Three Short Stories: String Bass & Piano Parts

Mays writes for string bass as a true solo voice, not a accompanying instrument. This piece respects the bass's melodic and technical capabilities while creating a genuine dialogue between bass and piano that feels inevitable rather than forced.

The piece unfolds like three distinct narratives, each with its own pace and color. You move between moments of lyrical warmth and passages that demand technical precision, all held together by a compositional voice that respects both the jazz tradition and contemporary classical thinking.

This is for intermediate to advanced bass students and professionals who are ready to own a solo role at a serious level. You need solid harmonic foundation, confidence with extended techniques, and the willingness to think like a jazz improviser within a composed framework.

• Work the harmonics passages slowly with a tuner to ensure precise intonation; these passages define the contemporary sound Mays is after, so accuracy pays dividends in rehearsal
• Establish clear communication with your pianist about the improvised sections before the first run-through; decide together where you'll take risks and where you'll anchor to the composed material
• Practice the arco and pizzicato transitions as intentional gestures, not quick switches. The contrast between techniques shapes the narrative across all three movements
• Record yourself during rehearsals and listen back to your rhythmic placement in the through-composed passages. Without bar-by-bar repetition, ensemble clarity comes from precise listening

This works as a recital centerpiece for a bassist showcasing range across classical and jazz worlds. It also pairs well with other contemporary chamber works or jazz-classical crossover repertoire, especially if you're programming a concert exploring dialogue between improvisation and composition.

• Bass harmonics (natural and artificial)
• Arco and pizzicato coordination and switching
• Improvisation within a composed structure
• Rhythmic precision in through-composed (non-metered) passages
• Ensemble listening and communication with piano accompaniment
• Extended range and technical facility on the instrument