How to Develop More Speed?

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Pete G

Dec 31, 2001
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#1
Patrick, one of my problems has always been playing really fast passages. I'm an amateur who would like to be able to keep up with my decent amateur orchestras, but it seems like I hit a "speed limit" on certain very fast pieces that I just can't get past.

Right now I'm starting on the Schumann Fourth Symphony. On the last page of the last movement, the Schneller section goes pretty fast, but the Presto at the end flies (and is quite exposed). These passages are essentially scale passages -- not technically difficult but for the speed at which they're taken.

What recommendations or tips do you have for advancing students who are having trouble breaking through apparent speed barriers?
 
#2
Pete G said:
Patrick, one of my problems has always been playing really fast passages. I'm an amateur who would like to be able to keep up with my decent amateur orchestras, but it seems like I hit a "speed limit" on certain very fast pieces that I just can't get past.

Right now I'm starting on the Schumann Fourth Symphony. On the last page of the last movement, the Schneller section goes pretty fast, but the Presto at the end flies (and is quite exposed). These passages are essentially scale passages -- not technically difficult but for the speed at which they're taken.

What recommendations or tips do you have for advancing students who are having trouble breaking through apparent speed barriers?
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Hi Pete,
What a great question! But at the same time a troubling one to answer. I know what you mean about the speed barrier, because I and every bassist I know (except Hal Robinson and another of my old teachers, Bob Chickering) have expressed having this problem at some point in their career/studies. For me, I have found the way to "break the speed barrier" is by, first, making careful analysis of your FORMS and the amount of energy you expend in getting these forms around the bass. Generally, what I believe is that the "natural" forms-at-rest, supported, are the most efficient. So, a relaxed left hand has curved fingers which do not stretch open beyond the width of the palm. In order to really move fast on the fingerboard and up and down the neck, one must have a relaxed approach to the bass and not distort the forms-at-rest too much. Looking at the larger motions of the arms and then move the fingers only enough to get the notes helps to be relaxed and efficient. Then, of course, one must make careful observations to be sure there are not extraneous motions, or contractions of muscles that actually are not needed for the motion. And there is coordination with the bow. So I separate the two hands/arms' motions and practice each, by themselves, up to tempo. Then I do not allow the LH to slow the bow down. Eventually it becomes clean. I also use a lot of "pivots' as opposed to stretching or extending fingering. I would really have to observe your playing to see if there were a lot of un-needed motion and energy being used. Efficiency is required for quick playing. I find if I squeeze either hand too much I slow down.
So, I hope this helps a little. Knowing the notes is only one step, and careful observation and analysis is another. Coordination a third.
Good luck!
Patrick
 
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