Double Bass Re: Fergus debate on vigor vs accuracy

[dmilburn]

@Fergus, you posted a video of mine from two years ago, I appreciate the props but I want to show a more recent example of my playing.




Some of these excerpts are great examples of what Paul was talkin about on the previous thread about having both vigor and accuracy in playing. I feel the question is not should one sacrifice vigor for accuracy or vice versa, but how can one make their playing as engaging and exciting as possible while nailing every note cold with high consistency.

I can assure you there are players who can do both and the ones who can't probably won't make it to an ICSOM orchestra (or international equivalent). Some people like it rough some like it gentle, some like it slow some fast, its not about how big your sound is but how well you control the sound. Enough with the sexual innuendo you get the point, the people who can do all those things and have the awareness to adapt depending on the situation have the best chance at getting the big gig.

 

[fergus currie]

Thanks David. It's nice to be kept up to dade on how you're doing. Sounds great! Nice to hear the E-D played as 'ausdrucken' and not harmonics in the concerto, you should try to relax your right wrist a bit more though. Great stuff. Liked the Don Juan the C pizz is p and needs a bit of vib. And between us your Beethoven 5 is more likable that other much quoted but for me rather robotic versions on youtube! The Haydn is lovely too but a bit too 'modern bassy'. I'd like a more gamba/violone sound. But hey that's a super audition tape so the very best of luck. Let me know how it went.

Anyone listening to this video should know that I reckon that this is a very nice blend of technique and musicallity.

I just got a new post in the Greek National Opera as sub-principal (number 2 with a change of principals on different shows). We're doing Tosca at the moment and I'm really enjoying the dramatic side of the job. I know you're right about there being guys out there that can cover all the basses (excuse the pun) and they will eventually get all the jobs. In the mean time old fuddies like me can still charm the judges with a powerful and dramatic Heldenmeben with a couple of blemmishes ( I play the Eb-high D stopped on the G string [not a harmonic] with a slightly audible gliss between the two, but I went a little sharp on the top D in the Audition) more that some young whizzkid who gets all the notes, dynamics, phrasing, etc. like some well oiled machine.

I think I might be talking about the X-factor (if it wasn't such a crundy TV show).

I wasn't trying to get peoples back up with the stuff on the 'Audition rant" thread. I do think we should all try to find a way to have both impecable technique and unashamed artirtry (musicality) in our playing. The LCD is music not just counting notes but you know that already!

FC