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Double Bass Robert Zimmerman - Bel Canto Basso, Melodic Studies
- Thread starter Snakewood
- Start date
Here is the description from the Lemur catalog.
MIM62 Zimmerman Bel Canto Basso Editor's remarks: For years I've lamented the lack of musical studies written in the lower positions of the double bass. The studies presented here are difficult, both technically and musically, and yet are transcriptions of the vocalizes of Marco Bordogni who was a voice teacher in the first half of the 19th century. They have long been used by trombonists to develop musical phrasing and the ability to sustain a phrase. They are in the style of italian opera; the style in which much of the solo bass literature of Bottesini is written. It should be noted that what appear to be accent marks (>) in all of these studies are not accents. These are a 19th century notational device designed to show where the emphasis appears within a phrase. It is important to emphasize these notes with vibrato and weight. Bottesini's double bass music was full of these marks which were later removed by modern editors who feared that they would be mistaken for accents. I have not removed these markings because they often show the contours of the phrase. The individual piano accompaniments to BEL CANTO; MELODIC STUDIES for the DOUBLE BASS are available through Zimmerman Press. With piano accompaniment, any of these studies would be appropriate on a recital. Robert V. Zimmerman
MIM62 Zimmerman Bel Canto Basso Editor's remarks: For years I've lamented the lack of musical studies written in the lower positions of the double bass. The studies presented here are difficult, both technically and musically, and yet are transcriptions of the vocalizes of Marco Bordogni who was a voice teacher in the first half of the 19th century. They have long been used by trombonists to develop musical phrasing and the ability to sustain a phrase. They are in the style of italian opera; the style in which much of the solo bass literature of Bottesini is written. It should be noted that what appear to be accent marks (>) in all of these studies are not accents. These are a 19th century notational device designed to show where the emphasis appears within a phrase. It is important to emphasize these notes with vibrato and weight. Bottesini's double bass music was full of these marks which were later removed by modern editors who feared that they would be mistaken for accents. I have not removed these markings because they often show the contours of the phrase. The individual piano accompaniments to BEL CANTO; MELODIC STUDIES for the DOUBLE BASS are available through Zimmerman Press. With piano accompaniment, any of these studies would be appropriate on a recital. Robert V. Zimmerman
In my opinion, the best way to learn the bel canto style would be listening to recordings of Gary Karr. He is famed for how he can make the bass "sing". Bel canto is the Italian operatic singing style. For me, it clicked after hearing Gary play "Elucevan Le Stelle from Tosca Arct 3". It is, after all, Gary playing the melodic vocal parts of the opera.
I believe that it takes a musical ear to learn a style. I think that marks on a paper can only go so far. If you listen to enough recordings, you will know where the emphasis of a phrase is without the help of accent marks. If you specifically want to learn the style of Bottesini, then I suggest that you buy Joel Quarrington's "Bottesini: Music for the Double Bass".
There's no better way to learn the style than listening to the style. It's the same way we all learn how to talk, it's the same way we all learn how to whistle, it's the same way we learn to be musical.
I believe that it takes a musical ear to learn a style. I think that marks on a paper can only go so far. If you listen to enough recordings, you will know where the emphasis of a phrase is without the help of accent marks. If you specifically want to learn the style of Bottesini, then I suggest that you buy Joel Quarrington's "Bottesini: Music for the Double Bass".
There's no better way to learn the style than listening to the style. It's the same way we all learn how to talk, it's the same way we all learn how to whistle, it's the same way we learn to be musical.
As said before, bel canto style is Italian, operatic style. My suggestion is to listen to opera singers and try to make your bass sound that way. Go out and get some Andrea Bocelli albums. As my teacher says, pay close attention to the spaces in between the notes.
If you want to learn bel canto style, go right to the source....maybe play some opera melodies on bass.
If you want to learn bel canto style, go right to the source....maybe play some opera melodies on bass.
I recently attended a voice masterclass given by Ubaldo Fabbri, a great authority on the bel canto style. I was lucky enough to be able to understand what he was saying in Italian, as the translator was horrible and added many of her own ideas. After seeing him work with people I am convinced that the best way to learn the bel canto style is to learn it from a singer. I know many players who have taken lessons on the cello suites over the years with great cello teachers. Why, then, can we not learn the bel canto style by perhaps having a lesson with a great singer?
As Rob Zimmerperson (to be politically correct) once said, and I don't think that he was referring to time signatures, "The times , they are a changin'".
