True! Maybe we should start a "universal method" for bassplayers
I guess there's as many methods as there are bassplayers. I've even seen bassplayers using their ringfinger in the lower positions. How does that work?
Keep in mind that when Simandl and others were written, the bass had thick, gut strings and metal wound guts that had a large oscillation pattern. Therefore, the nut and bridge were much higher than the modern bass. And so, the 1,2,4 patterns had to be used to avoid injury to the hand. Not so today. I wrote excercises to strengthen the ring finger (very weak) and began using 1,2,3,4 starting on the G string on D. I called it 'open hand' technique and when added it to 'closed hand' - 1,2,4, - a whole new world of combined musical choices opened up.
Tom Gale
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Double Bass Question about a lesson
- Thread starter Norre
- Start date
Keep in mind that this piece is an etude. Sure it can be played with all kinds of fingerings and different position changes. But for these kind etudes it is the best to first follow the exact fingerings of the composer. He has a certain goal with his piece.
When you play these lines in a 'real' piece you can do whatever you want or what the music calls for.
When you play these lines in a 'real' piece you can do whatever you want or what the music calls for.
