Discussion in 'Jazz Technique [DB]' started by anonymous0726, Nov 30, 2001.

  1. anonymous0726

    anonymous0726 Guest

    Nov 4, 2001
    Here is something that I have been neglecting for a while. I had halted work on it until I decided that I have solved my tendonitis problems, which I have, and that the things that I discuss in the paper don't contribute to physical problems, which I have. I have also submitted this to 'The Practice Room'. Look it over and let me know what you think.

    The Exorcises
  2. Keep going Ray,this stuff is priceless for a rookie like me who is having great difficulty finding a teacher.
  3. Bruce Lindfield

    Bruce Lindfield Unprofessional TalkBass Contributor Gold Supporting Member

    Is Exorcisms and Exorcises, because of the link to GhostBusters - who you gonna call? :D
  4. anonymous0726

    anonymous0726 Guest

    Nov 4, 2001
    Ok -- that'll be enough of that :)
  5. Ray,

    I haven't had time to read the whole Exorcise for the Bass so I printed it out for reading in quieter times. I assume that you are a very experienced jazz (pizz) player with arco training. Does this apply for those of us that play almost exclusively classical. BTW, while typing this, my teacher called and wants to get together for lunch. I will see what he thinks. From the first page it seems to be what he teaches.

  6. anonymous0726

    anonymous0726 Guest

    Nov 4, 2001
    My training is defninitely on the Jazz side. I have always used the bow for practicing, but over the last year or so have been working diligently on getting music to come out of the Stick'O Pain.

    As far as these fingering working with classical stuff, I would certainly think so. These fingering are just guidlines for getting around the bass with ease. You will always find exceptions, of course, but these fingerings give you a home base.

    Where I diverge strongly from the classical fingerings that I've seen taught is that I don't use 2 or 3 different types of fingering for thumb position and also I start into a four-fingered approach lower on the bass -- when intontation can be sacrificed for speed. Where my fingering really starts to shine is when you get further into harmonic exploration -- you are in the right psotion for all of your neighboring tones, etc, allowing better access to both chromatic playing and vertical playing through changes. I also feel that it helps get a hand-to-ear relationship together faster, as the note that you're looking for can more easily be related to your hands.

    Another thing that I tend to do more than what is traditionally taught is that I tend to play more across the bass (closed position) than playing along the bass (lots of shifting). This augments speed, but can sacrifice sound as you tend to be on shorter, thicker strings as a result. This is all balanced against what you want -- sound or speed.
  7. I like it Ray, good job, hope you continue.
    I still have to work through it but for a newbie like me it looks and sounds helpfull. It is easy to read and understand.

    My teacher who is from a classical background read it and liked it also. He couldn't see the light on learning only one fingering, but hey the world is full of critics.

    Now get to work.