By Murray Grodner
Murray Grodner attracts on his exotic profession as a double bass musician and instructor during this compendium of functionality philosophy, bowing and phraseology options, tutorials on fingerings and scales, and workouts for bowing and string crossing. Grodner addresses technical hindrances in musical functionality, bargains recommendation on software and bow buy, and offers an in depth method of the basics of bass taking part in. This advisor is a useful source for any bassist looking to enhance functionality practices.
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Additional info for A Double Bassist’s Guide to Refining Performance Practices
When played quickly, as in the first movement of Schubert’s Symphony no. 9, the articulation changes to the staccato/marcato character of the dotted eighth and sixteenth bowing used in exercises 22 and 23. The articulation of the bowing in Exercises 22 and 23 is physically articulated differently than the markings on the page. The dotted eighth is not hooked to the following sixteenth, but rather is preceded by a reflex motion on the sixteenth immediately rebounding into the following dotted-eighth.
Play with a full but relaxed sound. Your effort for perfection in this section will carry over to your performance in most other musical challenges. In brief, play everything with a goal of doing it to the best of your ability, constantly working to improve that ability. Use only one major or minor 2- or 3-octave scale with bowings per day. Include representation of several examples of bowings from Sustained Bowings, Slurred Bowings, Alternating Patterns, Hooked Bowings, and Spiccato. In addition concentrate on several examples of problematic bowings from 27–53.
For an orchestral excerpt using this bowing, see Mozart Symphony no. 40, IV (p. 92). 34 Perfecting Techniques through Employing Scales, Exercises, and Orchestral Excerpts At faster tempos, use example 13b. Staccato Bowing Exercises 18–20b are to be used for staccato bowing practice. Staccato should sound short, deep, without scratching. In reality a staccato stroke starts with a bite (accent), whether it’s forte or piano. The piano staccato is merely a very soft bite. It doesn’t matter whether a stroke is short or long, as there must always be followthrough.
A Double Bassist’s Guide to Refining Performance Practices by Murray Grodner