Double Bass Suggestions for an awkward passage

[CSBBass]

Hey all,

How would you approach this passage? Particularly, the third measure of the second line through the second measure of the third line. The fingering I wrote in is the one I've been using for each of those arpeggio patterns, using the 3rd finger as a sort of anchor for shifting the thumb and first finger down. I've tried some alternatives as far as fingerings but am curious what others might suggest, as well as any practice techniques for it aside from isolating the bowing and the left hand etc if you have any.

Thanks!
Also, this is from a cello edition, so ignore any fingerings printed in the part and note that I'm reading it at the written pitch.

 

[Carl Hillman]

Hey all,

How would you approach this passage? Particularly, the third measure of the second line through the second measure of the third line. The fingering I wrote in is the one I've been using for each of those arpeggio patterns, using the 3rd finger as a sort of anchor for shifting the thumb and first finger down. I've tried some alternatives as far as fingerings but am curious what others might suggest, as well as any practice techniques for it aside from isolating the bowing and the left hand etc if you have any.

Thanks!
Also, this is from a cello edition, so ignore any fingerings printed in the part and note that I'm reading it at the written pitch.
View attachment 2832154

My knee-jerk reaction would be to try it like this.

Whether I stayed with this would depend on how smooth and musical I could make the string crossings, but my first instinct up there is to shift less and cross more in order to try for better intonation.

 

[Neil Pye]

I agree. Keep the shifts to a minimum, especially with repeated figures like that.

 

[slappahdabass]

I'd put the C-A-C on the D string, 4-1-4. E with 3. Shift down for B-G#-B with the same 4-1-4, barre 4 to the E. Keep the same string crossing pattern the whole section.
Then E on the G string, C on the D with 1-2-1, harmonic G. Repeat pattern with 1-4-1 for the D-B-D, and again harmonic G.

 

[ILIA]

My choice of fingering would depend on the tempo. If it's relatively quick (like quarter > 120 bpm, using the thumb in the lower registers is one of your few reasonable choices, as you have indicated. If it's < 120, just pivot and shift as quickly and as efficiently as you can. Of course both of the aforementioned approaches require either true facility in the use of "thumb position" in the lower registers, something most bassists are not accustomed to doing, or adept shifting/pivoting, which sometimes isn't developed enough to be useful. Pick your poison and good luck. That's truly an awkward passage from hell.

 

[CSBBass]

My choice of fingering would depend on the tempo. If it's relatively quick (like quarter > 120 bpm, using the thumb in the lower registers is one of your few reasonable choices, as you have indicated. If it's < 120, just pivot and shift as quickly and as efficiently as you can. Of course both of the aforementioned approaches require either true facility in the use of "thumb position" in the lower registers, something most bassists are not accustomed to doing, or adept shifting/pivoting, which sometimes isn't developed enough to be useful. Pick your poison and good luck. That's truly an awkward passage from hell.

Actually, I mentioned in the OP that I'm reading this at the written pitch--so think an octave up. I'm extremely comfortable with the thumb below the octave and would probably go that route if I were playing it that way, but taking it up is actually a little easier than that would be thankfully. It was more just a "pick your poison" of either making the string crossing more consistent (while making the intonation more risky) or intonation safer (but bowing and resonance less consistent).

Thanks for the suggestion Carl--when I first checked the piece out back in the day I had started with your fingering and over time moved away from it, probably because of some deficiencies in my playing that made that the harder option at the time. I've been considering doing the whole sonata on a recital sometime soonish and I'll probably use your fingering--it seems to be working better for me these days.

 

[Andy Mopley]

Also, this is from a cello edition, so ignore any fingerings printed in the part and note that I'm reading it at the written pitch.
View attachment 2832154[/QUOTE]

Can I ask what is the definition of reading at the written pitch, please? Are the first 4 notes, for example, DCBC, but you playing them in thumb position on the G string? Thanks

 

[CSBBass]

That's exactly right. On bass, the "written pitch" (what's on the page) and the "sounding pitch" (what comes out of the instrument when we play that) differ in that the note we play is actually an octave lower than what's written. That's just for ease of notation given the low tessitura of the instrument, but when we play cello rep, if we choose to use a cello edition (which I usually prefer to do for a number of reasons) that also means we have to read it an octave higher than we're used to if we want to play it at the written pitch.

 

[Andy Mopley]

Thanks..I always learn something from all you guys!