Double Bass Egmont overture slurred string changes

[ouija]

An excerpt from Beethoven's Egmont overture is required at an audition I have coming up, the bit from about 7:30 to 8:00 in
this performance. I'm having a bit of trouble getting all the notes to sound clearly and smoothly with the proper dynamic when the fortissimo, sforzando'd f-c-a-c-f pattern comes in (toward the end of the clip). The first f and c are slurred, with stacattos on the a and second c. There is a sforzando on the first f of each pattern. Advice?

 

[anonymous12251111]

An excerpt from Beethoven's Egmont overture is required at an audition I have coming up, the bit from about 7:30 to 8:00 in
this performance. I'm having a bit of trouble getting all the notes to sound clearly and smoothly with the proper dynamic when the fortissimo, sforzando'd f-c-a-c-f pattern comes in (toward the end of the clip). The first f and c are slurred, with stacattos on the a and second c. There is a sforzando on the first f of each pattern. Advice?

Bar the f and c with your fourth finger, as you would on a guitar.

Practice the bowings backwards and with dotted rhythm.

Use a limited amount of bow on the slur and play into the string and near the frog.

Good luck.

 

[thewhale]

Are you hooking the a to c? This would help to keep the sforzando f's sound consistent to keep them all on a down bow close to the frog.

Also, on the f to c slur, make sure the c is not cut short like so many players do on the last notes of a slur. Think long-long-short-short... each time in respect to the f-c-a-c.

As with most ff passages, keep your right arm relatively straight to let the weight or your arm and larger shoulder muscles do a lot of the work. This will also allow your bow to stay close to the bridge which helps with articulation and the loud dynamic.

Practice slowly until each tiny detail is to your liking.

 

[anonymous12251111]

Are you hooking the a to c? This would help to keep the sforzando f's sound consistent to keep them all on a down bow close to the frog.

Also, on the f to c slur, make sure the c is not cut short like so many players do on the last notes of a slur. Think long-long-short-short... each time in respect to the f-c-a-c.

As with most ff passages, keep your right arm relatively straight to let the weight or your arm and larger shoulder muscles do a lot of the work. This will also allow your bow to stay close to the bridge which helps with articulation and the loud dynamic.

Practice slowly until each tiny detail is to your liking.

I've played this both hooked and separate in different performances.

The benefits of hooking are: More consistent Sf's since they all on downbows.

The downside of hooking are: The hooked notes can sound jerky if the conductor is taking it at a very fast speed.

Practice it both ways.

 

[fergus currie]

THe 9th bar of the allegro con brio could be played all seperate as long as the f is held for long enough. The figure at the 11th bar must be hooked or things will go horribly wrong. If you're the section principal then remember this golden rule: 'the best bowing is the one the whole section can play easily.' No fancy bowing which only first desk can play after an hours practice and the others stuggle with even at the end of a weeks rehearsals. The added rhythmic clout achieved by hooking the a and the c on an up bow will compensate for any other consideration since the section will be able to stress the sfzs with the utmost ease.
Hook from the begining of the Allegro con brio to get into the swing of it.

 

[fergus currie]

Since I can't edit my previous post I'll add that the first suggestion might be applied to half the section if the conductor thinks you are loosing the slur. Good conductors rarely get involved with bowing here so it should be up to you.