By Murray Grodner
Murray Grodner attracts on his unusual occupation as a double bass musician and instructor during this compendium of functionality philosophy, bowing and phraseology innovations, tutorials on fingerings and scales, and routines for bowing and string crossing. Grodner addresses technical hindrances in musical functionality, bargains suggestion on device and bow buy, and offers an in depth method of the basics of bass enjoying. This consultant is a useful source for any bassist trying to enhance functionality practices.
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Extra resources for A Double Bassist’s Guide to Refining Performance Practices
Efficient can also mean the most facile, thus allowing the fastest accurate motion of the left arm/hand. As an example, think of the last movement of Mozart’s Symphony no. 89). One would not think of playing those famous audition passages without open strings. Why? Not using open strings requires extra maneuvering and stopping of the strings, which would cause many of us not to be able to play this passage (or others) at the required tempos. While many teachers request only closed (stopped) strings when practicing scales, it is also essential to learn to play scales with the most facile fingering, which unquestionably means playing them with open strings.
Thus the bowing effort is sixteenth to dotted-eighth not as written and inferred by the tie/ slur that dotted-eighth is hooked to the following sixteenth. Practice this stroke slowly and “artificially” by performing a triple dotted quarter note followed by a sixty-fourth note going to the next double triple-dotted quarter note, etc. The objective is to practice the short note at a very fast speed, anticipating the reflex motion necessary, while elongating the quadruple-dotted quarter, providing time to intellectualize the direction and articulation of the reflex motion.
For daily bowing practice, use only one major or minor scale per day, include arpeggios and chromatic scale based on same tonality. 49 Perfecting Techniques through Employing Scales, Exercises, and Orchestral Excerpts Bowing Etudes These exercises are deliberately created to be uncomplicated and undemanding for the left hand, in order to allow total concentration on performing the bowing strokes to be used with these exercises. Choose bowing patterns from the previous fifty-three examples presented in Section IIA.