Double Bass The different ear training we use..

[Tom Lane]

And then, there's the tuning we adjust to when accompanying singers.

ba-da-bump!

I remember intently staring at my left hand more than once in disbelief that I could be so far off-pitch.

Lastly, if I can't hear myself, I can't play in tune. Hearing the pitch I play is a requirement for me and if you can play without hearing yourself, which I believe you can, my hat's off to you.

 

[Dogfightgiggle]

Sightsinging and inner-hearing practice.

Really making sure I maintain contact with the strings.

Not performing shifts with the target finger, but maintaining contact with the last used playing finger.

 

[jj.833]

Thanks everyone for kindly shared experiences on orchestral playing. I also sometimes stare at my left hand in horror, as @Tom Lane writes. Often, when I correct this, the tuning of the band won't get better. I'm happy this is common thing and has its reasoning.

To get back to the original theme of the thread, I'd like to add a few details about singing, as @Reiska wrote. I remember i was practicing kind of vomits: you play a note, then you sing it, then you sing an interval (say a sixth) and then you play the interval. This was very helpful to me at the time. Even being a very bad singer, I was surprised that finding the interval singing was way easier than finding it on the bass. I recommend this practice to anyone in need of learning hearing the intervals.

I also sometimes practice singing a third above a scale steps. This is however doable only when I'm positive i can either play it right, or sing it right. When I have to focus on both, I can't be much sure with either. But, it's a wonderful way to learn the feeling of being in tune: if it sounds right, it's beautiful. That's the basic idea, right?

 

[Dogfightgiggle]

And speaking of intonation in general; if I’m getting a high quality stop on every note my intonation always seems pretty peachy.

 

[Andy Mopley]

And speaking of intonation in general; if I’m getting a high quality stop on every note my intonation always seems pretty peachy.

Good on you! And if peachy, do you mean when checked against other instruments, or a piano or other, inclusive of your ears?

I am curious though, having read thru the replies, as to if intonation is being checked usually with a slower bowed (or plucked) strings, and how does this then translate to playing in tune on a faster passage? Presumably the old "slow practice leads to fast playing" applies..?? Or maybe try playing the passage into it and stopping on the (random) note?
Regards

 

[Dogfightgiggle]

Good on you! And if peachy, do you mean when checked against other instruments, or a piano or other, inclusive of your ears?

I am curious though, having read thru the replies, as to if intonation is being checked usually with a slower bowed (or plucked) strings, and how does this then translate to playing in tune on a faster passage? Presumably the old "slow practice leads to fast playing" applies..?? Or maybe try playing the passage into it and stopping on the (random) note?
Regards

I just check against the instrument’s own resonance these days. It’s pretty obvious when it’s out and it’s out often enough that I don’t feel like I’m deluding myself too much.

My teacher once told me that I’d know if my intonation was on because I’d start salivating. I’m still waiting for that experience haha.