Double Bass Pulling off notes with LH fingers when slurring

[David Potts]

Can we discuss the merits of pulling LH fingers off to aid clarity of articulation versus simply rise-and fall? I was taught, and have always used, the latter method. Guided by Tom Martin's advice of "keep it simple" I have tried to use my LH shapes and movements as naturally as possible.

I find plucking my LH fingers off notes bloody near impossible, un-natural and a severe intrusion into the flow of notes which IMO is more important. In the sessions I once had with Tom Martin I do not recall him using this technique and yet his clarity of slurring was fantastic. He explained it as coming from micro-twitches of his R elbow to absolutely nail the horror passages in Strauss' Heldenleben.

Perhaps this would come more naturally if I were taught the technique when I was much younger and more flexible? It may also be easier on the smaller string instruments with notes much closer together and thinner, lighter strings. Yet I am aware of Jeff Bradetich on his Youtube videos explaining this LH technique.

What thoughts do you have?

 

[Nathan Eskridge]

There is a passage in the Heldenleben, measure before Reh 53 where I do a pull off, the C# to open G, I find it helps the G to speak in an otherwise very fast little 16th note run, esp since it is right before a string cross, where the bow would not otherwise be on the string for as long as normal.

 

[PaulCannon]

I do it when playing fast descending slurs. Or any fast pizzicato stuff, but that’s not really a classical thing.

 

[Neil Pye]

I only do it very occasionally during slurred passages on the E and (sometimes) A string. Just to help the note speak, not as a noticeable part of the articulation.

Oh, and you're on a hiding to nothing comparing legato playing to Tom Martin's!