Daily Exercises for the Double Bass Introduction Section 1 Basic Exercises 2 3 4 5 6
Exercise #1 Exercise #2 Exercise #3 Exercise #4 Exercise #5
String Crossings Long Tones Hanging (One Finger, Vomit, Flesh burn) Rotation in Shift and Pivot Double Stops
Section 2 Rotation, Limbering and Balance 7 8 9 10 12 14 16 18 20
"el Perro" "el Burro" "el Porko" Limbering Exercises Gradus Low Gradus High Knucklebuster #1 Knucklebuster #2 Knucklebuster #3
Section 3 Scale Studies 22 24 25 26 28 30 33
Scale Progressions Area Code Scales Rosin Lovers Special Jobber's Scale Routine Professional Scale Routine Virtuoso's Scale Routine Variations for Chord Studies and Arpeggios
Introduction Vibrato sounds best only when it occurs below the pitch and back up just to the pitch. When vibrato occurs sharp of the pitch there are no longer any parameters of any exact pitch and it resembles a wobble more than a musical tone. In order to achieve any discernable variation in pitch below the note the left hand has to be in a position to actually roll (o r rock) flat of the note and it is for this reason that left hand technique should be thought of as trying to go in the same general up and down direction as the strings, and not coming at them on the right angle. Acceptance of this principal leads to many wonderful wonde rful applications of the left hand namely; 1. Resistance to string friction 2. Retained strength in hand 3. Inherent rhythm in finger patterns 4. Seamless, accurate and effortless shifting 5. Rotation allows hand to encompass enc ompass a minor third and more 1. Resistance to string friction; When the fingers try to shift on the strings at right angles they are pulled out of balance making consistent intonation out of the question. When the fingers move with the strings they glide easily and are not pulled at all. As well, the hand can truly be hung off the fingerboard in every position giving great weight to the hand. No effort has to be spent holding up the arm. These positions of “hanging” are the positions of balance that are absolutely essential in good playing. 2. Retained strength in hand; the hand stays small and focused on each note. Keeping the hand closed or small, always retains its power. Extensions eat up power quickly and they should be used rarely. A rotation is a movement from note to note; it is not a stretch that is held in a position like an extension. Even though the hand is more up and down now and the fingers are not over top of the notes, the hand can easily rotate to each note as needed. The faster the speed the less rotation is possible, but the hand should never be static in a “position” as if it is some scientifically calibrated device. The size of rotation varies from a very pronounced inverted hang for vibrato to the almost imperceptible wave of an extremely fast passage. 3. Inherent rhythm of finger patterns; using a rotation lets the forearm participate in finger motion and even though the fingers do not stay exactly over top of the notes, the rotation lets very, very fast patterns be played that are or can be nearly perfect rhythmically. This is the number one consideration for co-ordination with the bow. Too much practice time is wasted trying to co-ordinate hands that will only be together by chance. Rotations allow finger work to be clear and brilliant. Also, much less time is spent on practicing passagework. 4. Seamless, accurate and effortless shifting; the movement of the rotation is also the movement from the wrist that gives a perfect shifting technique. The movement is the same if it is a whole tone or an octave; the rotation allows for a landing on the note and an immediate restoration of balance. The notion of “trying to find a note” doesn’t exist. It is more like jumping from rock to rock on a beach. For this reason, switching instruments with little or no adjustment period becomes the norm.
5. Rotation allows hand to encompass a minor third and more; allows more fingering possibilities for musical and technical solutions. Also makes playing the bass tuned in fifths more viable. A misunderstood impediment to good left hand technique is the practice of trying to re tain a space between the first and second fingers in Germanic fingering and between the third and fourth in Italian fingering. In reality both are quite useable if a rotation is used and the strongest finger combinations utilized. For instance, 1 to 3 is stronger than 1 to 2, and 2 to 4 is stronger than 3 to 4. A double stopped interval is strongest 1-3 and 2-4. I believe that in a good left hand position if one allows the hand to relax while covering a whole tone 1 to 4, the semitone in between the two will actually fall somewhere between the second and third finger. I think that 1 2 4 is still strongest for chromatic fingerings and flexibility of rotation. Using a rotation of the hand from the elbow and wrist allows a player to take advantage of all the different schools of thought on this subject which is good since they all have merit. A good modern player should be able to utilize all his fingers in every position. A good left hand technique rolls like a ball from note to note, not like a stiff robot-like stick doing some job in a factory. Just as the left hand must have the supple flexibility to allow rotations, so must the right arm and wrist. While the right wrist does not ordinarily initiate a stroke, its looseness and freedom is the key to allowing the arms’ weight onto the bow so that extra downward force is never applied and the weight used can stay the same most of the time. As well, the wrist effects all bow changes and articulations. When the pumping action between the elbow and the wrist can become refined enough, spicatto at different speeds and dynamics becomes possible. The opening exercises (1-5) in this method work specifically on these mechanics. The middle section (Limbering, Gradus, offers a variety of strength building exercises that should be practiced in a varied and very moderate manner. The scale routines are specifically designed to benefit the right wrist and its’ functions with the end goal being to perform a variety of spicatto strokes. Interval and chord study are a vital part of intonation training. I suggest that one key per week be studied.
Fingering Explanation I have deviated from ttraditional raditional fingering methods for several reasons. I don't believe that having a fingering over every note is beneficial; in fact, it may lead more to playing numbers than playing notes. I believe I can convey more information information about left hand movement by actually giving less information. If no fingering is present, than it means the hand stays in that position. Sometimes I will indicate a fingering in a position if what I intend is not obvious, for instance, going into thumb position in the neck positions. I want to indicate only when the hand has to change position (shift) or else make some compensatory compensatory move. Because the distance of a minor minor third can be covered covered by a pivot of the hand, I don't consider that a shift, sh ift, and do not indicate it with a number. Likewise, in thumb position, where a distance of of an augmented fourth or even a fifth is easily spanned, s panned, I don't usually indicate a fingering. The player has to be aware of whether or not the hand is in a closed or open position. For this reason, my fingering system is not the most readily understood, but with further examination and study, more information and understanding is available about actual left hand movements and functions. A pivot is defined by whether the thumb moves or not. When the thumb (or any other finger) can re-locate itself into a new position without shifting, I usually mark them, but without a line. This relates to so-called "crab technique". In the Chord Studies, exercise III has the thumb adjusting constantly for instance. 1. A line over a finger number means a shift up the fingerboard. (toward the bridge) 2. A line under a finger number means a shift down the fingerboard. (toward the scroll) 3. If no line is present it means the note is reachable without a shift, but perhaps with a pivot. pivot. (don't move thumb) 4. When the fingerings are taken in context, it becomes clear what string is intended to be played. Therefore, I rarely mark the string unless it is really a choice. (I use roman numerals, I, II,III, IV) 5. With regards to my interval fingerings; I have chosen to use very few open strings at the three octave level. Thirds, Fourths and Fifths all play up the strings until the open string is past. Sixths, Sevenths and Octaves however start in the first octave
and a half by being across two strings. Only the upper octave and a half is played on the top string ( with long shifts) and not between two strings.
3
#2 Long Tones 1. This is single best way to affect change in your playing habits. habits. It is really important that every facet of posture posture be observed observed here, here, because the slow playing playing ingrains ingrains habits (good and bad ones) most effectively. 2. Pull and push with your back and shoulder and play very close to the bridge. Remember Exercise #1! 3. Control the slow relaxed movement of the right wrist in the bow changes; the sound should never never stop between notes. The bow should should stay in exactly the same track from note to note and not suddenly skip over the string during the change. Constant slow contact! 4. Use no vibrato when you want to find the maximum hanging positions positions for each finger on each note. Use vibrato when you want to connect the different hanging positions and ensure good balance. Use the rotational shift motion to play with no bumps. 5. The sound should be as even and f ull and controlled as possible. Use the slow speed to try and visualize each successfully executed motion before it happens. 6. Use a diatonic scale if time does not allow for the chromatic.
=60 or less
0
1
! !
0
1
! !
2
4
! !
2
4
0
1
! !
2
4
2
4
0
1
2
4
! !
2
4
! !
2
3
! !
2
! !
2
3
! !
3
2
! !
2
3
3 3
3
4
3
4
3 4
4 0
$ $
4
Exercise #5 Double Stops
6
1
4 1
4 2 4
4 2
! !
! !
! !
! !
! !
! ! 4
! !
!! 3
!! 3
= 2
1 2
! ! 3 2
1 2
2 +
! ! 3
3 2 3
2 3
3
2
! !
etc.
! !
etc.
Var.1 Var.1
4 1
1 4 2 4 2 4
1 4
4 1
Var. 2
! !
3
2
3
2
3
! !
3
2
3
2
3
3 1
1 3
3 1
+ 1
3 1
etc.
"el burro"
8
1 +
1
3
1 +
3
1
+
=
=
+
2
3
=
=
etc.
=
=
=
+
+
+
+
+
+
1
2 =
1
3
3
=
2
3
etc.
3
etc.
3 +
2 3
2 3 Var. 1
Var.5
=
2 3
2 3
etc.
etc. Var.3
Var.2
Var.6
Var.4
Var.7
"el porko" 0 11
2 4
1 3
1 3
@ @ 4
@ @
= 1
2 3
@ @
@ @
etc.
+
and down
Var.1
Var.2
Var.3
Var.4
Var.5
9
Var.6
11
10 1
4
1 4
2
2
4
(no (no extensions)
1
4
1
4
4
1
4
2
etc.
4
11 =
1
2
3
=
etc.
+
3
2
1
=
etc.
+
3
2
3
+
+
2 1
1
2
12
13
2
3
+
1
3
2
3
etc.
3
14 1
2
3
2
1
3
2
3
etc.
! !
15 + 3 2 3 1 3
=
=
etc.
16 + 1 2 3 2 1
=
=
etc.
Simandl Gradus ad Parnassum #21
12
1
4 (3) 4
1
4
1
4 (3) (3 ) 4
1
4
1
4 (3) 4 etc. C.P.
13
14
Simandl Gradus ad Parnassum #21 upper octave 1
3
2
+
1
+
1
2
3
2
1
1
+
+
2
2
1
1 ! !
15
The Jobber's Bowing Exercises (2 octaves)
30
1
=60
2
3
5 short, on string
4
6
7
8
10
11 legato
14
15
16
17
18
19
20
21
22
23
9
12
13
24
=80
25
26
27
31
28
32
. = 84
29
33
30
= 100-120
36
31
34
35
37
39 40
38
=87+
42
43
45
46
41
44
47
spiccato
48
51
53
49
50
52
54
The Professional's Bowing Exercises (3 octaves)
32
1
=60-80
2
3
5
4
6
8
7
9
short, on string
10
13
16
11
12
14
15
17 legato
18
20
21
22
23
24
25
26
28
27
29
19
33
=108-120
30
31
33
32
frog
34
. =96-104
35
36
37
Beethoven 7 (repeat with no slurs 34-38)
39
38
40
=110-126
Fast (repeat with no slurs 39-41)
41
45
42
43
46
=110-130
48
47
49
50
53
51
spiccato
52
54
55
56
58
44
57
59
ricochet
60
tip
frog
tip
