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DAILY EXERCISES for Doub Double le Ba Bass ss
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DAVID HEYES
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Recital ecital Music usic RM158
DAILY EXERCISES
for Double Bass
Compiled by David Heyes
• These daily exercises are meant to help develop and consolidate technique. Remember, however, that technique is only a means to an end - MUSIC is the ultimate goal. Care should be taken not to put too much strain on the left hand and, much like an athlete, technique and strength should be built gradually - do not work thraugh the pain barrier! A little and often is a good maxim.
• A number of points apply to all the exercises: • maintain a good relaxed hand shape with nicely curved fingers • the bow should be at a 90 degree angle to the string to produce the best sound • a strang tone can be produced by bowing closer towards the bridge, but a slower bow speed will be required • aim for smooth and effective shifting remembering to release the pressure during the shift, but still maintaining the handshape • listen to the intonation, and also to the SOUND. Your sound is the first thing an audience hears so be aware of the quality of tone in all registers • learn to use the entire bow and be able to play in any part of it • play exercises with and without vibrato, and at various dynamic levels
• The book should be seen as a starting point for you to discover new technical exercises to extend and develop your technique throughout the range of the double bass. They are in no particular order, although the first exercise (Chromatic Positions) is also useful as a warm-up study and to help develop a good hand shape. Choose two or Jhree exercises each day, gradually working through the ones you feel able to tackle, and eventually add the more challenging ones when you feel confident to do so. It is also possible to adapt the exercise~;, using only the passages or positions you feel comfortable playing, and many can be adapted for the less advanced bassist.
• Try not to put strain on the left hand and build technique carefully, consistently and gradually. Remember that MUSIC is the ultimate goal. Enjoy your bass playing!
David Heyes 2003
Useful study material includes: Frantisek Cerny - Technical Studies for Double Bass (Edito Supraphon / Bärenreiter) Frantisek Cerny - 30 Etudes-Caprices (Edito Supraphon / Bärenreiter) David Heyes - An Introduction to Harmorics (Recital Music) Josef Hrabe - 86 Studies - in 2 volumes (Hofmeister) Kreutzer-Simandl - 18 Studies (C.F.Scl7midt) Alexander Michno - Studies for Double Bass (Recital Music) J.P. Waud - 30 Progressive Studies (Recital Music)
1. CHROMATIC POSITIONS This ean be used as a simple warming up exereise and to learn the geography of the fingerboard. The fingerings remain the same in eaeh position allowing time to eonsider left hand shape, eurved fingers, bow eontrol, tone, intonation and a good sound. Be aware that the open string may 'shout' as you progress up the fingerboard - relax the pressure maintaining a steady bow speed when playing the open string. This exercise ean be played on all four strings and the first few bars can be used by younger players experimenting with simple position ehanges. There are a number of rhythmic and bowing variations, but there are many more whieh you eould invent for yourself. 2. ONE OCTAVE SCALES Although only major scales are included, the concept can also be adapted to minor seales (natural, harmonie, melodie) and arpeggios. Several fingerings have been suggested and it is worth learning eaeh one as musie does not always follow the fingering patterns learned in the rehearsal room. Scales can be played in many ways, not always tonic to tonic, possibly mediant to mediant or dominant to dominant, and these are the basis of everything you play on the double bass. Play slowly ensuring that the tone is maintained throughout the bow, the intonation is good and the sound is one you would like to hear. Take your time and develop your skills eonsistently, eonfidently and gradually, eventually building to two and three oetave scales. 3. FOUR NOTE PATTERNS All seales are buHt up of two groups of four notes and this is a useful exercise to learn seales with effective and aecurate shifts. The shift is always after the seeond note of each group and remember to keep the first finger on the string, releasing the pressure during the shift, maintaining the hand shape from position to position. Produce a confident tone in eaeh register and make sure that the shift is smooth and legato, sustaining an even bow stroke throughout the phrase. This can also be adapted for minor scales. 4. SCALE PATTERNS This is an extension of the previous exercise, staying in one key throughout and can also be adapted for minor scales and in every key. Rhythmic and bowing variations can be introduced when you are eonfident with the basic exercise. Aim for a good legato and smooth shift, maintaining the hand shape from position to position. Try this exercise on various strings and in different keys, aiming for secure and accurate shifts, good intonation and a strong tone. 5. DIATONIC SHIFTS Designed to learn the geography of the fingerboard, this exercise should combine effeetive and accurate shifting with smooth legato bowing and remember to release the pressure during the shift. This can be played on other strings and in different keys, possibly ehromatieally, and the diffieulty ean be varied to suit the standard of each student. There are a number of rhythmie and bowing variations when you have mastered the exereise. 6. FIFTHS This helps to consolidate astrang left hand shape and can be played in other keys and ehromatieally. Keep equal bow pressure on each string/note and aim for a eonfident and even tone throughout the range. Initially you may prefer to play the lower note first, then the upper note and finally the ehord. The Perfect 5th interval has been kept for the leading note chord (bar 4), to maintain the
handshape for eaeh interval. Although G# is not in the key of D major, you may prefer to play G natural (ta remain in D major) throughout.
7. CHROMATIC STRING CROSSINGS This exercise combines a repetitive string crossing exercise with a chromatic scale on G, which can also be adapted to G major or minor. Begin slowly ensuring that the bowing arm is always at the correct level and experiment playing in different parts of the bow - the balance point, however, is probably the most effective place to play. There are three strings to master so be aware of the bow speed and pressure needed for each one. Bowing and rhythmic variations can be introduced as you learn the exercise.
8. THIRDS This combines string crossing with maintaining a hand shape across two strings. Aim for a strong and confident tone tor each chord, being careful to balance the two notes evenly. The first finger is used here are a 'moving' finger for the upper note of each third, but different fingerings can be adapted from player to player. The bow should move c10ser to the bridge as you move up the fingerboard. 9. ARTIFICIAL HARMONICS Although these are not commonly used in orchestral music, artificial harmonics can be found in many modern solo pieces and are loved by the more 'adventurous' composer. Keep the bow towards the bridge for clarity, maintaining a constant and fairly fast bow speed. Press the thumb (+) on the string and lightly place the third finger a fifth higher. The handshape will constrict as you move up the fingerboard, and these harmonics will work better on the higher strings. Experiment with different bow speeds and pressure, also using varying rhythms and bowing. 10. BROKEN SCALES This exercise can be used in any key (major or minor) and develops key awareness alongside shifting small distances. Play this throughout the range of the double bass and experiment with different fingering and bowing patterns. It can be played up and down the same string, or comdining string crossing and position changes. The fingering patterns have been used to develop moving forwards and backwards with different fingers. 11. HAMMER FINGERS Be careful to stay in position throughout each bar remembering to curve, and not collapse, the fingers. The exercise is to create a strong left hand shape and fingers, and can be played on different strings and also in thumb position. Try to play the finge red notes by 'hammering' the fingers onto the string (without using the bow) and aim for a ringing tone and still curved fingers. 12. THUMB POSITION
This is a chromatically ascending exercise in thumb position, using different hand shapes. It can be combined with other exercises and scales, combining rhythmic and bowing variations, and move the bow towards the bridge as you travel up the fingerboard. Aim to keep the fingers curved, and for a smooth and constant bow speed. There are many other fingering variations you can use, and remember to develop the ability to play accurately and confidently from the lower positions into thumb position and back. Be aware of your left arm level when moving into thumb position.
Build technique gradually and carefully.
00 not
to put strain on the lett hand.
A little and often is a good way forward. Music is the ultimate goal. The bow is your 'voice' and should be developed alongside a good lett hand.
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