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Double Bass Ševčík vs Zimmermann
- Thread starter Andy Mopley
- Start date
Zimmerman is more for string crossings Sevcik more for various bow strokes.
Both are worth spending time in but in my opinion they serve two different functions. Unfortunately it is now that I find my copy of Zimmerman is out on loan to a student. It is built around producing very clearly articulated string crossings with very confident bow directions and is not so concerned with dynamics and expression. Through all the combinations and permutations a sense of physical balance is developed and there is ample evidence for why the balance point of the bow is so important. To fully work though the book would take up to two years according to my American ex-colleague, a Curtis graduate
The Sevcik builds a different sense of physical balance in that you are required to quickly and confidently place the bow on each string anywhere along its length to produce notes in either direction. The exercises use the full length of the bow and all its subdivisions with a mix of bowing styles and dynamics that are often a challenge to articulate clearly. Abe Luboff's accompanying instructions are easy to follow.
The Sevcik builds a different sense of physical balance in that you are required to quickly and confidently place the bow on each string anywhere along its length to produce notes in either direction. The exercises use the full length of the bow and all its subdivisions with a mix of bowing styles and dynamics that are often a challenge to articulate clearly. Abe Luboff's accompanying instructions are easy to follow.
I think when we start it is useful to concentrate on one basic method for a time. Once we get to a certain point it is good to consult all the authorities on a subject, these books are short and we have time to read a lot in our lives! I just have the Zimmerman, but, I think I will get the Ševčík. Do people just work out of the violin version?
I have both and have been using both recently, mostly focusing on Zimmermann but will probably start putting more Sevcik back into my practice routine, and they’ve been really helpful. Both of their purposes have been stated and worth exploring.
https://doublebassblog.org/wp-content/uploads/2008/12/gajdos-sevcik-booklet-single-page.pdf
Ken Filiano shared with me a copy of Miloslav Gajdoš’ bowing exercise book, which is pretty much a bass version of Sevcik’s book. It has etudes in bass clef followed by copies from Sevcik of the different bow articulations to play for that etude. The first etude is great for working on slow bow and understanding the plane of the bow for down and up bows. I found a link for it on Jason Heath’s website.
https://doublebassblog.org/wp-content/uploads/2008/12/gajdos-sevcik-booklet-single-page.pdf
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I agree, but it's important to remember Sevcik was written for the violin, and directions to use the entire (or whatever is indicated) bow at the tempo markings indicated in the original are possible on the violin, and not practical on the bass. Some interpretation that makes sense on the bass has to come from the teacher.
Hal Robinson’s Strokin’ is a really good version of Sevcik for bass. I’m not sure how the tempos compare with the original violin tempos but Hal’s tempos work out well.
Nope.
Both the Abe Luboff and Hal Robinson’s are bass versions of Sevcik. You might want to get the the Robinson Strokin’ and Boardwalk’n at the same time from Robertson’s.
There's also a very good Sevcik for bass version by Neil Tarlton. It may be out of print. I bought it only a few years ago but can't find his website any more.
There is a complete cello version of Sevcik. Published by Bosworth. You can see it at sheetmusicplus. This is what I used for years. You need to re-write some of the etudes that are shown as a series of chords. Easier to find the bass versions.
There is a complete cello version of Sevcik. Published by Bosworth. You can see it at sheetmusicplus. This is what I used for years. You need to re-write some of the etudes that are shown as a series of chords. Easier to find the bass versions.
A couple more technical studies for bowing I pulled out today are Jiri Pichlik ‘Technical Studies for Double Bass’ and Gaelen McCormick’s ‘Mastering The Bow’. McCormick’s is for bass, but from the violin studies of Frank Wohlfahrt. It is recommended by Harold Robinson.
All these different studies out there mean we have more info to draw from.
All these different studies out there mean we have more info to draw from.
Miloslav Gajdos put this version of Sevcik together. It's pretty good. I've gone through both and agree that they serve two very different purposes. They should be studied in conjunction with each other in my opinion. The major differences are in the nature and target of study.
Zimmerman is for the most part two notes that are to be performed with different permutations of string crossings.
Sevcik is a scale or short melody that is performed with different bowings that one encounters according to rhythm division of the passage.
Zimmerman is for the most part two notes that are to be performed with different permutations of string crossings.
Sevcik is a scale or short melody that is performed with different bowings that one encounters according to rhythm division of the passage.
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This is a great packet. I was lucky to perform for him in two masterclasses. I think I played a Marcello Sonata and a movement of Bach Suite 3. He was very Czech but not unkind. This packet will do just fine for Sevcik studies and is what he gives to his students. Miloslav is a great teacher, composer, and arranger. He was a violinist first so his interpretation of Sevcik comes from a very authentic place. As an aside, the Czardas arrangement that Patkolo and Vengerov do is his.
Another aside is this crazy story. When he was flying to Chicago in 09, he heard the Bruch violin solo on the plane's radio. He was super moved by it and decided to transcribe it. A week later he performed it. Pretty cool. Neat guy, great teacher, great packet.
Just on the Gajdos packet...it is written in treble clef, (and parts in bass clef), so where in treble, do you just apply the technique (without playing the actual notes) or are they meant to be read as treble clef but transposed or ???
I just look at the articulations and rhythm cells from those pages and play his little hand written etudes that are in bass clef and a few in tenor clef using a certain cell or a series of cells from there. I think the parts in treble clef are just copied straight from Sevcik.
Each etude is a vehicle to learn the bowings: you play the etude with each bowing and rhythm variant.
