Jeremy Castro Baguyos - 21st-Century Double Bassist and Academic

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Music For Double Bass And Electronics

This list is a listing of works for double bass and electronics. It is published (and updated periodically) in conjunction with two articles that I published in BASS WORLD in 2004 and 2008. The full-length feature articles "Interactive Computer Music for Double Bass" and "Literature and Practice of Music for Double Bass and Electronics" were intended to introduce and outline the oeuvre of music written for double bass and electronics and discuss the emerging performance practice surrounding the relatively new genre. 

Alexander, Adrienne. Absolution. Los Angeles: Adrienne Alexander, 2004. 

Anderson, Jon. 
Lusemore. Detroit: Jon Anderson, 2006. 

Austin, Larry & Robert Black. art is self-alteration is Cage is. . . redux. 1983/1993/2001

Austin, Larry. Bass: A Theatre Piece in Open Style. Davis: Composer/Performer Edition, 1966. 

Austin, Larry. 
Quadrants: Event Complex No. 11. New York: American Composers Alliance, 1977. 

Baguyos, Jeremy. Lifeline IV. Omaha: OCD, 2013

Baguyos, Jeremy. 
Balancoire No. 16 Suburbian Rat. Omaha: OCD, 2008.

Baguyos, Jeremy.  
One More Time With Feeling.  Omaha: OCD, 2004.

Berkhout, Bjorn. 
Dakota Sleeps. Chicago: Bjorn Berkhout, ca. 2004. 

Boyle, McGregor.  
Yahaney Inlet. Baltimore: McGregor Boyle, 2007.

Budd, Harold. 
November. La Jolla: Bertram Turetzky, 1967. 

Bolte, Jason
Forgotten Dreams. Kansas City: Jason Bolte, 2004. 

Burt, Samuel
Uncoiled Oscillations. Baltimore: Samuel Burt, 2004. 

Burtner, Matthew. 
Falls for amplified double bass and computer-generated tape. Charlottesville: Burtner, 1999. 

Calix, Mira. one more thing. 2011.

Carl, Robert B. 
Roundabout. New York: American Composers Alliance, 1985. 

Chihara, Paul. 
Logs. New York: C.F. Peters Corporation, 1969. 

Cifuentes, Marco Antonio Suarez. Maquina Mistica. Babel Scores,, 2007.

Cole, Andrew
Sound, Timbre, and Density for Bass and Computer. Baltimore: Andrew Cole, 2005. 

Cope, David. 
Cedar Breaks. New York: Seesaw Music Corporation, 1971. 

Custer, Arthur R. 
Found Objects No. 3. New York: GMP, ca. 1973. 

Da Fonseca, Luis Augusto. homeTown for dbl bass, video, & electronics. 2014. 

Davidovsky, Mario. 
Synchronism No. 11. New York: C.F. Peters Corporation, 2007. 

Diemente, Edward P. 
Eight Moments. New York: Seesaw Music Corporation, 1974. 

Dlugosz, Magdalena. 
Tabar. Warsaw: Dlugosz 2000. 

Dobrowolski, Andrzej. 
Musik. Karlsruhe: Edition Modern – Tre Media Muskikverlage, 1977. 

Druckman, Jacob. 
Synapse>Valentine. New York: Boosey & Hawkes, ca. 1970. 

Emmerson, Simon. 
Time Past I. 1981. 

Erb, Donald. 
Basspiece. Bryn Mawr: Theodore Presser Company, 1969. 

Erickson, Robert. Ricecar a 3. La Jolla: University of California Press, 1973.

Fagin, Lucas. Crònica del oprimido for contrabass and electronics. Babel Scores,, 2005

von Falkenstein, Jan Trutzschler. 
Zeitfenster (Time Frames).  The Hague:, 2007. 

Fongaard, Bjorn. Concerto for Contrabass and Tape, Op. 131 No. 21. Oslo: Norwegian Music Information Centre, 1976.

Fulkerson, James. Patterns IV. Karlsruhe: Edition Modern – Tre Media Muskikverlage, 1971. 

Garcia, Orlando Jacinto. Three Pieces for Double Bass and Tape. Philadelphia: Kallisti Music Press, 1990. 

Garcia, Orlando Jacinto. 
Paisaje del sonido I for contrabass and tape. Miami: Kallisti Music Press, 1992. 

Gibson, Robert. 
Mist. College Park: Robert Gibson, 1997. 

Graves, Mel. Platte 
River Magic Finger. New York: Seesaw Music Corporation, ca. 1975. 

Greene, Jeff. The Range of Their Vision.

Guy, Barry. 
Eos X. London: Novello & Co., Ltd., 1976. 

Hamilton, Robert. 
Museau de Singe. Baltimore: Robert Hamilton, 2003. 

Hatzis, Christos. 
Birth of Venus. Wellington: Promethean Editions Ltd, 1990. 

Heussenstamm, George. 
Pentalogue, Op. 40. New York: Seesaw Music Corporation, 1971. 

Hill, Adam. The Streets Smart. Adam Hill Music, 2010.

Hodkinson, Sidney. 
One Man's Meat. Bryn Mawr: Theodore Presser Company, 1970. 

Hopkins, Michael. 
Antimatter for Double Bass and Electronic Sounds. Burlington: Michael Hopkins, 2004. 

Jacobs, Kenneth. 
There's Another One. New York: Seesaw Music Corporation, ca. 1975. 

Jongchan, Hyun. Double Bass and Computer. ca. 2013.

Julian, Joseph. 
Akasha. New York: Seesaw Music Corporation, ca. 1975. 

Keane, David. Study No. 1 for double bass and tape recorder. Columbus: David Keane, 1963. 

Keane, David Roger. Elegy for Double Bass and Tape Recorder. 1979. 

Kuchera-Morin, JoAnn. 
Paleo for Double Bass and Computer-Generated Tape. Chicago: Discordia Music, 2003. 

Kupferman, Meyer. 
Infinities 24. Rhinebeck: Soundspells Productions, 1968. 

Macchia, Salvatore. 
Tela II for contrabass and electronic tape. Amherst: Salvatore Macchia, 2001. 

Magnan, Carla. 
"I fili del canto" for double bass and electronics. 2015.

May, Andrew. 
Ripped-up Maps. Boulder: Andrew May, 1997/2003. 

Melby, John. Concerto. New York: American Composers Alliance, 1989. 

Melen, Sten. 
To be Continued. Stockholm: Stim-Svenska Musik/Edition Suceia-Stim, 1984. 

Michel, Willfried. 
Kontrasignatur. Karlsruhe: Edition Modern – Tre Media Muskikverlage, 1976. 

Mobberley, James. 
TNT, for double bass and tape. Kansas City: James Mobberley, 1994.

Neher, Patrick. Crystals for double bass and live & recorded electronics. ISG Publications, 2008.

Neubert, David. Concert For Double Bass and Two Tape Recorders. Austin: David Neubert, 1977. 

Neubert, David. 
Moby Bass for Double Bass, Echoplex, and Tape. Austin: David Neubert, 1975. 

Neubert, David. 
Peacock Feathers for Double Bass. Echoplex, and Tape. Austin: David Neubert 1979. 

Neubert, David. 
Sound Design for Double Bass and Synclavier. Austin: David Neubert, 1980. 

Ozab, David. 
Cirrus…Cumulus…Nimbus for double bass and tape. Eugene: David Ozab, 2000. 

Ozab, David. 
A Fork in the Road. Eugene: David Ozab, 1997. 

Palmer, Juliet. 
A Bridge of Ice. New York: Juliet Palmer, 1994. 

Palombo, Paul M. 
Sonos III. Piper Company. 

Peck, Russel. 
One Db. La Jolla: Bertram Turetzky, 1968. 

Proto, Frank. 
Death of Desdemona. Cincinnati: Liben Music, 1987. 

Ptaszynska, Marta. 
Quodlibet. Warsaw: Polskie Wydawnictwo Muzyczne, 1976. 

Rollin, Robert. 
Lyric Caprices. New York: Seesaw Music Corporation, 1989. 

Ruzicka, Rudolph. 
Deliciae for double bass and electronic sounds. Brno: Rudolph Ruzicka, 1968. 

Schuessler, Philip. 
Wisdom and Surprise. Champaign: Marauder Music, 2003. 

Sarriaho, Kaija.
 Folia. Chester Music Ltd, 1995

Schafer, Sabine. Shape I. 1990. 

Scott, Cleve. Residue V for bass and tape. Muncie: Cleve Scott, 2001. 

Sellars, James. 
Radio Sonata. Hartford: Hog River Music, 1992. 

Sellars, James. Toccata for contrabass and tape. Hartford: Hog River Music, 1984. 

Simons, Netty. 
Silver Thaw. Bryn Mawr: Theodore Presser Company, 1969. 

Stepalska, Joanna. 
Valse Macabre for tape and double bass. Köln: Joanna Stepalska, 1995. 

Stevenson, Garth.  Grandfather.  New York: Garth Stevenson,, 2008.

Taylor, Benjamin.  FE 26.  Bowling Green: Crunchy Music Productions,, 2008.  

Taylor, Benjamin. First Punch. Bowling Green: Crunchy Music Productions,, 2011.

Tüzün, Tolga. Metathesis for contrabass and electronics., 2006,

Ungvary, Tames. 
Distraction. Stockholm: Stim-Svenska Musik/Edition Suceia-Stim, 1981. 

Urness, Mark. Sonata for Double Bass and Enhanced Double Bass. Appleton: Mark Urness, 2003. 

Voigt, John. 
On An Experiment Seeking Favour and Love No. 2.  Hornpipe Music Publishing. 

Volness, Kirsten. Hints and Hauntings. 2010

Wang,Tuo. Disorderly for solo bass and electronics. Baltimore: Tuo Wang, 2016.

Whittenberg, Charles. Electronic Study For Electronic Tape and Double Bass, Op. 26. New York: G. Schirmer, 1969. 

Winsor, Phil. 
Gorge. New York: Carl Fischer, 1969. Yuasa Joji. Triplicity. Tokyo: Zen-On, 1978.           

Wolf, Julia. Stronghold. Red Poppy Music, 2009.

A variety of sources were used to compile this list including sources by C. Braxton Ballew, Murray Grodner, David Neubert, the archives of the Society for Electrocoustic Music in the USA, and the International Computer Music Association. But most importantly, in the process of my day-to-day professional dealings, I try to stay aware of new works for double bass and electronics and I document as soon as I find out.  This list was started in 2002 to inform other musicians about the current and emerging repertoire for double bass and electronics. Before perusing the list, it should be noted that several of these works are actually bass ensembles where all parts but one part have been recorded to fixed media for playback in live performance such as Chihara's "Logs." Also, it should be noted that all the works on this list were intended to be recreated by someone other than the composer. There are many electronic works for double bass that are simply improvisations in an environment, but not necessarily meant to be recreated (ephemeral music). These pieces are best enjoyed by listening to the snapshot in time of their realization, the CD recording. However, in the future, I intend to list these CDs. Heck, I've reviewed many of them!!
A lot has changed since I first started the list.  Obviously, the list has grown.  But more importantly, two important changes have happened.  The distinction between fixed media and interactive has blurred.  It is no longer relevant to make the distinction. Also, more and more, the double bass is being included in multimedia works of which electronics are often a part. Second, the attitude towards computer music by "mainstream" classical musicians has changed, also.  At the worst (and there were some ignoramus comments directed at me a long time ago, but that is very rare now), the "mainstream" will tolerate and coexist with computer/electronic musicians.  At best, which is normally the case, today, they want to know what we are up to and have opened their minds to our repertoire.  In fact, much of the electronic music ethos has been absorbed into the classical music mainstream with the most traditional of arts institutions, the symphony orchestra, incorporating elements of electronic music into their seasons. This was not the case in 2002.  In 2002, the list was an attempt at self-validation in the face of a lot of skepticism. Today, it is offered as a resource to the general music community.  I send my heartfelt thanks to those that did not make assumptions about my art, but instead, at the very least, tried to understand it, and allowed me practice it even if you didn't like it.   If you have any verifiable contributions, omissions, or corrections to this list, please notify me at