Double Bass Fingering Question - Beethoven 9, 4th Movement

[Steve Freides]

Thanks for all the replies.

I see two separate things here: one is that none of the examples given plays the G - A on the first string. Basses and cellos both have a D string and what the cellos are doing in the one video is just what the basses are doing, namely everything is on the D string except for the low A. (If I overlooked something, just let me know.)

Issue #2 is which fingers to use where. My main thing here is that it's a quiet statement of this tune and regardless of how you finger it, it sounds most right for the piece and the moment with the G and A on the 2nd string.

TL;DR
When I'm talking about "fingering" I'm mostly thinking of where one is going to play the notes on the instrument, and which finger to use is, relatively speaking, a secondary concern. Some of my way of thinking about this is because I was first a classical guitarist and string crossing was mostly a non-issue.

On the bass I was taught, as one example, not to use any "standard" fingering to play a particular scale but rather to explore, e.g., you first learn and I first teach a 2-octave G major by going up the 1st string, but you can go up the 2nd string to C or D then switch over to the 1st string to finish, or go up the third string and play 3rd finger or the harmonic on A and D and then G. And you consider string crossings in all this. And you practice what are essentially made-up difficulties like playing a particular scale with no string crossings over a position switch, or two on a bow but both have to be on the same string. Endless possibilities.

-S-

 

[Bruce Calin]

One of my old mentors always emphasized fingering and shifting for musical results. It was a big reason to learn and be comfortable with different approaches when wanted. The way different strings sounded on the same notes and how the instrument responded were also considered. It was always about the music.

 

[Steve Freides]

One of my old mentors always emphasized fingering and shifting for musical results. It was a big reason to learn and be comfortable with different approaches when wanted. The way different strings sounded on the same notes and how the instrument responded were also considered. It was always about the music.

Exactly the point I'm trying to make with my student. He's at an age and a skill level compared to his peers where he thinks plays the notes in tune and in time is all there is.

-S-

 

[Bruce Calin]

Exactly the point I'm trying to make with my student. He's at an age and a skill level compared to his peers where he thinks plays the notes in tune and in time is all there is.

-S-

Once my students reach a certain skill level it seems to help to demonstrate different approaches. The student needs to hear the result.

 

[the_Ryan]

I play it all on the D string (except for the open As), starting with 4. My reason for starting with 4 as opposed to 1 is twofold: 1) consistency in fingering on the repeat where starting the F# with 1 would cause a shift on the bow change (since the previous E would be played with 1), which is something I personally try to avoid in legato playing; and 2) even though it goes against traditional bass wisdom, I feel like ascending 1-1 or descending 4-4 stepwise shifts don’t sound as precise as changing fingers (or even using the “forbidden” ascending 4-4/descending 1-1 shifts) in a lot of situations. The latter isn’t a hard-and-fast rule since I still use those shifts all the time, but in a lot of situations where I previously used those shifts I’ve started using fingerings that change fingers more.