What techniques are used to make a clear, strong sound with vibrato when you play notes off the fingerboard? (between the end of fingerboard and bridge) I don't have a cool extension like Edgar.
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Double Bass Beyond the Fingerboard
- Thread starter dragonetti11
- Start date
dragonetti11 said:
I use to watch Gary Karr do this and I don't even know what it's called....After you run out of FB, you take the finger of your choice and pull out on the string...away from the bass, or to YOUR left. Once you get this down, you can add a little, alot, or no vibrato. You have to use alot of bearing down-type motion with your bow to get a clear sound. When Gary does it, he sounds exactly like a cello or even a viola!
You can do this even in fingerboard territory. When I do this, it sounds just AWFUL, and that's why I do it.....People get real annoyed when I do it!!!
Well, if you're going to use the natural harmonics there it really helps to stop the string in the right spot.
My fingerboard only takes me up to A on the G string too, and it's kind of annoying working on those Rabbath 3 octave scales that take me up to D. I try pulling the string to get that with mixed results too. If I actually pinch it, no problems. My guess is that it's critical to get the feel for how much tugging I need to do, but I haven't experimented enough to share anything useful yet.
My teacher told me about the pinch a while back when we were on the topic of gut string setups, and I've read Thomas Martin claim that he pulled the string lots when he did Bottesini. If I ever lose enough luck to be stranded and cold my fingerboard's going into the fire, and I'll use the money I've saved avoiding gut strings to start it.
My fingerboard only takes me up to A on the G string too, and it's kind of annoying working on those Rabbath 3 octave scales that take me up to D. I try pulling the string to get that with mixed results too. If I actually pinch it, no problems. My guess is that it's critical to get the feel for how much tugging I need to do, but I haven't experimented enough to share anything useful yet.
My teacher told me about the pinch a while back when we were on the topic of gut string setups, and I've read Thomas Martin claim that he pulled the string lots when he did Bottesini. If I ever lose enough luck to be stranded and cold my fingerboard's going into the fire, and I'll use the money I've saved avoiding gut strings to start it.
Like Paul said. You pull the string over to your left. The arched finger technique is a must, and it helps to have some serious callouses and a good bit of muscle to back them up.
toman said:
Very true and because these ARE notes and NOT harmonics, you can (after many hours of practice) run arpeggio!
But, again, since we're not all Gary Karr, I suggest distributing ear plugs to all creatures in your immediate practice area! Especially dogs!!! I suggest using your middle finger, because that is a common shifting finger and because of that, it prolly has more strength in it as well as more callouse. Gary bunches up the rest of his fingers around that for strength.
You really have to concentrate on what the bow arm is doing when you get that high. When you are at first position you have alot of room to place the bow to get a good sound. But as you move up on the finger board that sweet spot gets smaller and smaller. And by the time you get up past the fingerbord your bow has to be dead on.
