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Double Bass Fingerings
- Thread starter paperbag1213
- Start date
Maybe try 1-1 shifts from, say, the f naturals to f sharps, e flats to e naturals, etc, using open strings for clarity, and then on the g string:
4-1 2 4-2 4
B C C# D Eb E
I think that's what I did when I had to polish of chromatics for a band audition a while back, anyway...I guess you could also do the f# (e string), e (d string), etc as 2's and then shift to g (on the e string), f (on the d), etc as 2's as well
4-1 2 4-2 4
B C C# D Eb E
I think that's what I did when I had to polish of chromatics for a band audition a while back, anyway...I guess you could also do the f# (e string), e (d string), etc as 2's and then shift to g (on the e string), f (on the d), etc as 2's as well
My normal answer to that is 1-2-4 (or 1-2-3 in high positions) over and over. Since this starts on an open E, the first 1 is the F... and when you work it through, the end is 1-2.
I would do it the same except for the G string, then I change to 124 all the way up till the high E. And then the same fingering backwards.
Hey, sorry but Where I have "3", it should have been "4". Similar to a 3 legged race, after a while, the 4th finger becomes the 3rd functionally, at least after a few beers. I corrected and re-uploaded the correction.
Thanks
Thanks
thanks everybody for helping i really appreciate all of this
I learned it, i'm doing the fingering from the attached file
Thanks
-Kyle
I learned it, i'm doing the fingering from the attached file
Thanks
-Kyle
To me that fingering seems not logical, why not use the 4th finger when going up?
But each his own of course. What I mostly do is trying out several different fingerings and practice them for a while. The one that comes the most naturally is usually the best. Especially when playing fast passages.
But each his own of course. What I mostly do is trying out several different fingerings and practice them for a while. The one that comes the most naturally is usually the best. Especially when playing fast passages.
To add security and confidence to your fingering also play the passage in different groupings using(a) straight notes, dotted pattern and inverse dotted pattern (the short note first), either with (b) separate bows, or slurred bows .
The extra level of workout should help the clarity of articulation of the final pattern by asking different fingers work harder than usual as you change patterns.
Good luck!
DP
The extra level of workout should help the clarity of articulation of the final pattern by asking different fingers work harder than usual as you change patterns.
Good luck!
DP
You certainly can but the reasons I didn't here because
1. What's 1 more shift anyway?
2. More consistent for memorization
3. I found that shifting every 2 notes when going up a scale or pattern, generally made it easier. Maybe because of reason 2
Like you said, to each, his own.
1. What's 1 more shift anyway?
2. More consistent for memorization
3. I found that shifting every 2 notes when going up a scale or pattern, generally made it easier. Maybe because of reason 2
Like you said, to each, his own.
The fingering for a chromatic scale in lower positions in Simandl and I think Nanny is the 1 to 1.
So you have E 1 - 124 - A0 -1 -124 - D0 - 1 - 124 - G0 - 1 - 124 - 124 - (12 or 24 for the D# E)
At the end parenthesis you could use 12 with an Eb neck or 24 with a D neck and fall into that confident, comfortable V (on Eb neck) or IV (on D neck) position.
So you have E 1 - 124 - A0 -1 -124 - D0 - 1 - 124 - G0 - 1 - 124 - 124 - (12 or 24 for the D# E)
At the end parenthesis you could use 12 with an Eb neck or 24 with a D neck and fall into that confident, comfortable V (on Eb neck) or IV (on D neck) position.
To muddy the waters . . . .
I've used 1-2-2-4-0 etc. on the lower strings in chromatic passages going up, and 4-4-2-1-0 going down. For me, the 2-2 shift is stronger and more accurate. And although 4-4 going up is a bad shift, coming down it's strong.
This is an old guy brought up on Simandl talking . . . your results may vary.
I've used 1-2-2-4-0 etc. on the lower strings in chromatic passages going up, and 4-4-2-1-0 going down. For me, the 2-2 shift is stronger and more accurate. And although 4-4 going up is a bad shift, coming down it's strong.
This is an old guy brought up on Simandl talking . . . your results may vary.
Tom,
Are you still in N. AL. I'd still love to get together sometime.
PM me if you are ever available for some brain picking.
Nick
Are you still in N. AL. I'd still love to get together sometime.
PM me if you are ever available for some brain picking.
Nick
I don't think I fully understand what you are saying. Are you saying that 1,2,1,2 etc. is faster than 1,1,2,4?
Can you give an example/exercise to illustrate this?
Let me try to explain it this way. If you have 4 16ths and a quarter on
G, G#, A, A# and B. When using the 1,1,2,4, the 1 stays in place until it moves to the A. BUT when fingering it 0, 1, 2, 1, 2, the 1 is already moving to the A# as you use the 2 on A. In a slow to moderate tempo, it would not make a difference but 16ths at 132 bps, it does. I hope this makes it clearer.
Tom Gale
...if this is what you're comfortable with. really i've never come across an example that 1-1-2-4 (or 4-4-2-1 coming down) was not adequate for. that's not because it's a better fingering by any means, it's just the one i am comfortable with.
another thing worth mentioning - i find that sometimes it's a slow fingering that you really want for fast passagework. it's rarely the speed of the left hand that is an issue so much as the coordination between the two hands. the fingering that best coordinates both hands is the ideal fingering for fast passages, and that could be very different depending on the player. an example of this - the 2nd to last bar of the opening passage in marriage of figaro. i've used the fingering 1-1-2-2-4-4-1-0 for the E-D#-E-F#-G-F#-E-D pretty effectively. very counterintuitive, but somehow it sounds even for me.
