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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
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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)
Festi=al Perfor!ance Solos
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)
Festi=al Perfor!ance Solos
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