Double Bass Suggested fingering / position?

[Andy Mopley]

From Sibelius 2..thanks for reading!!

 

[Hapa]

From Sibelius 2..thanks for reading!!

going that high, I would start at position 7

 

[scrimjer]

I would talk to her first

 

[David Potts]

It is most of the notes for a two octave F sharp Major scale.

First note = pinkie on A string

Next four notes on D string 1 4 1 4

Last six notes on G string 1 2 1 4 2 4

This "classic Simandl 2-per-position" fingering will simply work at any speed, going up or down. Practice in both directions, as even 1/8th notes, hook stroke and inverse hook stroke.

Cheers.....DP

 

[Andy Mopley]

OK, thanks all

David - why not position 7, as suggested by Hapa?

 

[eerbrev]

Another option could be
G D#(1) E#(2) F#(4)
D E#(1) F#(2) G#(1) A#(4) B(1) C#(4)
A C#(1)-D#(4)

I would say that the problem with just staying in 7th position (whatever that is, never learned positions, but I assume that's C# on the E string) is that it requires a brighter, faster responding E string than many players are comfortable putting on their basses to make it sound good. Using similar string lengths (staying in a position) is good for consistent bow weight, but the sound is not always "optimal". David's fingering allows for a more "optimal" sound, but requires a lot more changes in bowing pressure and in left hand position.

Which is better? take your pick. I like nice bright low strings for their projection and sound in the audience, so I might at least try the E string, but I think i might find it fumbly up near the heel of the neck because it's so chunky there. I'd probably do something like the fingering I showed above, or maybe
G 1-2-4-1-3-4
D 1-2-4
A 1-4

or some other such nonsense .

eerbrev

 

[Andy Mopley]

Sounds good, thanks eerbrev!

 

[David Potts]

Out of all your fingering options there are probably several that are worth polishing. I personally would use extended (1234) fingering and play the whole lot with only one position change. But I use 1234 fingering all over the neck, rolling my hand slightly as the notes get lower and further apart. Mine would be the same as eerbreev's last one above but starting on 2nd finger for C sharp and extending. You could either extend or pivot?

Broadly speaking I would stay away from short thick strings (your 7th position) for reasons of momentum, power, projection and response given that the passage is in a moderately fast two beats to the bar and must be heard. There is also the aspect of looking good as you fly up the top two strings - your body movement is visually reinforcing the crescendo.

DP

 

[eerbrev]

Out of all your fingering options there are probably several that are worth polishing. I personally would use extended (1234) fingering and play the whole lot with only one position change. But I use 1234 fingering all over the neck, rolling my hand slightly as the notes get lower and further apart. Mine would be the same as eerbreev's last one above but starting on 2nd finger for C sharp and extending. You could either extend or pivot?

Broadly speaking I would stay away from short thick strings (your 7th position) for reasons of momentum, power, projection and response given that the passage is in a moderately fast two beats to the bar and must be heard. There is also the aspect of looking good as you fly up the top two strings - your body movement is visually reinforcing the crescendo.

DP

+1 to all of this. I hadn't considered the "theatrical" aspect of body movement, but it's definitely true.