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Double Bass Chromatic runs help
- Thread starter Andy Mopley
- Start date
If you want your conductor to love you, stay away from those open Gs!! The first one that you marked a fingering for would be fine in 1/2 and first position across D and A strings, or as you have it. The second is fine, the third I'd play 42-210 on the D, then 210 on A. The fourth, 421-1 on G, then shift up a semitone for the B flat on the D, 42-41. In the end though, whatever works. I would try to stay away from the open G though!
I agree with Neil for the first example, and am not shy of using open D because it gives twice the time to change position. The second example would be 421210 on the G string. The third would be 21210 on the D string and 410 on the A string. The fourth would be 2121210 then 2 0n D.
My first two suggestions avoid the slower 1 1/2 tone shift on the same string. Passing through the open G at this speed will allow the notes to articulate more clearly. In example 3, with the 2121 fingering before it, using open D to pass through will articulate notes more clearly. Be adventurous in example 4 because 21 is a repeating pattern that will allow you to scamper quickly and articulate more clearly and strongly than using your pinkie. Another reason for going across in half tone shifts may be ease of control for the bow (contact point) given that the passages are all loud.
My first two suggestions avoid the slower 1 1/2 tone shift on the same string. Passing through the open G at this speed will allow the notes to articulate more clearly. In example 3, with the 2121 fingering before it, using open D to pass through will articulate notes more clearly. Be adventurous in example 4 because 21 is a repeating pattern that will allow you to scamper quickly and articulate more clearly and strongly than using your pinkie. Another reason for going across in half tone shifts may be ease of control for the bow (contact point) given that the passages are all loud.
Last edited:
- Jan 24, 2002
- 2,117
- 950
- Disclosures
- NS Design / AER Endorsing Artist
An open G in the middle of a fast run is usually not a big deal. I probably wouldn’t start on the open G, though.
Am I the only one here who likes to use 4-4 half step downshifts? I also like the feel of 1-1 half step shifting up. Trombone fingerings are great!
Am I the only one here who likes to use 4-4 half step downshifts? I also like the feel of 1-1 half step shifting up. Trombone fingerings are great!
Would you prefer to use these rather than changing fingers to articulate fast slurred passages like Andy's above?
- Jan 24, 2002
- 2,117
- 950
- Disclosures
- NS Design / AER Endorsing Artist
I'm not sure what exactly I would do with this excerpt, but I do have a strong preference for it. It's not the easiest technique to articulate, I suppose, but I find it much more solid, steady, and consistently in tune. With practice, it can be extremely articulate and fast.
i agree with your fingerings for your example, Paul, because they keep the fingers apart as you shift. 1 2-2 4 going up also works because the second finger is strong. So do 4 2-2 1 and 4 2 1-1 coming down for the same reason. People do use 1 2 4-4 going up but I avoid this shift if possible because the pinkie lacks the lateral strength of the other fingers and the move tends to close the hand. It can put the intonation of other notes in the new position at risk.
I would add that drilling chromatic scales in your daily practice give you a different level of facility in the left hand than if you don't.
I added chromatic scales to my daily warm ups after that video of @John Goldsby within a week I felt a huge difference.
I added chromatic scales to my daily warm ups after that video of @John Goldsby within a week I felt a huge difference.
and he uses the same fingerings 
It is good to use all different fingers and work through all twelve scales. Like I said, I though my basic practice covered it, but, it makes a big difference.
The sound. It's not a big deal in a fast run, but my conductor would notice it and ask me not to play an open G. The open D is fine. Use whatever fingering you find works, but don't shift up on 4 (general rule that I find I don't often need to break).
I am doing what Golsby does in the video on the G string, arco up and down all four strings + the second octave (three chromatic thumb positions starting on Ab gets you to G) I use the same fingerings on each string to get E, A & D chromatic scales. Then I've been moving up slowly, working on two octaves on one string of Ab, A is next, etc.
I use 1 2 3 4 but teach 1 2 4. When students are ready I give them 12 worksheets, one key per page. On the page I have two octave scales and broken chords. Major and both forms of minor scales with two overlapping fingerings. The same for major, minor, dominant and diminished broken chords. E starts with the open string and finishes at the base of the neck so the students are given these worksheets when they have 5th Position (F scale) under their fingers. When they have reached E flat I suggest that they then descend the G string with the fingering in groups of 2, eg 21 31 21 41 41 41 0 41. Then repeat starting on D, D flat, C, B etc. The alternate even and odd numbers of notes on the G string require understanding how and where fingerings must change. Adjustments can be made for odd ones at the beginning by using 21thumb or lower down, perhaps by changing strings to walk out the shifts.
When it comes to building chromatic fingerings I take the same odds and evens approach. Starting with the open G string and going up one more note each time the patterns become 01 012 0124 01212 012124 0124124 01212124, etc, checking intonation carefully.
If they keep a clear mind I can quickly convince my students that the layout of notes on the fingerboard and building efficient fingerings are not so difficult to understand.
When it comes to building chromatic fingerings I take the same odds and evens approach. Starting with the open G string and going up one more note each time the patterns become 01 012 0124 01212 012124 0124124 01212124, etc, checking intonation carefully.
If they keep a clear mind I can quickly convince my students that the layout of notes on the fingerboard and building efficient fingerings are not so difficult to understand.
