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Methods / Tutors

The following teaching works are available for learning the four-finger technique:

Thomas B. Gale:

Technical Foundation Studies for Double Bass

Michael Wolf:

Grundlagen der Kontrabass-Technik

A few additional aspects of the New Dutch School that are not covered by the above

works are included in my tutor:

BASSics - Grundlagen und Anwendung der Vier-Finger-Technik beimKontrabass-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

Chameleon Double Bass

Double Bass as Solo Instrument?

Tunings

Playing Techniques I

Playing Techniques II

New Dutch School

- Heavy Bow

- Strings

- Elements of Technique

- Practising in Flow

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Thursday October 21, 2010

imaginable instrumentation.