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Double Bass Is this too awkard?
- Thread starter Andy Mopley
- Start date
Starting from the bar marked * then possibly cheat (jump to) the last note F of the second measure to 2 on the A string as you play the open D before. This sets up A and Bflat as 1 2 back on the D string. In measures 4 and 5 use Thumb on harmonics and 1 3. Drop from the last G to B on the D then cheat to open G as you drop back to F.
IMO the cheat before or after an open string gives more time to make the big LH jumps and smooths the fingerings. Purists may disagree but this enables you to articulate more cleanly and powerfully in a Tutti passage than the risk of tearing a muscle in your shoulder and fumbling or skipping notes.
IMO the cheat before or after an open string gives more time to make the big LH jumps and smooths the fingerings. Purists may disagree but this enables you to articulate more cleanly and powerfully in a Tutti passage than the risk of tearing a muscle in your shoulder and fumbling or skipping notes.
Yeah I'm 100% with David on this one. I wouldn't even call them "cheats"!! I think it's just smart, reasoned playing. I'm never afraid of playing things on the lower strings in higher positions (to a point - my plain gut A string taps out at the first tumb position and my wound gut E and B don't like playing above simandl 4th/5th position much!!!)
In my practicing lately, I've been just sort of paging through the Bille 18 etudes book I have, and there's a whole study that's specifically about playing on the lower strings at the joint of the neck. The idea of playing in a more "violin style" where one plays on the highest possible string all the time is probably the more "new" way of playing on the instrument.
In my practicing lately, I've been just sort of paging through the Bille 18 etudes book I have, and there's a whole study that's specifically about playing on the lower strings at the joint of the neck. The idea of playing in a more "violin style" where one plays on the highest possible string all the time is probably the more "new" way of playing on the instrument.
I would play the whole of measure (bar!) 6 of that excerpt on the G string. Otherwise it all looks OK
What is the piece, Andy? I vaguely recall the passage and that it was not impossibly fast. But even at quarter = 80 the speed will affect the fingerings. Try everything and pick the best (smoothest?) connections?
Just saw the Heading of your PM. Mendelssohn 3rd Symphony , the "Scottish"?
Just saw the Heading of your PM. Mendelssohn 3rd Symphony , the "Scottish"?
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Yes, David, that's the one - and "fast" is a relative term ;-)
I am favouring Neil's suggestion at this point...but also keeping an open mind.
Thanks
I am favouring Neil's suggestion at this point...but also keeping an open mind.
Thanks
I think you're best served by deciding a fingering early and then working up the speed, being consistent with the fingering. You can make any fingering work if you practice it enough, and both of the options you're considering are good safe ones. Mendelssohn gets fast as heck - good luck!
