By Murray Grodner
Murray Grodner attracts on his individual occupation as a double bass musician and instructor during this compendium of functionality philosophy, bowing and phraseology strategies, tutorials on fingerings and scales, and workouts for bowing and string crossing. Grodner addresses technical hindrances in musical functionality, bargains suggestion on device and bow buy, and offers a close method of the basics of bass taking part in. This advisor is a useful source for any bassist trying to increase functionality practices.
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Extra resources for A Double Bassist’s Guide to Refining Performance Practices
Practice the stroke slowly and try and psych yourself into having the sensation of playing the up-bow note a split second before the thrust of the up-bow occurs. Then, of course, speed up the effort until you can achieve control over the thrust of the up-bow, so that it doesn’t cause a sound explosion that overshadows the down-bow. If successful, you should feel the sensation of the up-bow being part of the continued pressure or the preceding down-bow (after which the actual up-bow motion starts for the return toward the frog, in preparation for the next down-bow).
Finally, each speed and volume will have some effect on the shaping that is required to create a proper-sounding spiccato. The faster the stroke, the more motion decreases. The bounce will be less visible, as will the back and forth movement of the bow. For orchestral excerpts using this stroke, see Beethoven I and III (p. 77), Mozart 39, 40, and 41 (p. 90–94). 38 Perfecting Techniques through Employing Scales, Exercises, and Orchestral Excerpts Spiccato should also be played five strokes per pitch and alternating combinations of (2+3) (3+2) (3 + 4) (4 + 3) (1 + 2 + 3) etc.
The bounce for the spiccato should never be exaggerated by being too high or too wide. Too wide a bounce results in a brushier contact with string. Bouncing too high results in less ability for control of both sound production and metronomic accuracy. Proper thrust, height, and width of stroke will control the success of the spiccato. Use no more or less motion than required to achieve the thrust that provides a clean, resonant bite at the vortex of the spiccato. A good spiccato will sound clean and deep and have a round “ping” like a pizzicato.
A Double Bassist’s Guide to Refining Performance Practices by Murray Grodner