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Suggested fingering / position?

Discussion in 'Orchestral Technique [DB]' started by Andy Mopley, Jul 31, 2012.


  1. Andy Mopley

    Andy Mopley

    Sep 24, 2011
    From Sibelius 2..thanks for reading!!
     
  2. Hapa

    Hapa

    Apr 21, 2011
    Tustin, CA
    going that high, I would start at position 7
     
  3. scrimjer

    scrimjer

    May 20, 2012
    I would talk to her first
     
  4. 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
     
  5. Andy Mopley

    Andy Mopley

    Sep 24, 2011
    OK, thanks all

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

    eerbrev

    Dec 6, 2009
    Ottawa, ON, CAN
    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
     
  7. Andy Mopley

    Andy Mopley

    Sep 24, 2011
    Sounds good, thanks eerbrev!
     
  8. 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
     
  9. eerbrev

    eerbrev

    Dec 6, 2009
    Ottawa, ON, CAN

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

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