Cadenza IX Op.245 Eric Gross (1926 –

Cadenza IX is the most recent of Gross’s cadenzas for plucked instruments. Cadenzas I–VII are for mandolin, and Cadenza VIII for mandola. This cadenza was composed for electric bass guitar. Whilst the early cadenzas derive their material from large scale works written by Gross for mandolin at the time, the most recent are considerably less referential. The cadenzas are dedicated to Paul Hooper, Adrian Hooper, “The Hoopers” or, in the case of Cadenza IX, Michael Hooper. Ambitiously subtitled “No Problems for Michael”, this work exhibits the principle of idiomatic and personalized writing.

Gross’s writing for bass guitar is similar to that for mandolin. As a self taught bass guitarist, my technique is informed by my experience as a mandolinist. The plucking action and left hand technique are similar for both instruments. Motivic devices, too, resemble those of earlier works. These include sequences based around hand positions (slightly altered with each iteration), octave harmonics in still moments, tremoloed notes followed by upward glissandi, ‘bar chord’ glissandi and playing behind the bridge. This work was composed for a Yamaha TRB-6P. One peculiarity of this instrument is the short length of string (approximately one centimeter) from the ‘bridge’ to the point at which the strings are fixed. Also, this bass guitar has pickups in the bridge which can be altered in sensitivity. Thus, not only is it possible to produce notes behind the bridge, but the sound of other notes throughout the composition is influenced by the need for maximum sensitivity in the bridge pickups.

Cadenza IX exploits the large range of the six string bass guitar: the lowest string is tuned to ‘C’ and the highest pitch notated is a ‘D’ three octaves and a tone higher. The long string length of the bass guitar allows the performer to ‘hammer-on’ (rapidly depress the fingers without the string being plucked) and produce clear pitches – a technique specified towards the end of the work. ‘Hammer-ons’ are often employed by guitarists and bass guitarists (but not usually mandolinists) and are not normally notated. My background as a mandolinist and Gross’s reliance on rhythmic definition means that hammering-on will not be used in this cadenza unless specifically requested.

The instrument’s timbral spectrum, ranging from dark and low to clear and high, combined with the broad dynamic range, are employed by Gross to facilitate shifts between the still quiet passages and the aggressive faster ones.