Double Bass Mahler 4 excerpt question

[supercowman69]

On page 3, or at 15, there is a section in tenor cleff but says above "Kingt eine octave tiefer"

Does this mean to play the passage as written, or one octave lower? Thanks.

 

[Eli_Upright12]

On page 3, or at 15, there is a section in tenor cleff but says above "Kingt eine octave tiefer"

Does this mean to play the passage as written, or one octave lower? Thanks.

I think you play it as is, that's what I was told to do in my orchestra, were playing that symphony right now.

 

[neilG]

"Klingt eine octave tiefer" means "sounds an octave lower". So, as Eli said, just play it as you see it. There is some history of tenor clef in a bass part indicating that the cellists should play that passage alone, so Mahler, or the editor thought some explanation was needed to avoid confusion.

 

[supercowman69]

cool. thanks.

 

[Mike Goodbar]

Same symphony, different excerpt: Near the beginning of the first movement, there are some sixteenth-note runs marked staccato, but all under an up-bow slur. Is this to be played with a bouncing, ricochet-style stroke all in one direction as marked? Or do most section separate it into up-down?

If all "up," any tips on getting it even and clean (I play German).

 

[PaulCannon]

Same symphony, different excerpt: Near the beginning of the first movement, there are some sixteenth-note runs marked staccato, but all under an up-bow slur. Is this to be played with a bouncing, ricochet-style stroke all in one direction as marked? Or do most section separate it into up-down?

If all "up," any tips on getting it even and clean (I play German).

This is traditionally done separately, although there is a recent trend toward playing it as written. It's a sort of long spiccatto, which is relatively easy with a French bow. It is not a ricochet; each note is individually pulsed from the arm with a loose wrist. I would imagine this is fairly challenging with a German bow.

Try it a bit slower with the bow staying on the string, articulating each note individually. Gradually pull your weight away from the bow as you work it faster, eventually letting the stick bounce on its own. Pay attention to the lengths of the notes. They will have a tendency to get longer (and louder) as you approach the frog. Do your best to compensate for a consistent sound and articulation.

Also, keeping the stick directly over the hair (i.e. completely flat hair) will help immensely. If you feel the flat hair makes the stroke too short, simply tilt the stick slightly toward you, still keeping most of the hair in contact with the string.

 

[fergus currie]

As Paul says, this is often played seperately but learn it both ways incase the conductor or principal has other ideas.