Should I try to do all the string crossing with a down bow on the D string and an up bow on the G string ( which to me feels unnatural), or the other way around (up on D, down on G) which feels really nice. Doing it the second way, which feels easier, would require me to change something with the bow approaching it. My teacher suggested doing a double down on the last two eighth notes RIGHT BEFORE the string crossings start. I'm not in love with this and would love to hear a second opinion. I also heard someone saying to start all the eighth note runs before the string crossings on an up bow. Just want to know how some seasoned players approach this problem. Hopefully I was clear in my question.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Double Bass Mozart 40 string crossings
- Thread starter Louie_Louie
- Start date
-
- Tags
- strings
I suspect this is the excerpt being referred to.
Mozart: Symphony 40, Mvt. I (mm. 191-225) - Double Bass Excerpts
Mozart: Symphony 40, Mvt. I (mm. 191-225) - Double Bass Excerpts
I never enjoy taking a double down, so I try to use a double up on the 6th and 7th 8th notes in the measure, with a down bow on the 8th 8th note. This allows me to play the string crossings with up bows on the beat.
Give it a shot and let us know.
Give it a shot and let us know.
- Aug 1, 2005
- 3,546
- 1,421
- Disclosures
- Private Inventor - Bass Capos
That's what I prefer as well. Wasn't allowed to do it this way in my last job, though. The basses had to do everything exactly like the cellos, who mostly had to follow the upper strings. That was the culture of the orchestra, but I imagine many orchestras aren't so strict. If you're playing an audition, play it the way you prefer, but don't be surprised if they ask you to do it again down up down up.
D
I prefer playing the whole passage "backwards" beginning with an up bow on the E-flat in measure 191. If you prefer to begin down bow, I'd suggest doing a double up bow on the last B-flat in 192 and the first note of 193 rather than a double down bow. To get out of the backwards bowing before the whole note in 198, I do a double up on the last two notes of 197.
I went through that dilemma, as well. I find it easier to just play it down up the whole way now.
Thanks for the Replies, lot of good stuff to consider. I've tried these things and I think i'm going to go with doing the string crossings down up, (for this audition anyway). Does anyone have any practice tips for playing string crossings down on the D and up on the G? Any exercises that you love and would like to share?
