Petracchi's Thumb Position Book

Discussion in 'Music [DB]' started by Johnny L, Oct 3, 2003.

  1. Johnny L

    Johnny L

    Feb 14, 2002
    New Jersey
    I've been thinking about purchasing this book and delving into it some. But I'm hesitant to do so because I'm under the impression that the fingerings Petracchi recommends for thumb position do not stretch the hand out as the Vance books I'm working through do...and I like what those stretches offer me.

    Do Vance's thumb-position strategies fall in line with Petracchi's, or are they offering different approaches for this range of bass playing?
  2. Johnny L

    Johnny L

    Feb 14, 2002
    New Jersey
    Wow, I thought I'd at least get some reply from my good friend Shlomobaruch during this time. Does this mean it's safe for me to break out Simandl Book 2 and get to work without fear of retribution from those in the know?
  3. LM Bass

    LM Bass

    Jul 19, 2002
    Vancouver, BC
    This is a great book. I still use some of the exercises in it almost everyday. Interestingly, there is a video you can get, called "Bass Instruments" which includes Petrachi's class of about 12 students doing some of his exercises.
  4. Johnny L

    Johnny L

    Feb 14, 2002
    New Jersey
    Thanks, LM, for the recommendation.
  5. jaff


    Jun 7, 2006
    Rob Kassinger recommended that I get Petracchi's book on arpeggios. Does anyone know the title of the book?
  6. anonymous12251111

    anonymous12251111 Inactive

    Apr 6, 2007
    The Petracchi book IMO is a good foundation on thumb position. My teacher studied with Petracchi and owns the original manuscripts. The Simplified Higher Technique book was arranged in the incorrect order by the publishers, so obviously feel free to skip around in exercises....also take a lot of breaks and don't push it, you can injure yourself if you aren't used to some of these hand positions yet.
  7. Petracchi is my favorite for TP.
  8. Can anyone recommend an online purchase source for the Petrachi Method ?:rollno:
  9. oliebrice


    Apr 7, 2003
    Hastings, UK
    I've just bought a copy of the petracchi book, and am struggling to understand it.
    There doesn't appear to be an explaination of his use of numbering, at least in my edition (yorke). I understand the fingerings above the notes, and the use of (cr), (s. cr) and (diat), but what are the numbers below the stave about? and what are the (i) and (ii) at the begining of most excersises about?

    also, they seem to start extremely high on the bass, and go beyond the range of my fingerboard in some cases.

    can anyone advise?
  10. Chris Fitzgerald

    Chris Fitzgerald Student of Life Staff Member Administrator Gold Supporting Member

    Oct 19, 2000
    Louisville, KY
    If I'm not mistaken (don't have the book in front of me), the numbers beneath the staves came in two varieties: Uppercase roman numerals, which I think referred to positions (I often ignore these anyway); and lowercase roman numerals, which I think are put there to show that you could either begin the exercise on the first or second string. As for going beyond the range of the fingerboard, I've not found that to be the case. I assume that you're remembering to transpose the treble clef parts so that they sound down an octave from where they're written (just like in bass clef), right?

    I learned a lot from this book, and plan to revisit it soon. It's not musically exciting in any way, but sometimes focusing on bringing out the the musical elements of extremely mundane melodic material is the best kind of practice there is.
  11. The first exercises start on the D low on the g string.
  12. LM Bass

    LM Bass

    Jul 19, 2002
    Vancouver, BC
    The abbreviations you're looking at indicate his 3 left hand positions:

    Chromatic position is T123 in semitones
    Semi-Chromatic is T 123 with a tone between T and 1
    Diatonic is T 1 23 with a tone between T and 1 and between 1 and 2
  13. anonymous12251111

    anonymous12251111 Inactive

    Apr 6, 2007
    And there are of course nice little variations, like streicher's augmented fourth T 1 2 3, depending on hand size you may need to pivot to achieve this. Also, practice T 12 3, another useful little one!!
  14. anonymous12251111

    anonymous12251111 Inactive

    Apr 6, 2007
    In the beginning you should not go all the way up the fingerboard if you find it physically painful. Listen to your body and your wrist. When I first started this method I only went up to the D harmonic. My bass can go very high, so I now go all the way up.
  15. oliebrice


    Apr 7, 2003
    Hastings, UK
    just to clarify, I understand what the chromatic etc mean, and am not a beginner.
    Chris (and Damon) you're right, I was thinking an octave too high, whoops.. thanks for pointing that out. and thanks for the roman numeral advice chris, I think that clarifies everything. I'll report back if I'm still puzzled after my next practice session...
  16. kurkomat


    Aug 28, 2001
    Austin, TX
    This is indeed a great book. I also found the markings confusing at first but you do get used to it quickly. To set things straight, the uppercase Roman numerals below the staff refer the the string (I is G, II is D, etc.) and the lowercase Roman numerals refer to bowing. Personally (as a person who only plays arco for intonation and have no intention on performing with a bow) I disregard the bowing recommendations and just focus on my intonation / fingerings, which is plenty for my head to keep straight. Enjoy this great method book.
  17. Amin


    Oct 22, 2004
    Hello everybody.
    I know I can't be very objective as I've been studying with Maestro Petracchi for 3 years in the Stauffer Academy here in Italy in Cremona (and hopefully for many others years in the future), but my opinion is that the Petracchi-method is simply amazing.
    It gives a sure and strong "map" of the fingerboard with mathematical and rational positions.
    I've never seen something better for the left hand.
    It is a clear, rational and very strong school.
    And in this book there're many wonderful technique-making everyday-studies.

    Maestro Petracchi is not only an incredible and marvellous teacher (very strong and not forgiving) but also and especially an incredibly deep, elegant , top-class Musician.
    He's a true artist, and he really can tell you so many and precious things about interpretation, phrasing, musical aspects of a composition...
    He's also a Conductor, and he does know music deeply.
    His fingering, his bowings, the choice of the string played in that passage, the quantity of hair, the point chosen in the bow and on the string is always connected with the Harmony, the Form or other musical aspects of the composition played..
  18. AndreasH


    Apr 8, 2005
    Where can I buy this?
  19. wdave


    Apr 7, 2008
  20. barend


    Feb 4, 2006
    the Netherlands
    sorry for digging up this topic.

    I have worked through Simandls New method for the double bass. And now I am ready for the thumb position. I am not sure what book to use. I can start with the Petracchi (simplified higher...) or go for Book 2 of Simandl.

    What do you suggest? and what are the pros and cons of both methods?
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