Double Bass Simandl and You

[AGCurry]

FYI - I was taught to use the same fingering for all bowing patterns to expose and exaggerate the challenges of controlling and using the bow to execute the string crossings/slurs/shifts, etc.
For example - in variation#1 - measure #1 - beat 3 - the Upbow F slurred to G: DON'T finger the G - use the Open G string, (after playing the closed F on the D string.)
I agree - it is Killer, but it will make you a better person/player for it. (Later on, you can alter the fingerings to your advantage, when playing Real Music.)
IMO, of course, as always.
Let's see what others may say.
Thanks.

Maybe my problem is that I want everything to sound like Real Music!

 

[neilG]

I've memorized the exercise but changing the fingerings is challenging.

NOT changing the fingerings is also challenging. You should do both.

Simultaneous post with Don. ^^What he says.

 

[THE SAW]

I'd play it broad, smooth and a bit slower. Connect the notes- think of it like a glorious tuba part!

 

[Alexis Duntov]

The killer thing about the "Various examples and combinations of bowing" page is that the fingerings have to be different depending on the bowing patterns. I'm only through #7... I've memorized the exercise but changing the fingerings is challenging.

I’m just getting through #4. My teach said to memorize the etude. I assumed that the fingerings are to remain as indicated until they can be played that way, then you do what you like. One of my strengths AND liabilities is that I’m a glutton for punishment. Sometimes I have to remind myself to work on repertoire and not spend all my time stubbornly trying to master etudes.

 

[Dogfightgiggle]

I’ve been instructed to memorize it and only change the fingerings for the dotted variations.

 

[Bruce Calin]

I mentioned this in another thread but I know from experience that those memorized etudes are in your head forever.

 

[BassiklyAC]

My mid-70’s edition. Still shedding on it.