing techniques used in Spektralkompass come from a mixed origin. Some of them were used frequently in my earlier works (like multiphonics); for others, it’s taken me years to find ways to put them into practice. None of them can be said to be household techniques in the world of bass playing. Multiphonics, at least, are gradually becoming more known. The technique of «spectral phase difference bowing» on the contrary, is not. But as I see it, the latter technique can be viewed as a variant of the continuous open-string-staccato (bouncing, hitting, brushing etc. of the string), used by Scodanibbio in his now iconic and hugely influential piece Voyage That Never Ends. This particular way of playing, which in its basic form explores the harmonic spectrum of the string, probably originates as one of many variations of a technique used by spectral composers working with performers like Fernando Grillo in the 1970s and 80s. The variant which I use (spectral phase difference bowing) is described by the French bassist and author Jean-Pierre Robert in his book «Modes of playing the double bass» (Ed. Salabert,1995).


Spektralkompass is an evolving series of music, meaning more is to come. New pieces will be added to the digital release of Spektalkompass.

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from Spektralkompass - Sterbendes Hertz, released March 24, 2023

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Håkon Thelin Viken, Norway

Music released by Norwegian bass player and composer Håkon Thelin /// Peninsula Audio Records - label for experimental double bass music

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