Double Bass Lyrical / legato espressivo

[Andy Mopley]

Hi all

Looking for ways in which this can be practiced. Think, to use an example known to a lot of people, the cantabile in Simandl 17 (from his 30 studies).

Specifically the blending on one note into the next to avoid the hearable "bump" - make it kind of linear, if this makes sense.

PLEASE, for those that care to respond. I am looking for some feedback based on your experience, rather that a YT search so at least when I apply some of your advice, I can establish a dialogue of sort should there be the need.

I am also arranging for a separate casual lesson with a teacher, in the coming weeks, so this may be a prelude to it.

Thanks
Regards to all

 

[BassFalcon]

If I’m understanding the question correctly, I believe a good way to practice that would be slurring scales. One note per bow up and down the scale, then two notes per bow, then 3 etc. another aspect would be bow exchanges, the switch from up bow to down bow, a good exercise for that is just to bow an open string for like an hour and really focus on smoothing out that exchange. Hope that helps, if not, my apologies for misunderstanding.

 

[AGCurry]

... bow exchanges, the switch from up bow to down bow, a good exercise for that is just to bow an open string for like an hour and really focus on smoothing out that exchange.

I don't know about an hour, but yeah. My teacher has demonstrated his ability to do this seamlessly and suggested I practice it. Of course, I fail and give up after five minutes.

 

[Brilee]

Agree 100% with BassFalcon - those two things. One realization I had about the relationship of bow change and shifting is this: I often think it is "easier" to put a shift at a bow change, but that's because I'm covering up a rough shift with a rough bow change. Theoretically a perfectly smooth bow change would show a problem with your shift the way doing it in one bow would. In reality, it is possible to hide.

If we think about what legato is good for, we have to talk about phrasing. One evil but helpful way to iron these things out is by putting in difficult bowing and shifting in a simple, beautiful song with some leaps in it, like Somewhere over the Rain bow or Apres un Reve. Different keys, different bowings, add shifts and string crossings. Scales are essential, but practicing tunes where the rubber hits the road is very important also. And I love me some Simandl, but you are going to be more inspired to make it work with a pretty tune than a stodgy etude. IMHO

 

[BassFalcon]

I don't know about an hour, but yeah. My teacher has demonstrated his ability to do this seamlessly and suggested I practice it. Of course, I fail and give up after five minutes.

Lol, an hour is an excessive but it will work to smooth out the exchanges. My professor in college told me to lock myself in the practice room close my eyes and bow an open D for an hour. It was wild, after a while it becomes meditative, then almost hallucinatory, almost like a vision quest but for tone and smooth bow exchanges. You really start to zero in on making the exchange seamless. I really need to do it again now that I mentioned it. It would be significantly more difficult in my household now with a 7 year old stomping around and two rambunctious beagles than it was to lock myself in the college bass studio on a Friday night.

 

[Dogfightgiggle]

It’s either the bow change or the shift as indicated above (string crossings and dotted figures would be things to consider).

When I shift I’m ideally keeping the string very close to the board. I also shift with the last playing finger I used rather than the target finger.

As to the bow change, I find my best efforts come with an awareness of the back muscles, but not necessarily doing anything with them.

 

[LouisF]

Bow Changes with the German Bow — Discover Double Bass





I don't know if any of them help, but...