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Double Bass Bille (Italian fingering system?

#21
TomGale said:
And money notes are not played on the 4th finger.
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I'm trying to attach a talk I did at an ISB convention showing thye advantage of 1,2 over 2,4 at the end of certain phrases - ending on a 'money' note. It used to be on Silas's site but I can't find the site anymore. I hope it works but given my computer skills.......
Tom (untech) Gale[/QUOTE]

Was anybody able to open it?? - DeTech Gale
 
#22
I was at a masterclass in italy organized by petracchi a few years back, and almost everyone there was taught 1-3-4, including me (I studied with an ex student of his back then). I think it works really well, though I use mostly cello-ish fingering and technique now. Adding use of my 2nd finger was really easy - maybe because I had been using it on electric along the way.
 
#24
I have to say, book 1 is really fun, I have been playing out of it the last few days, the short, simple exercises are almost meditative.
They could really be good for short practice sessions, or when you lack the focus to tackle something really tough but still want to get something done, obviously Billie also wrote some tough ones, I also have book 2.
They are less blocky than Simandl (Though the blocky-ness is part of what makes Simandl exercises worth doing).
I have been using mostly 124, but sometimes 134 and a few times alternating in the same exercise.
 
#27
tito mangialajo said:
I think i'ts better to have more options.
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Exactly. The more technical skills you have developed, the easier it is to reach that top musical result. There's an old saying;
"When you are handed Mozart's 39th symphony, its a heck of a time to realize you should know something about the open (1,2,3,4) hand tech."
Tom Gale
 
#28
My understanding is that the 134 system was promoted by Bottesini in his Method.

Tom Martin said that he had gone back and worked through Bottesini to better understand how to play his music. The system made sense to him because Bottesini used 1 - 4 for both a half tone and a whole tone stretch and used 1 - 3 - 4 as passing notes in a rolling action.

Can anyone else verify this? Another of my understandings is that the ligaments of the 3rd and 4th fingers somehow come together at the back of the hand which makes it hard to separate the actions clearly, as in trilling. If this is true it would be a downer for using 1 - 3 - 4 as a substitute for 1 - 2 - 4, wouldn't it?

I use 1234 all over the bass neck and 3rd finger is as good a "money' finger for vibrato as 2nd. for me.

DP
 
#30
David Potts said:
Can anyone else verify this? Another of my understandings is that the ligaments of the 3rd and 4th fingers somehow come together at the back of the hand which makes it hard to separate the actions clearly, as in trilling.



DP
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I think the anatomical limitations are overstated. Violinists, violists and cellists have good finger independence. Pianists, too. The key is that you have to develop all the fingers at the same time. Learning to use 4 finger technique after you've been playing 3 finger for years is going to be a struggle, IME. That's not to say it can't be accomplished, but 4 finger technique should be taught from day 1 if that's the goal.
 
#31
neilG said:
I think the anatomical limitations are overstated. Violinists, violists and cellist have good finger independence. Pianists, too. The key is that you have to develop all the fingers at the same time. Learning to use 4 finger technique after you've been playing 3 finger for years is going to be a struggle, IME. That's not to say it can't be accomplished, but 4 finger technique should be taught from day 1 if that's the goal.
Click to expand...

there's a great reason for me to keep shedding the bass guitar from time to time!
 

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