Bottesini Allegretto Capriccio

Discussion in 'Orchestral Technique [DB]' started by fergus currie, Oct 14, 2011.

  1. Here's mine... lots of little imperfections but I think this is the most difficult miniature to pull off.

    Allegretto Capriccio

    Give me your crit.

  2. I don't get it. Am I that bad.....
  3. Not at all!

    regarding my question in your other thread, interestingly, it seems like you're not applying much pressure at all to your bow, but I assume you must at least sometimes during a piece like this.

    Beautifully played, and it's always nice to hear all this bottesini that I never heard of before!
  4. Fran Diaz

    Fran Diaz

    Mar 28, 2002
    Santander, Spain
    Once again, beautiful!

    I play a german bow so I can't coment on your bow technique, but I like the tone your getting on this video.
  5. Thanks for the pointers, guys!
  6. Illfavor


    Mar 9, 2005
    Quality stuff here. Nice job. Obviously constrained by the MIDI or w/e it is accompanying you, but you worked well with it. One thing I really wanted to hear was some staccato, or greater variety of articulation. The section around 1:30 in, I believe, should have shorter, snappier grace notes. Otherwise it has a triplet feel. Using more weight would make for more interesting dynamic contrast. In generally, if the staccati could be more exaggerated vs. the legato. Just my humble opinion, as a self-professed non expert ;)

    It was a nice performance. Thank you for posting!
  7. @ Illfavor.
    THanks verymuch for those comments. I have started to work on more arm weight and a freer wrist and elbow movement.
    The staccato observation in nice too. I'm trying to get a wider gamut of sounds into my playing already! Cheers
  8. Watching the vid again I was impressed with how fluid your left arm/hand movements are. Can you go into a brief account of your setup and string choice? I know the YMMV mentality is an appropriate one, but it is always nice to hear about setup from players that are getting good sound with a relaxed, fluid technique.

    Edit: Saw on the tag you are using Bel Canto, still curious about your setup in general.
  9. I suppose the YMMV means 'your medicine my Venom' or something similar.

    My set up is pretty crude. Belcanto orchestral strings, a medium high action, Graham Right bridge and a sound post I made my self out of a broom handle. I use Nymans rosin very sparingly and my bow is a cheap Paesold which I bought form a collegue in a pub 25 years ago for 15 pounds (UK about 20$). I bought the Rubner as a student in 1983 and it's been my only bass since then. I never seem to have enough money at one time to do any up grading.... I did go to see Horst Grunnert years ago and he made me a 40% discount offer on a super 5 string bass which I had to refuse, and I have regreted that for 15 years now!

    I don't play like this in the orchestra whic demands more power and a 'bassier' sound (the deep rug effect) so I use more rosin and more pressure and less 'floating bow'.

    Hope that answers some questions.
  10. eerbrev


    Dec 6, 2009
    Ottawa, ON, CAN
    dig the tone you're getting. I'd love to hear it in real life. YMMV means "your mileage may vary." it's a way to say that something that works for someone else may not necessarily work for you. I think it comes from either motor oil or tire commercials.

    One broad critique: I think that you should pay more attention to your intonation. It is apparent that you can be very accurate, but I think that sometimes it falls away because you are thinking of something else at the time. play this piece slowly for intonation and I think you will be much happier with it. also figure out what makes the notes out of tune? is it a shift? is it a bow placement issue? bad fingering?

    very good as always,

  11. I have looked a bit at intonnation (which of course improves if you play slower) and I think I have some fingeri dicipline issues rather than actually wrong fingerings. My 2nd finger has a tendancy to collapse sometimes and in thumb position my 1st finger tends towards my thumb making the A (in G-thumb A-1st B-2nd) sometimes horribly flat. While I'm aware of these problems, the actual task of getting a piece like this up to speed in a practical situation makes the remedial work required for these unfortunately a secondary objective. I'm not saying that I don't or won't work on these factors (on the contrary, now with the 'note bashing out of the way, I'll get on to these right away as first priority) but the time scale I set my self for learning these pieces brought out the old 'Quantity vs quality' demon.

    Don't get me wrong, I don't shirk the ground work; that's where I need to concentrate. If I put up a nicely played Cmajor scale however I guess you'd wonder why I wasn't playing some short Bottesini pieces:)

    As always, Eerbrev, I thank you for your incitive pointers.

  12. Fergus, I always enjoy seeing your clips, and it helps me to evaluate my own playing. Keep them coming!

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