MandShef

[quote name='ubassman' timestamp='1375715040' post='2164637'] ....oh there is an exercise that I haven't done in a long while which is to start on any root note , then hit the 2nd , then back to the root, then 3rd, root etc and simply keep going up the string making the intervals bigger and bigger . The trick I am told is to say / sing the note out loud that one is aiming for - its supposed to reinforce the fingers / muscles remembering whats where . Major scales first and then Minor etc ...off to give that one a whirl ! [/quote] This is like the sliding shifts exercise I've done before, but using the same finger (e.g. just using 1st finger) and not taking it off the strings (so in effect making a gliss sound). Really helps you to hear properly when you've hit the right note, plus develops muscle memory of shifting smoothly close to the strings rather having your hand leaping about (if that makes sense?).

[quote name='fatback' timestamp='1375284560' post='2159290'] I didn't know you could skip grades; that's encouraging. [/quote] Yes, the only thing you need to be aware of is that if you get on to doing the higher grades (6+) you also need to have passed your Gr5 music theory. Keep going, you'll get there!

The advantage of grades is that they give you a means of measuring progress, plus they add some structure to your practice. The downside is putting yourself through the nerves of an exam, and the expense. I left learning the piano too late to achieve grade 8 when I was at school, and it's only now that I have set myself the goal of getting to Gr8 standard. I have, however, decided that whilst I'm going to work my way through the grades, I'm only actually going to take the final Gr8 exam (you don't have to do all the exams in order, so you can skip a few if that suits). My piano tutor is going to do mock exams for me for the grades prior to it. Perhaps you could try that? Or maybe putting yourself through an actual exam adds that extra motivation?!

My understanding of the Bottesini studies is that, even though they are technical pieces, with no performance directions, you can still play them musically by giving them 'shape'. I'm sure for the exam you'd pass if you just played them 'straight', but you may get distinction if they were played with a bit of extra musicianship! My tutor once said to me that to follow a piece of music slavishly without interpreting it yourself, is like driving whilst blindly following the sat nav, instead of interpreting the road yourself.

[quote name='philparker' timestamp='1374356151' post='2148086'] Make room! Move some furniture - think of it as a show piece of furniture; sell something; ditch something; buy a smaller settee, but most importantly of all - buy a DB!!! [/quote] +1 I freecycled a sofa recently to make space for a piano. Go for it!

It depends on what kind of mute you're after. I've got one of these types: [url="http://www.thestringzone.co.uk/tourte-pattern-double-bass-mute"]http://www.thestringzone.co.uk/tourte-pattern-double-bass-mute[/url] But this is for classical playing when you're required to play 'con sordini'. It softens the sound, but doesn't make it radicallly quieter. You can also get practice mutes ([url="http://www.thestringzone.co.uk/ultra-double-bass-practice-mute"]http://www.thestringzone.co.uk/ultra-double-bass-practice-mute[/url]) but I've never tried one, so can't vouch for whether they're any good. Hope this helps.

I'm a late voter, but I'd go with the no split vote as well. I go on Talk Bass occasionally, but there's so many sections that I just tend to skim read topic headings and then head direct to 'orchestral techniques' just 'cos that's the style I play. I no doubt miss out on a whole wealth of information by doing that. I feel I learn far more from this forum precisely because there is such a mix of styles and playing techniques discussed on here.

I'm afraid I haven't got any book suggestions, but I'll be following this topic with interest. The closest I've come to 'historically informed practice' methods is when we were asked to hold our bows in a baroque style for an orchestral performance (see pic): [url="http://u.jimdo.com/www29/o/sb34864868412b1e7/img/iee28e2914eafca45/1279205991/std/image.jpg"]http://u.jimdo.com/www29/o/sb34864868412b1e7/img/iee28e2914eafca45/1279205991/std/image.jpg[/url] The only other thing I'm aware of is that you wouldn't use vibrato for e.g. Bach like you would for a more Romantic piece. Look forward to seeing your replies ....

Oh dear, shouldn't laugh ....

I can sympathise. I had an outdoor concert this weekend, and I was so busy worrying about the affect of the high temperatures on my bass that it didn't even occur to me to be careful with the rosin. When I put it on my bow it went on like a layer of sticky toffee (apart from bits that came off in shards!). Made the bass sound really harsh and felt horrible. Luckily I was able to play it out during the afternoon rehearsal, wiped the strings down after, and did NOT re-apply for the concert. I am now trying to make sure I store it in a dark, shady spot, and using minimal amounts of it.

I sit with my left foot raised on the rung of my stool, right foot flat on the ground, but admit in long rehearsals that sometimes gets achy and I switch between that and cello style. I wonder, if you're having problems getting to thumb position, if you've adjusted your endpin to take into account the difference in height? You should set yourself up the same as when standing i.e. nut at about forehead level so when your hand is in half/first position you're not having to reach up and shoulder is relaxed, and you should be able to reach from there to all the way down your fingerboard easily. Your right hand should be able to reach your bowing position and still be relaxed with a slight curve in the arm. Everyone's different, so you'll have to experiment. I found this link which shows pics of different seated positions (the one I was describing is the first one (classic seated position): [url="http://doublebassblog.org/2008/05/standing-versus-sitting-for-the-double-bassist.html"]http://doublebassblog.org/2008/05/standing-versus-sitting-for-the-double-bassist.html[/url]

[quote name='fatgoogle' timestamp='1371293292' post='2112207'] Do you still have the solo section at all? Its not in the public domain yet and i cant find it anywhere to buy. [/quote] Yes, it's in Keith Hartley's 'Double Bass Solo 2' - no.29. It's a really useful book, 'cos it contains excerpts from lots of orchestral repertoire - a chance to preview any tricky bass bits before orchestra rehearsals!

[quote name='fatgoogle' timestamp='1371236895' post='2111691'] One piece i'd love to perfrom one day is Britten's young persons guide to the orchestra. Fell in love with the piece when i first heard about 15 years ago. [/quote] We've just done a family concert which included Young Persons Guide. Slightly nerve-racking double bass solo moment!! The kids love it tho ..... you can hear them choosing their favourite instrument. The tuba seemed to get the most votes ....

Stubbornness and rebellion. I started out playing clarinet because that's what my school teachers thought I should do after learning recorder. Of course, clarinets were common as muck and so I wasn't overly inspired! Then I saw a film where there was a female double bass player. It looked awesome, and so different! Then I lucked out, because it just so happened that 1) someone we knew was selling a double bass for not very much money because they could no longer play it, and 2) the local Young Musicians organisation in the town where I lived were offering free double bass lessons to school kids willing to learn, on the condition that they agreed to play in their orchestras. My dad took some persuading (he could foresee the transportation difficulties and practical issues of size that as a youth didn't concern me)! Of course double bass was always in more demand for orchestral work than clarinet ever was, so although it wasn't my first instrument, it became my main instrument. I love playing it - the deep sound, the physicality of playing it, and the way it looks

Good post Floyd. The 'less is more' approach to rosin is something I've discovered late in my bass playing life, and it's good advice I'd wished I'd heard long ago. Still using sticky old Pop's rosin at the mo tho....

Wonderful! Thanks for sharing

[quote name='Basstroker' timestamp='1368463704' post='2077400'] Hi! - Yes, Chuck Traeger's book is excellent - but expensive. A very good webpage of Gerald Dallhammer from Austria (he is not a prof. luthier but works very well) is: [url="http://www.kontrabassbau.at/menue.html"]http://www.kontrabassbau.at/menue.html[/url] , unfortunately (for my British friends) in German but the photos tell a lot. - Best, Thomas [/quote] Thank you! You can set it so Google translates the page into English, so v useful

[quote name='ubassman' timestamp='1368443550' post='2077021'] Chucks book is an excellent resource and I recently got a copy (via Beedster on BC - many thanks again Chris! ). I have been repairing and setting up basses for a good while now and theres some great 'luthiers secrets' in there - but perhaps its a bit over the top ( and expensive ) unless you are wanting to throw yourself into the world of doing full on repairs. Chuck's book is about the best resource that there is and if you are near Bakewell anytime your more than welcome to have a peek ! Other than that there [url="http://www.talkbass.com/forum/f3/"]http://www.talkbass.com/forum/f3/[/url] which is great background. [/quote] Thanks for that. No, I'm not wanting to get into doing repairs (I'd be too nervous of doing damage to someone's bass!). But, I would like to be able to look at a student's bass (& my own) and be able to give confident, knowledgeable advice, and be able to make minor adjustments e.g. if their bridge is out of position etc. I guess I'll have to see if I can find the book cheaper 2nd hand. In the meantime I'll check out the talkbass setup/repair forum. Bakewell isn't far from me, so it'd be great to meet an expert in the area at some point. Are you a luthier or is it a hobby? I ask because I recently got mine back after 9 months of restoration, and it's still not right yet. The finger board is too thin to shoot any more (so I guess at some point I'll need to save up for a new one), and the combination of imperfect fingerboard and the strings being set too low (maybe I need a new bridge too?) is resulting in an annoying buzz when I play low G. I had a concert at the weekend, where we played Mission Impossible, and it was so frustrating not being able to really go for that low G for fear of buzzing (I already have a string raiser under the E string, which helps but doesn't resolve it)! As you can imagine, having waited 9 months for it's return I'm a bit peeved that it's still not set up quite right!

Hello knowledgeable bass folk! I was wondering where you get your info on maintenance, set up and repair of double basses. In all the years I've been playing, I've learnt plenty about playing, but info on the actual instrument seems thin on the ground. I've been gradually picking stuff up from forums like this, but I'd love a more in depth resource. Spotted this book on amazon: [url="http://www.amazon.co.uk/Setup-Repair-Double-Optimum-Sound/dp/1892210061/ref=wl_it_dp_o_pC_nS_nC?ie=UTF8&colid=B09NYWCPPF2P&coliid=I3UPA7Q2KSMXUK"]http://www.amazon.co...=I3UPA7Q2KSMXUK[/url] But, it's over £80! There must be some more affordable resources out there? Where did you guys learn your stuff? I'm just starting out as a teacher, and I feel that it's going to be important to improve my knowledge of instrument set up, as well as make sure my performance knowledge is up to scratch, so I can be the best teacher I can be. Thanks in advance!

Please let us know how it goes, for those of us too far away to attend. It sounds really interesting (I'm jealous).

Lol, I guess the gist of this conversation is that without seeing it, it's impossible to tell what the problem is! Perhaps the best advice for the OP is therefore to take someone who knows about double basses with them, so they can take a proper look if possible.

The E string is the first to go, so it might be just the strings need changing. I would have though the sound post would affect the general sound, not just the lower string? In my experience string height does also make a difference (too low = weaker sound), so it's worth considering. Then you need to decide whether you'd be happy to buy a bass with the potential extra cost of set-up/new strings (I suspect this would need doing more often than not when buying yourself a new bass - you'd be lucky to find one set up exactly as you like it)?!

Strings, and set up (string height, bridge height etc), are more likely to be the problem than size, so, for example, the lower string should have slightly more height to it than the highest string (stick your finger under as a gage). Hope you find a good un' soon!

Aw, my kids'd love one of these!

[quote name='fatgoogle' timestamp='1367577462' post='2067095'] for the last three weeks ive been rosining up once a week at rehearsals with the other players nymanns and i must say using such a little amount of rosin has really helped my playing in terms of actually getting the bow to do all the work and really learning how to get the most from the bow. [/quote] Funnily enough I have also been experimenting with using far less rosin after my tutor had the radical suggestion that I only put rosin on the bow when it needs it!!! Previously I'd been in the habit of putting rosin on the bow every time I played, but now I'm trying to feel for when it needs it rather than just putting it on automatically. It seems less is more when it comes to rosin