'D' was written after researching quite thoroughly various aspects of string technique and sonority.
On my own instrument (the double bass) I have endeavoured to expand the range and possibilities, often within the field of improvisation, which has provided me with an impetus for creative thinking and response. Rationalising has led me to formulate certain defined areas that can be expanded to embrace other stringed instruments. In 'D' a few of these are exploited.
The title refers to nothing in particular except a personal aspect in my life - something that at the time gave me a strong urge to write. I would like to dedicate this work to James Edward Merrett whose untimely death has left the double bass world with a tragic loss. My teacher for six years, he stimulated me to progress and aim for his own high standards.
'D' is typical of my writing. Within a work I feel the need to link various aspects that all have a common goal. Areas eventually manifest themselves after small beginnings, so we find seemingly insignificant ideas expanding to become a major element within the composition. This may be compared to a garden where certain flowers show their full glory at a particular time of year, but always they have been there, even as a seed, following a natural growth pattern until death.
We may take evolution as an example, for while one era manifests itself, another is growing, gradually throwing increasing influence on the present generation, eventually resulting in a new life style that enjoys its own fruition. If my work represents a perspective of activity, I would agree, for the passing of time is a passing of activity, a focus on events, all interrelated. Similarly events and pitch aspects are related in 'D'
© Barry Guy