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Double Bass Orchestral Technique & Method Studies Thread

#81
If you can find a copy of the Ricordi edition of Cuneo studies, you would find a really valuable set of excersies. The replies you've gotten so far are also really excellent suggestions. (I love this site.) No big surprise that I too would suggest all five volumes of the Streicher method. He had all of us play through every last excersise as he wrote them based on his overview of the entire solo and orchestral Double Bass repertoire.
 
#84
I did an interview on my podcast Contrabass Conversations recently with former New World Symphony bassist John Grillo were we talked about the various method books out there and their advantages/disadvantages. You can [Invalid or Expired Link Removed]. I thought that John had some great insight into the effectiveness of various methods.
 
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#92
Does anyone have a copy of this out of print book they are willing to sell?

Shmuklovsky/Drew - "Scales, Triads, and Exercises for String Bass Beginners" - Carl Fischer, Inc

Ed S.
 
#97
tbassplayer said:
hi
i am a young bassist i just want to know is there a difference in ochestrai technic and solo technic
Click to expand...

In an ideal world there would be no difference, there would be just technique.

Having said that, and talking in VERY BROAD TERMS, solo playing usually involves the higher register, and a more focused/lyrical sound, while orchestral playing is usually in the lower register with a more resonant and robust sound.
The usual bow strokes, vibrato, phrasing etc...tend to be different as well.
 
#98
Dr Rod said:
... in VERY BROAD TERMS, solo playing usually involves the higher register, and a more focused/lyrical sound, while orchestral playing is usually in the lower register with a more resonant and robust sound.
Click to expand...

Quite right. A very broad, "fundamental" tone is typical and traditionally desirable in orchestra; typically only in Solos do we as bass players try to sound "singing" like the other string instruments.

However, I've always wondered just how powerful a bass section could sound if we all chose to play "Gary-Karr-ish"... I'm certain it would be awesome and Big, even though most bassists cringe at producing a bright, carrying sound.

In my situation in particular, where the Louisville Orchestra regularly plays, there is little "natural" resonance to the hall, and the usual boomy sound-production can work, but is often unremarkable. We recently changed our section set-up to be closer to one-another and to be closer to the wall, and we are getting positive comments from colleagues and listeners.

On many occasions I wish that we could all choose to play with a very concentrated-bow, close to the bridge, as though playing in a "soloistic" fashion - I'm sure we'd turn heads and get twice as many good comments!
 
#100
Kpo, another suggestion to project more sound is to sit the Basses on the other side of the orchestra with "f" holes pointing out into the auditorium, sometimes with the cellos still in front and the 2nds opposing the 1sts. The 2nds will complain because they lose close contact. Conductor by conductor, we often did this in the Sydney Opera House Concert Hall, which has unfriendly bass-end acoustics. Or we sat on the conductor's right, depending on their wishes. The best help to project is obviously a high wall just behind the basses, like the Musikverien (? spelling) Hall in Vienna - oh, I wish!!

We are drifting away from the original thread!

Has anyone seen a copy of Ludwig Hegner's Tutor for the Double Bass, published by Wilhelm Hansen Edition, Denmark, in the 1950's. It was solely 1-2-3-4 fingering, and laid out in a similar fashion to Simandl but not quite as boring from memory.

DP
DP
 

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