Above unison and harmony practice with recorded fixed-pitch contraptions, record the chordal accompaniment on some keyboarded beast (or find a pianist that owes you favors) and play melodies and bass notes with the Stick'O Pain. Nothing else will get you playing in tune faster. Melodies are actually better for this as you won't find 'safe harbor' (a spot where you can cover a bunch of the tune without shifting) as often.
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Double Bass intonation practice
- Thread starter nickchalk
- Start date
LOOSE CYBORG,
For the record, I was just going by what your profile listed: Two Planks and influences by RHCP and Marilyn Manson ...everything else was just goofing around. But you have to admit, the thought of a fretted BG player trying to improve his INTONATION (which is the subject of this thread) by practicing in the dark is pretty funny, is it not?
What if the bass player is so ugly that he has to turn off the lights just so he can sneak up on his bass.
Update for anyone interested... I got a Korg CA-30 tuner that produces reference pitches from Quinn Violins for $16.95. Best price I found. Like Don's Seiko, it is LOUD, but a piece of electrical tape over part of the speaker tamed it.
One thing you can do are refference exersizes like playing the root II root III root IV root V root VI root VII etc over three octaves. Works good with arpeggios and their inversions too and hearing the relationships between chord tones is essential to playing in tune. Starting with open strings is obvious and as yer ears warm to the idea it becomes easier to work with a stopped root.
Also as soon as you notice your focus slipping STOP! I think it actually hurts yer intonation to "practice" while thinking about anything other than the task at hand. It re-inforces not-listening which is a huge reason for playing out of tune.
Also, also did anyone mention PLAY WITH THE BOW A LOT??? The length of an arco note is much more telling than pizz.
Also as soon as you notice your focus slipping STOP! I think it actually hurts yer intonation to "practice" while thinking about anything other than the task at hand. It re-inforces not-listening which is a huge reason for playing out of tune.
Also, also did anyone mention PLAY WITH THE BOW A LOT??? The length of an arco note is much more telling than pizz.
hey jim(clarke68) -
how did that korg tuner from quinn work out? can't beat that price, eh?
sean p
how did that korg tuner from quinn work out? can't beat that price, eh?
sean p
The Korg tuner is pretty decent for the price, especially considering that you can vary the pitch. The only drawbacks are that 1) it is LOUD. I have to put a piece of duct tape over most of the speaker to bring it down to a reasonable volume. 2) the fact that the pitches are 1-2 octaves higher than the bass means that your ear has to be really working hard when you practice with it. I have not used it as much as I anticipated since I play regularly with others, which is the best method of leaning to play in tune. But it was well worth the small $$$.
Hi
How to practise intonation? Most students play scales and maybe try to listen to the intonation. But I'm sorry that's not enough. You have to have a good handposition and if you play using 3 finger technique the 1st finger should stretch almost as far as you can from the 2nd. 2nd, 3rd and 4th fingers should be together. You can practise this playing one position at a time (you can check out Ludwig Streichers 1st book) playing major and minor thirds and fifths to check if the handposition is good. Then when moving from one position to the next (F. Petracchi, simplified higher technique (I think it's called) is good for this) you can think about putting 1st finger at exacly the same place as 2nd was. Keep the handposition while moving the hand from half to first position.
In thumb position it's most important that the elbow is high enough so the wrist won't lock and be stiff. Always keep the thumb on the string, makes it easier to vibrate and move from one position to another.
Another important thing is the bow. The bow which produces your sound has also alot to do with intonation. Keep your right hand relaxed and alow the weight of your arm to make the sound is the thing. A little and I mean LITTLE pressure with the index finger makes the contact. Without a good sound the intonation will always be poor.
hope this was clear! Thanks for asking. And remember that scales are fun if you can make your instrument sing without forcing the tone out.
How to practise intonation? Most students play scales and maybe try to listen to the intonation. But I'm sorry that's not enough. You have to have a good handposition and if you play using 3 finger technique the 1st finger should stretch almost as far as you can from the 2nd. 2nd, 3rd and 4th fingers should be together. You can practise this playing one position at a time (you can check out Ludwig Streichers 1st book) playing major and minor thirds and fifths to check if the handposition is good. Then when moving from one position to the next (F. Petracchi, simplified higher technique (I think it's called) is good for this) you can think about putting 1st finger at exacly the same place as 2nd was. Keep the handposition while moving the hand from half to first position.
In thumb position it's most important that the elbow is high enough so the wrist won't lock and be stiff. Always keep the thumb on the string, makes it easier to vibrate and move from one position to another.
Another important thing is the bow. The bow which produces your sound has also alot to do with intonation. Keep your right hand relaxed and alow the weight of your arm to make the sound is the thing. A little and I mean LITTLE pressure with the index finger makes the contact. Without a good sound the intonation will always be poor.
hope this was clear! Thanks for asking. And remember that scales are fun if you can make your instrument sing without forcing the tone out.
Hi
My name is Jayson and I am enrolled in a Jazz degree course and am currently in my second year after a long break
Anyway I was wondering anyone with some other method of intonation practice besides I have finally made the switch to DB after playing EB for half of my life and man I respect the dudes or dudees that put the time to practice this instrument
Anyway I'd appreciate any help
My name is Jayson and I am enrolled in a Jazz degree course and am currently in my second year after a long break
Anyway I was wondering anyone with some other method of intonation practice besides I have finally made the switch to DB after playing EB for half of my life and man I respect the dudes or dudees that put the time to practice this instrument
Anyway I'd appreciate any help
Hi everybody...
My teacher is using Garageband on his Mac for recording some excercises from the Simandl book. He plays them on his piano, then he uses the transpose button in the program and then he burns them on at cd for me. It has helped me a lot to play to these cd's.
I get the excercises i all twelve keys and for the ultimate workout one could use the stick'o'pain...
just a tip...
Mr. Engberg. Denmark...
My teacher is using Garageband on his Mac for recording some excercises from the Simandl book. He plays them on his piano, then he uses the transpose button in the program and then he burns them on at cd for me. It has helped me a lot to play to these cd's.
I get the excercises i all twelve keys and for the ultimate workout one could use the stick'o'pain...
just a tip...
Mr. Engberg. Denmark...
Yeah,
I use garageband for these exercises too.
I have scales, shifting exercises and some of the Petrachi exercises in there. I always bring my laptop and burn playalong CD's in lessons.
It's important to "sing" the note out loud (and not!) before you play. I think it's important to make your fingers play the note you want to hear, rather than trying for some mystical "muscle memory".
In high school, I spent a few months playing only in Ab. Simandl studies, scales, intervals etc, all in one key. It really helped me to hear that key and get over how hard it can be to play in on the bass.
best regards,
Laurence Mollerup
Vancouver, Canada
I use garageband for these exercises too.
I have scales, shifting exercises and some of the Petrachi exercises in there. I always bring my laptop and burn playalong CD's in lessons.
It's important to "sing" the note out loud (and not!) before you play. I think it's important to make your fingers play the note you want to hear, rather than trying for some mystical "muscle memory".
In high school, I spent a few months playing only in Ab. Simandl studies, scales, intervals etc, all in one key. It really helped me to hear that key and get over how hard it can be to play in on the bass.
best regards,
Laurence Mollerup
Vancouver, Canada
Mr. Engberg said:
I have some Simandl exercises entered in my Score Writer notation program. Since the PC is hooked up to the stereo system, I simply hit the button and play along. It's good for some aspects of practising (but certainly not all)....
- Mar 1, 2002
- 4,237
- 52
- 74
- Disclosures
- Owner: Ken Smith Basses, Ltd.
Currently I play on 3 differnt Bass with various shoulder heights, widths and string lengths. I use the Bass that is best for the Performance or Gig. To get in tune with the "Bass of the Day". I play various svcales like f-f, g-g in key of f, a-a and up to f-f octave and back down all in the key of F with 8 notes to a bow at a moderate tempo. I also do this in G. Then I play the first movement of the Eccles or parts of the Dragonetti... I play ALL of this with my "Eyes CLOSED". This helps my body to adjust to the string length, Shoulder height n width and the response of the Bass as well. It also helps my Bow control and technique as I rely on feel and sound only and can't see to make any adjustments.
I also play various Arpeggios within the key of F and G in the same manner I play the scales but with single or maybe slurred bowing. Moving to Ab and Db scrambles you brain a little and focus on intonation becomes secondary.
There is no best way to practice. You have to find the way that fits your schedule and learning curve. I also play these things slowly but I can't cover as much material without picking up the tempo.
Memorize a few things you can play with out reading the music. 5 minutes of music shoul be a good goal at first and then work it up to 20 minutes of music. Slow practicing with your Eyes open is also necessary of course but when you perform and have to read and follow the conductor, the last thing you will see is yourself..
I also play various Arpeggios within the key of F and G in the same manner I play the scales but with single or maybe slurred bowing. Moving to Ab and Db scrambles you brain a little and focus on intonation becomes secondary.
There is no best way to practice. You have to find the way that fits your schedule and learning curve. I also play these things slowly but I can't cover as much material without picking up the tempo.
Memorize a few things you can play with out reading the music. 5 minutes of music shoul be a good goal at first and then work it up to 20 minutes of music. Slow practicing with your Eyes open is also necessary of course but when you perform and have to read and follow the conductor, the last thing you will see is yourself..
- May 22, 2007
- 8
- 0
- Disclosures
- Not a commercial business but represent a free instructional website
How about this:
If you have a piano or keyboard at hand - all the better as you can put a weight on the sustain pedal.
Play a C Major triad on the piano so you can hear it and whilst it is sounding play:
C E G, E G C, G C E, C E G and back down again. This will take you through two octaves only.
Do the same in all the other 11 keys.
Next, do the same with minor, augmented and dimished triads.
Ideally you should eventually be able to do this throughout the whole range of the instrument without thinking about it too much, and eventually without the piano as a the guide- you will just 'hear them'.
The triad, after all, is the most basic building block of Western Music. You can then go from there to add sevenths, ninths, elevenths,and thirteenths.
This helped me any way.
If you have a piano or keyboard at hand - all the better as you can put a weight on the sustain pedal.
Play a C Major triad on the piano so you can hear it and whilst it is sounding play:
C E G, E G C, G C E, C E G and back down again. This will take you through two octaves only.
Do the same in all the other 11 keys.
Next, do the same with minor, augmented and dimished triads.
Ideally you should eventually be able to do this throughout the whole range of the instrument without thinking about it too much, and eventually without the piano as a the guide- you will just 'hear them'.
The triad, after all, is the most basic building block of Western Music. You can then go from there to add sevenths, ninths, elevenths,and thirteenths.
This helped me any way.
One method i do, is to play Double stops, usually an interval of a 3rd, and do scales in double stops. Also, when playing "out of tune" notes, instead of stopping the whole scale together, just continue playing without sliding up or down to put the note in tune, and rather just think in your mind 'ok, that d flat was a little flat, make sure its a little higher up on the way down'... thats my method... Also, lots of sloww longgggg playing 
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