Double Bass Apres un reve

[Alexis Duntov]

Been working on this since my teacher gave it to me around February of this year. Still a ways away from where I’d like it, but it sure is fun to feel the arco voice develop. I’ve gotten great feedback and tips from you all in the past and made modifications based on your suggestions and observations. Have at it!

 

[damonsmith]

Not bad! That is the tenor clef? This is one of my favorites to play and teach. You don't have to be a hero with the thumb and the beginning of the second section - though it is great for developing your thumb! You can hit the E with the first finger and same with the A.
Playing the E in TP on the D is also good for technique, popping over to A quickly and smoothly is good practice. Up the G is ultimately the best sound, though.

I would suggest opposite approaches to the first and second section!
For the first section, try to get as much as you can on the G, it is slow and singing enough that you can take your time.
For the second section, I think you are using pretty solid FINAL fingerings. However, you might get the melodic shape under your fingers better by using string crossing and staying in TP the whole time. Once that feels good, you could go back to the fingerings you are using, that will certainly get you better tone. I've been using this idea for the prelude to Bach's Suite #2. It isn't the best tone, but, it gets you through it more smoothly, once you know it the better sounding fingering are just easier to grab.
It is challenging but possible and just one page, it is very satisfying. I think it is a great solo to work on!

 

[Alexis Duntov]

Not bad! That is the tenor clef? This is one of my favorites to play and teach. You don't have to be a hero with the thumb and the beginning of the second section - though it is great for developing your thumb! You can hit the E with the first finger and same with the A.
Playing the E in TP on the D is also good for technique, popping over to A quickly and smoothly is good practice. Up the G is ultimately the best sound, though.

I would suggest opposite approaches to the first and second section!
For the first section, try to get as much as you can on the G, it is slow and singing enough that you can take your time.
For the second section, I think you are using pretty solid FINAL fingerings. However, you might get the melodic shape under your fingers better by using string crossing and staying in TP the whole time. Once that feels good, you could go back to the fingerings you are using, that will certainly get you better tone. I've been using this idea for the prelude to Bach's Suite #2. It isn't the best tone, but, it gets you through it more smoothly, once you know it the better sounding fingering are just easier to grab.
It is challenging but possible and just one page, it is very satisfying. I think it is a great solo to work on!

Thanks Damon. Good tips. My teacher also seemed puzzled by starting the second section with thumb on E on G string but was fine with it since it seemed to be working. There are other spots that need fine tuning. It’s such a different process than playing jazz where I didn’t spend that much time on fingering planning, but I’m seeing now how this kind of repertoire and technique can greatly inform and improve playing other styles.

 

[Alexis Duntov]

Not bad! That is the tenor clef? This is one of my favorites to play and teach. You don't have to be a hero with the thumb and the beginning of the second section - though it is great for developing your thumb! You can hit the E with the first finger and same with the A.
Playing the E in TP on the D is also good for technique, popping over to A quickly and smoothly is good practice. Up the G is ultimately the best sound, though.

I would suggest opposite approaches to the first and second section!
For the first section, try to get as much as you can on the G, it is slow and singing enough that you can take your time.
For the second section, I think you are using pretty solid FINAL fingerings. However, you might get the melodic shape under your fingers better by using string crossing and staying in TP the whole time. Once that feels good, you could go back to the fingerings you are using, that will certainly get you better tone. I've been using this idea for the prelude to Bach's Suite #2. It isn't the best tone, but, it gets you through it more smoothly, once you know it the better sounding fingering are just easier to grab.
It is challenging but possible and just one page, it is very satisfying. I think it is a great solo to work on!

Bass clef

 

[garrett2]

Is there a reason why the opening E is suggested on the D string? If you play it on the A your hand is in position to move right over to the A on the D string without a shift.

 

[Alexis Duntov]

Is there a reason why the opening E is suggested on the D string? If you play it on the A your hand is in position to move right over to the A on the D string without a shift.

I think because there is a nice continuity of sound and it’s easier to execute that slur from E to A on one string.

 

[damonsmith]

Is there a reason why the opening E is suggested on the D string? If you play it on the A your hand is in position to move right over to the A on the D string without a shift.

It because of the tone. In a slower piece you are going to prioritize tone over ease of fingering.