Double Bass 101

8/18/2019 Double Bass 101

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Sizing Strings Left Hand Right Hand Fingerings

Fingering Positions

Pedagogical DecisionsNotation Accessories

Double Bass 101: Foundations for BuildingStrong Players

The Midwest Clinic Chicago, llinois Dece!ber 1", #01$

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'D() *( ) B F+

*1 Thu!b in !iddle of nec- *$ .ounded finger

*1 Thu!b Bu!/ *$ S uared and

1 2 #2*$ &

'eneral 3otes

Traditional

.abbath45ance

BowPosture)nd/inBeginning Position

Pitch Clefs

Class Strings6a!es Mic-, Ph7D7 Double Bass Pedagogy

thaca College


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3ut should be between hair line and eyebrow Co!fortably for! a /ro/er 8 sha/e in first /osition

ighest to lowest *Tuned in &ths Solo strings are tuned a M#

higher *# Bass 9 ; < s/ace between 1 st and # nd*& Straight wrist *elbowfloating abo=e heel

*# #nd and $ rd s/lit ferrule, al!ost # -nuc-les dee/ *& Straightwrist, rela>ed hand

!# between 12# and #2& < M# between 1 ? &$ rd finger used in

thu!b /ositionThu!b used in /lace of &th

finger in thu!b /ositionThu!b /osition starts on the !iddle har!onicPositions aregenerally anchored with 1 st finger /lace!ent Shift < !o=e the 1 st

finger4hand a !# or !orePi=ot < roll the hand on the thu!b toreach a !$

8ocation of the 1 st fingerBuilt on natural !inor scale for eachstring@)>7 'Astring < *( , *Bb , *C , 5 *D , 5 *)b

1%# *(b , 1%# *B , 1%# *C+ , 5 1%# *)

(nchors on the 1 st finger, but o=erall location of hand Based on thenatural har!onics of the strings@)>7 'Astring < *( , *C , *D , 5 *'

French or 'er!anSitting or StandingStraight or BentBloc- orTraditional *lower /ositions < first and third

Sounds down an octa=e fro! written /itch Bass, Tenor, E Treble

.oc- Sto/ < -ee/s end/in fro! sliding Da!/Ait < /re=entscrac-ing E o/en sea!s StoolSoft Cloth

CAe>tension < dro/s )Astring down to a low C


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!ic-Githaca7edu

(llen Beginning Class Har!AI/

This e>ercise should be /erfor!ed /iJJicato with focus on /ostureand left hand techni ue7 Teacher and student*s alternate !easures7

4

43

42

4

2

4

2


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4

2


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40 2

3

5ance Finger Pattern )>ercise

This e>ercise reinforces /ro/er left hand sha/e and aural s-ills7Focus should be gi=en to left techni ue and intonation7 f desired,start in 1%# /osition and wor- u/ to 5 /osition *and beyond 7.e/eat on D, (, and ) strings7

1#&


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1

1


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1#

Bradetich Finger .e/lace!ent )>ercise Focus should be /laced on !a-ing uic-, s!ooth, and unnoticeable shifts7

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&1&1&1

#1

#&1&

1&


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1&

& #1#

0

gliss.

arr 5o!its

This is a shifting drill that is used to reinforce left hand techni ue,right hand techni ue, and aural s-ills7 t is useful if the student*stell you what techni ue they are ai!ing to reinforce when

/erfor!ing *e7g7 straight bows, rounded fingers, etc 7 Shifts should be slowAish and deliberate7 .e/eat using different strings and

finger co!binations: 1A1, 1A#, 1A&, #A1, #A#, #A&, &A1, &A#, &A&7

Dry ea=es


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More ad=anced =ariations go oneA and twoAocta=es7 n these=ersions, all &

thfingers are re/laced with the thu!b when

/erfor!ing in thu!b /osition7


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Progressi=e Solo .e/ertoire for the Double BassBuilt on 3ew Kor- s 3KSSM( Manual

'rade 1 Progressi=e .e/ertoire for the Double Bass, 5ol7 1 Reuben and Rachel (pg. 18)

Fox and Goose (pg. 18)

String Festi=al Solos, 5ol7 1 Festi=al Perfor!ance Solos

Mummers Danse Grotesque (pg. 23)

'rade # Progressi=e .e/ertoire for the Double Bass, 5ol7 1

5ance, 'eorge

arr7 (//lebau!, Sa!uel /ub7 Carl Fischer

5ance, 'eorge)tling, Forestarr7 (//lebau!, Sa!uel /ub7 Carl Fischer

arr7 (//lebau!, Sa!uel /ub7 Carl Fischer 5ance, 'eorge

)tling, Forest /ub7 Carl Fischer 5ance, 'eorge 5ance, 'eorge

5ance, 'eorgeMarcello, B7 4 tran7 Li!!er!an, F7 Faure, '7 4 tran7 Li!!er!an, F7 Ca/uJJi, (7 4ed7 Baines, F

Ci!bador, '7 4 ed7 Slatford, .7 'alliard, 67 4 ed7 Li!!er!an, F7 5i=aldi, (7 4 tran7Li!!er!an, F7 )ccles, 7 4 tran7 Li!!er!an, F7

The Happy Farmer (pg. 31)

Solo Ti!e for Strings, Boo- #The Brook (pg. 9)

String Festi=al Solos, 5ol7 #

Rigaudon (pg. 3)


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Festi=al Perfor!ance Solos

Minuet in G Major (pg. 22)

String Festi=al Solos, 5ol7 #

Allegretto (pg. 3)


The Jolly Dutchman (pg. 16)

'rade $

Progressi=e .e/ertoire for the Double Bass, 5ol7 $

The Elephant (pg. 13) Gavotte (pg. 8)

Solo Ti!e for Strings, Boo- &

Minuet (pg. 5)


Gavotte in G minor (pg. 15)

'rade &

Progressi=e .e/ertoire for the Double Bass, 5ol7 1

Bagatelle (pg. 36)

Progressi=e .e/ertoire for the Double Bass, 5ol7 #

Song of the Volga Boatmen (pg. 13)

'rade Progressi=e .e/ertoire for the Double Bass, 5ol7 # Allegro & Flow Gently Sweet Afton (pg. 30-31) Sonata in G minor (mvts. 1 & 2)

Apres un ReveConcerto in F Major (mvt. 1)

Concert in G Major (mvt. 3)Sonata in F Major (mvts. 1 & 2) Sonata No. 3 in A


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minor (mvts. 1 & 2) Sonata in G minor (mvts. 1 & 2)

'rade N


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.eco!!ended .esources


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(//lebau!, S7 *)d7 7 *1"" 7 String Festival Solos, Vol. 1 & 2 7Belwin Mills7 Close, 67 P7 *#01# 7 Early Start on the Double Bass,

Books 1-3 7 Barenreiter7 )tling, F7 *1"O0 7 Solo Time for Strings, Books 1-4. ighland4)tling7Fischer, C7 *)d7 7 *#00# 7 FestivalPerformance Solos 7 Carl Fischer7'reen, B7, E 3eighbor, 67 *1""" 7The Popular Bass Method, Books 1-3 7 8iben Music7 .abbath, F7*1" 0 7 New Technique for Double Bass 7 (l/honse 8educ7Si!andl, F7 *1" & 7 )d 8ucas Drew7 New Method for the Double

Bass 7 Carl Fischer7 5ance, '7 *#000 7 Progressive Repertoire forthe Double Bass, Books 1-3 7 Carl Fischer7

Koung Double Bass Progra!s

Johnny Hamil (Kansas City)

Q-cbasswor-sho/7co!4R/age id7ht!l

Barry Green (San Francisco)

Qwww7goldengatebassca!/sf7co!4!e!bers4barryAgreen4

Ithaca College Summer Music Academy (upstate New York)

Qwww7ithaca7edu4!usic4/re/di=ision4acade!y4

T (3 SUUU

Particularly to all of !y double bass friends and teachers ? 3icholas Hal-er, Patric- V Connell, Tony Pinelli, Mar- Foley, 3ic- Scales, enry 3eubert, and the list goes on777

Documents

Double Bass 101