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Thursday October 21, 2010 HOME DOUBLE BASS BASSETTO LESSON MEDIA SIDATO VERLAG MAGAZINE SERVICE Chameleon Double

Thursday October 21, 2010

HOME DOUBLE BASS BASSETTO LESSON MEDIA SIDATO VERLAG MAGAZINE SERVICE Chameleon Double Bass Double Bass as
HOME
DOUBLE BASS
BASSETTO
LESSON
MEDIA
SIDATO
VERLAG
MAGAZINE
SERVICE
Chameleon Double Bass
Double Bass as Solo Instrument?
Tunings
Playing Techniques I
Playing Techniques II
Methods / Tutors
The following teaching works are available for learning the four-finger technique:
Thomas B. Gale:
New Dutch School
Technical Foundation Studies for Double Bass
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Heavy Bow
Michael Wolf:
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Strings
Grundlagen der Kontrabass-Technik
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Elements of Technique
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Practising in Flow
A few additional aspects of the New Dutch School that are not covered by the above
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Methods / Tutors
works are included in my tutor:
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Opinions
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FAQs
BASSics - Grundlagen und Anwendung der Vier-Finger-Technik beim
Kontrabass-Spiel (BASSics and application of the four-finger technique of playing
the double bass)
The core of my approach is alignment to the musical requirement. In other words, it
is not the music that has to serve technique, but the technique that has to serve
music. For this reason, I place no value at all on the usual double bass études.
The greater part of these are musically inferior. Often they are humdrum, and
therefore unsuited for conveying the technical and musical capabilities that are
required for the music of the great masters. There is thus a need for high-quality
practice material for double bass players – and an enormous range of options
available that people do not think of.
Any orchestral passage by Mozart , Haydn , Beethoven , Gluck etc. offers a
greater challenge and has more musical sense than exercises by for example
Simandl or Storch , because it is oriented not to the limitations of the double bass,
but to the entirety of the work.
J.S. Bach´s cantatas and oratorios offer an inexhaustible reservoir of magnificent
music. Every single continuo part can be seen and used as first-class practice
material.
Of course it is also necessary to practise scales, arpeggios and technical exercises
in different bowing techniques as well, but even these should never be devoid of
sense or be executed purely mechanically. EDITION HOFFMANN has published my
compilation, which should be sufficient:
Tonleiter- und Akkordstudien für Kontrabass
All this should form a sufficient basis for turning finally to the most important
orchestral studies, to the double bass solo literature, and also to good trans-
criptions. I consider these important for getting to know the style of important
composers. In addition, chamber music should always be played in every
 

imaginable instrumentation.

imaginable instrumentation.