I have lifted this over from my post on a thread started by jbdoublebass12 on 07-05-2012
(1) I have 6 little basic patterns for LH exercise based on Open G, A, Bflat and B on the G string (0141, 0414,0121, 0212, 0242, 0424 in Ist.Position). Play them with separate or slurred bows. Use either bowing to play straight 1/8 notes, or hook stroke, or reverse hook stroke. This should create 36 little warm up exercises. Observe carefully shaped fingers that land crisply on notes. To intesify the dropping of fingers try double-dotting the slurred hook strokes. Every finger gets a work out.
(2) Once I have repeated each (or most or some) of these to my satisfaction I then apply the same bowings to up and down the D string - Open D ,E, F, G and A (012141210 repeated). This not only polishes the technique of shifting but also the timing and coordination between hands.
I do these as part of my warm up, probably after some long slow bows (for tone and vibrato,etc) and note starts and stops all over the hair length, but before intense bow stroke practice and scales. This is the part of my practice where I concentrate most on technique, including core LH issues like maintaining arched fingers. After this warm up I feel ready to do some serious work.
For the !st. Position exercises in No. 1 (above) use your left hand in a "C" shape that opens from a gentle fist and reaches for the bass neck so that your thumb is on the middle/back of the neck. Raise and lower your arched fingers by flapping from your big knuckles (not bending and straightening your fingers) and using your forearm muscles for strength and speed. Keep good alignment of hand and fingers with your forearm, and minimise wrist pronation - experiment with the height of your left elbow and its effect on the arching of your fingers. Experiment with using only enough height and strength to create clearly articulated notes. When fingers are not in use keep them arched and close to the strings, ready for use.
I was taught to rest the weight of my arms on the piano keyboard through my arched fingers then transfer the constant weight from finger to finger as each rose and fell in turn. I worked out that I could use the same constant weight idea for dancing clearly in EX. 1 above if I passed a constant pressure between fingers and opposing thumb from finger to finger as each rose and fell. The fingers stiffen a little and do a low, almost crushed-feeling dance on the string as the speed gets faster. It may not be considered good LH technique by purists however each individual finger rises and falls independently and comes to life, rather than the index finger be stuck down on the string all the time. My LH will articulate clearly as fast as I can play these patterns.
Cheers........DP
