Double Bass Horizonatal vs vertical

[Andy Mopley]

Hi all
I often face passages like the attached which, because of the speed at which they are required to be played at, are more within my reach if I play them across the strings rather than along the strings. Notwithstanding that, if I have learned one thing out of all my questions, is that ultimately it comes down to what is musically best, and that to have both skills is nice to have as part of one's overall technique, I am still unsure as to weather any guidance (rather than a rule) is typical when it comes to how they would be expected to be played? More specific to orchestral playing rather than soloing.
Hope this makes sense.
Regards to all

 

[David Potts]

I would choose to descend on the G or D strings in these "typewriter" cases, trying for two notes per position finger-to-finger. The bow working mostly on one string allows you to articulate cleanly with strong rythm and dynamics and concentrate on your LH. So much depends on context, piece by piece, passage by passage. Slower, more lyrical passages with slurs would have me try to cross strings more often with smaller shifts in order to sustain good phrasing, warmer tone and vibrato.

 

[Leif Dering]

My first teacher instilled the concept of "duple fingerings" into me pretty early on. As in, you play two notes at a time as comfortably as you can and with as little (or no) shifting as possible. The idea is you don't have to shift after playing just one note because that would be inefficient in a lot of cases.

I don't mind crossing strings but in some passages you really want to keep the timbre the same. For Brahms 1, for example, you can pretty easily just play it on the G string until it goes below G without problems, so IMO there's no reason to cross strings until you absolutely have to, in that specific case. That said, everyone's different. You have to find what works and makes sense to you. Do what feels good to your left hand while still enabling you to produce a good tone.

 

[Andy Mopley]

My first teacher instilled the concept of "duple fingerings" into me pretty early on. As in, you play two notes at a time as comfortably as you can and with as little (or no) shifting as possible. The idea is you don't have to shift after playing just one note because that would be inefficient in a lot of cases.

I don't mind crossing strings but in some passages you really want to keep the timbre the same. For Brahms 1, for example, you can pretty easily just play it on the G string until it goes below G without problems, so IMO there's no reason to cross strings until you absolutely have to, in that specific case. That said, everyone's different. You have to find what works and makes sense to you. Do what feels good to your left hand while still enabling you to produce a good tone.

Txs - how would you approach the second example?

 

[Leif Dering]

Txs - how would you approach the second example?

Probably the first four sixteenth notes on the D string then play the rest up the G string.

 

[Andy Mopley]

Probably the first four sixteenth notes on the D string then play the rest up the G string.

OK, that's what I am getting at..I find that the speed of the passage may work better across strings, but your way is probably the better way to go...Thanks again.

 

[Dogfightgiggle]

Some fingering advice from my teacher:

Stepwise lines like these you keep on one string for continuity of sound.

1-2 fingerings are used when ascending.

3-4 fingerings are used when descending. Also use 3-4 at the top of a line to cap it.

When shifting down through a larger interval, going to a lower position will tend to be more in tune. Ex: G down to B, land on 2nd or 4th finger rather than 1st.

 

[Papageno]

Hi all
I often face passages like the attached which, because of the speed at which they are required to be played at, are more within my reach if I play them across the strings rather than along the strings. Notwithstanding that, if I have learned one thing out of all my questions, is that ultimately it comes down to what is musically best, and that to have both skills is nice to have as part of one's overall technique, I am still unsure as to weather any guidance (rather than a rule) is typical when it comes to how they would be expected to be played? More specific to orchestral playing rather than soloing.
Hope this makes sense.
Regards to all

Hard to address any question about fingering without seeing the key signature.

 

[Andy Mopley]

100%, good point - and in the past I have! But in these cases, notes as shown Papageno...
(FYI Brahms - C minor
Elgar - I think A minor (for this passage))