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Double Bass Orchestral Technique & Method Studies Thread
- Thread starter KSB - Ken Smith
- Start date
Findeisen also wrote a 5 volume method which is still available, although only in German. I bought the set last year. Published by Hoffmeister.
I don't think anyone has mentioned it yet....
Rufus Reid's 'The Evolving Bassist'.
I know it's written for jazz players, but many of the etudes are really useful for any double bassist.
Even if you don't read the text - which can be vague at times - the exercises are good and thorough, as are the duets in the back of the newest edition. I use the very first open string etude as a warm up/tone/bowing exercise, and it is brilliant.
I'd also like to mention the George Vance books - basically its Suzuki repertoire (although, Book III features some standard DB solo repertoire - Dragonetti, Keyper..) with Rabbath fingerboard divisions and fingerings. This is really good for younger students especially - very musical with the Suzuki tunes and very intuitive with the Rabbath fingerboard geography. The fourth book, Vade Mecum is a useful reference for the whole method. Provides a good segue to the Rabbath books.
Cheers!
Ben
Rufus Reid's 'The Evolving Bassist'.
I know it's written for jazz players, but many of the etudes are really useful for any double bassist.
Even if you don't read the text - which can be vague at times - the exercises are good and thorough, as are the duets in the back of the newest edition. I use the very first open string etude as a warm up/tone/bowing exercise, and it is brilliant.
I'd also like to mention the George Vance books - basically its Suzuki repertoire (although, Book III features some standard DB solo repertoire - Dragonetti, Keyper..) with Rabbath fingerboard divisions and fingerings. This is really good for younger students especially - very musical with the Suzuki tunes and very intuitive with the Rabbath fingerboard geography. The fourth book, Vade Mecum is a useful reference for the whole method. Provides a good segue to the Rabbath books.
Cheers!
Ben
As a newby to the double bass, searching for the practice gene, please cut to the chase...the best book for finger board work.
thanks, b.
thanks, b.
"After a few years I got the bug and bought a new Bass."
Kenny,
Nice to see that you've got the "bug" again. I, too, got the bug and got back to the upright after about 20 years playing
Fender--but then you don't want into rush these things!
The last time I talked with you was on the phone when I called you to sub for me with Bobby Cole's trio at the Club Ibis. Remember?
Take care,
Gerry Grable
Kenny,
Nice to see that you've got the "bug" again. I, too, got the bug and got back to the upright after about 20 years playing
Fender--but then you don't want into rush these things!
The last time I talked with you was on the phone when I called you to sub for me with Bobby Cole's trio at the Club Ibis. Remember?
Take care,
Gerry Grable
Hey, I was hoping someone would be able to help me and explain a little bit about using the bow. I'm a beginner to both classical playing and bowing, so it's hard for me to tell if I'm doing things the right way or not. I had a teacher for a few months who showed me the basics and different things to practice, so I am able to do those things. I've basically just been working on scales, and rhythm techniques with the Simandl book, but when it comes to playing actual songs, I'm pretty lost. My teacher gave me a few easier Bach pieces to work on, but I can't figure out how to apply the bow to the notes on the page. What I would like to know is- how do I know when to switch directions of which way the bow is going, like what notes should be used for one stroke, and what signs does the sheet music have to indicate these changes?
Am I just missing something obvious? Because practicing rhythms should obviously help, but applying the practices to the music has become a struggle.
Hope what I am asking made sense.
Any input is appreciated!
Thanks! -Ben
Am I just missing something obvious? Because practicing rhythms should obviously help, but applying the practices to the music has become a struggle.
Hope what I am asking made sense.
Any input is appreciated!
Thanks! -Ben
This is such a great information you have shared with us and I enjoyed reading your article and I would love to read it always. You gave us a good information in here and we look forward to read more about your post.
JazzPastorious,
Correct bowing for a piece of music can be a complex subject and is certainly open to interpretation. I have a book somewhere that specifically addresses the generally accepted bowings for different situtations, but I can't remember it's name. But there are a few rules of thumb:
In general (unless otherwise indicated) you bow music "as it comes" meaning down and up bows alternating - one bow to a note - starting with a down bow on the first beat of a measure.
1. A "V" above a note indicates that note should be played up-bow
2. An inverted "U" (square upsde down U) above a note indicates that note should be played down-bow
3. Downbow on the first beat of each measure
4. Upbow on a single note pickup to the next measure
5. Downbow a note that is tied over the bar line
6. A series of notes that all appear under a curved line (slur), should all be played in one bow (not separately articulated)
7. Two notes that appear under a curved line (slur) that have a dot under them, are both played separately, but with the bow going in the same direction (double up bows for example)
Generally there is one bow to a note, unless they are whole notes at a very slow tempo or very loud dynamic. The longer note values use a longer portion of the bow. As tempo changes and as volume changes the amount of bow you use also changes.
Correct bowing for a piece of music can be a complex subject and is certainly open to interpretation. I have a book somewhere that specifically addresses the generally accepted bowings for different situtations, but I can't remember it's name. But there are a few rules of thumb:
In general (unless otherwise indicated) you bow music "as it comes" meaning down and up bows alternating - one bow to a note - starting with a down bow on the first beat of a measure.
1. A "V" above a note indicates that note should be played up-bow
2. An inverted "U" (square upsde down U) above a note indicates that note should be played down-bow
3. Downbow on the first beat of each measure
4. Upbow on a single note pickup to the next measure
5. Downbow a note that is tied over the bar line
6. A series of notes that all appear under a curved line (slur), should all be played in one bow (not separately articulated)
7. Two notes that appear under a curved line (slur) that have a dot under them, are both played separately, but with the bow going in the same direction (double up bows for example)
Generally there is one bow to a note, unless they are whole notes at a very slow tempo or very loud dynamic. The longer note values use a longer portion of the bow. As tempo changes and as volume changes the amount of bow you use also changes.
The two bowing related books I mentioned in the previous post are:
1. Orchestral Bowings and Routines by Elizabeth Green (Amercian String Teachers Association)
The first half of this book explains the logic behind the choice of up or down bow in differnt situations.
2.Orchestral Bowing - Style and Function by James Kjelland (Alfred)
This is some of the best description of how to execute different bow strokes and where to use them, that I have seen in print.
1. Orchestral Bowings and Routines by Elizabeth Green (Amercian String Teachers Association)
The first half of this book explains the logic behind the choice of up or down bow in differnt situations.
2.Orchestral Bowing - Style and Function by James Kjelland (Alfred)
This is some of the best description of how to execute different bow strokes and where to use them, that I have seen in print.
Hi Hector,
I am interested in buying the second one. I did check some pages on the internet, but this book seems to be intended for the violin...?
Thanks for your reply,
TonyD
Hi Tony,
I don't believe it matters. Both books impart knowledge that applies to all bowed orchestral instruments.
I don't believe it matters. Both books impart knowledge that applies to all bowed orchestral instruments.
I know this is a Classical Bassist Forum, I also found Rufus Reed the Evolving Bassist is a good study even though it is meant for Jazz Bassist
We are not talking solos so I will omit them.
Some of those etudes are horrible- Gradus and Findeisen (sp) are two examples of a great way to discourage a student from ever playing the bass again. They suck, and punish the student.
Get Sim 1 and the Zimmermann orchestral Bach part book to start. Those are all the beginning "etudes" you need. Sim 2 sucks as well- do Nanny and Kreutzer, and hit the Strauss. Work those arpeggios over scales- too many dudes doing scales but cant do arpeggios.
Best to all, SAW
Some of those etudes are horrible- Gradus and Findeisen (sp) are two examples of a great way to discourage a student from ever playing the bass again. They suck, and punish the student.
Get Sim 1 and the Zimmermann orchestral Bach part book to start. Those are all the beginning "etudes" you need. Sim 2 sucks as well- do Nanny and Kreutzer, and hit the Strauss. Work those arpeggios over scales- too many dudes doing scales but cant do arpeggios.
Best to all, SAW
Looks like there's a lot of great books listed in this thread. i just have one question: where's the best place to find them? My main book source is Amazon, but I'm not sure it has a lot of the books listed -- I could be wrong. In any case, it would be helpful if when mentioning a book, the poster also provides a link if possible.
There are a number of online music sellers. A few are:
sheetmusicplus.com
jwpepper.com
tfront.com
sharmusic.com
lemurmusic.com
stringemporium.com
thejuilliardstore.com
You can also try buying direct from the publisher's website. Many small publishers are under one larger company, like Music Sales Group, Music Sales Classical
sheetmusicplus.com
jwpepper.com
tfront.com
sharmusic.com
lemurmusic.com
stringemporium.com
thejuilliardstore.com
You can also try buying direct from the publisher's website. Many small publishers are under one larger company, like Music Sales Group, Music Sales Classical
I am looking for suggestions on etudes for getting my finger strength and stamina up after having about a year without orchestra... It's not like I didn't practice at all... I just didn't have the pressure of an upcoming performance to inspire any lengthly practice sessions.