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Double Bass The fingerboard gets smaller!

N

Norwegianwood

Nov 9, 2003
969
4
40
Norway, Oslo
#1
Isnt that a great feeling? When you play some notes, and then suddenly you realise that you have reached the highest C, and you didn´t even notice? When this area was entirely undiscovered land two weeks ago, it does really feel like the fingerboard is getting smaller.

Just thought I´d encourage all the other beginners out there to start laying down those three octave scales - don´t wait! I´ve been playing jazz for a year or so, and did not start practising classical bowing until very recently. Since that it´s been a really steep learning curve.

For you experienced guys: Do you have any good advices on getting a nice tone up there? (Well, except playing closer to the bridge.) I must admit that my sound is way more pretty in the low registers as for now.
I also feel that going up is easier than going down the scales in thumb position. Is that usual?
 
#7
Use plenty of bow and the tone seems easier to come by along with good bow speed and being a little bit more gentle with it. Vibrato can help cover up some tone issues, but not neccesarrily a better sound. all shifts in general seem to be easier going up working with gravity and natural tendencies of the arm. I like playing all the harmonics down by the end of the Fingerboard there fun for arpeggios and everything.
 
#8
Thanks for all the feedback....it´s highly appreciated...!!
This week I´m going to focus on major triads...quite a challenge..:)
Anyway, another thing I struggel with, is squeeks on the open strings...is that common? Especially the D and G tend to squeek alot on me:)
 
#9
Open strings squeak much more readily than closed notes. This is why some of the newer techniques (such as George Vance) have students do their long bow exercises on harmonics rather than the open strings. While I have less than a decade's experience (I do hope more mature players chime in here), I feel that it is very important to learn to control the bow on an open string. Check out the first Etude our of Rufus Reid's book, The Evolving Bassist. It's nothing but open string crossing exercises, it's helped me tremendously.
 
#10
It can be tough, sometimes, to get the open strings to speak right away. Especially after playing a high note on that string. Occasionally, when I'm dropping back down to the open string after a higher note, or even on a mildly fast passage, I'll pluck the string just as i begin to bow it. The idea is to make in inaudible pluck which will help the open string to vibrate even before you begin to bow, ensuring that you start off with a clean, non-squeaky sound.

On the other hand which rosin you're using influences that as well; Pop's seems to be better for making lower notes sound (especially on the E string) than Carlson's, for instance. However, for the record, I prefer Carlson's anyway.
 

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