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@@roberthall3301 Thank you for watching! Glad you like it

I've never left! I'm teaching middle school now, so time's a little short. Glad to be back - thanks for watching friend!

Aw, miss you more, Sis!!! Love to the fam!

Thank you, Gane! Thanks for watching. Be well

Thanks for watching, Danielle, and I'm so glad you liked it. Be well

Thank you, Jonathan! Thanks for watching!

Wow - thanks so much Hans. That means the world to me. Thanks for watching - be well

Thanks Steve! Thanks for watching. Glad to be back here. I've missed it. Be well

Thanks for watching, Stephan, and for being patient. I've missed this place. Be well

Thank you, Reuben. It's on my aluminum bass with gut strings, which has a very unique sound. Two mikes, one low in front and one straight into the bridge, about 2 feet in front. It's not "studio quality", but I like it.Thanks for watching - be well

Thanks Clau!!!

Thanks Erin!!!

@@samsuggs6266 thank you, Sam

Thank you, Gerald! Thank you for watching. Much appreciated. Be well!

You're more than welcome, Hay! Thanks for watching - much appreciated. Be well

You're more than welcome. Thanks for watching!

I don't have a video for that, because I don't think RUclips is a good avenue for that concept. It's much easier to show live, where you can walk around the bass, and see the other strings vibrating while I'm playing a note. It's more of a trick of physics than a physical technique. I get out of the way of the string (take my bow off just barely) so the string can vibrate all on it's own. For example, if I play a G on the E string with my second finger, and get my hand out of the way of the open G string, as long as I'm in tune, the open G string will vibrate all by itself. I can use that to my advantage in a piece like Bach, where I'm trying to create my own resonance in a piece. Otherwise, if I'm trying to get a note to sing that I've already played, there's really no way to make it sustain longer than what it will do in nature, so I just take the bow off, leave the finger down, and listen to how it decays naturally, and use that length to make any other musical decisions I need. Thanks for watching, and be well!

Ha! Yes, I've actually done that. Whatever keeps it fun for you! Thanks for watching

You're more than welcome, Phil! Thanks so much for watching, and I'm glad it helped. Be well!

Ha! I know EXACTLY how you feel. I never understood how other bassists were so comfortable with that while I felt like a rookie. Thanks for watching, and I'm so glad it helped. Be well

Thanks for watching, @bassawareness! I don't have a video explaining the rating system. I came up with the idea for that system after playing a match of Super Mario Kart with my son. Each car had a rating for how "strong" it was at different aspects, and I realized that I could describe my exercises to my college students in that verbiage, so I started doing it. It's a subjective scale that reflects both the "effort" it takes for each category, as well as how much it "exercises" those categories. Generally, if Mindfulness is a 3, it means (to me) that mindfulness needs to be activated in order for me to truly benefit from the exercise, but is not the primary driver or beneficiary of the exercise. Also, speaking for myself, the "easier" technically the exercise is, the more I can direct my energies to my mindfulness - the awareness I give towards my body, hearing and sound. I hope that makes sense, and I'm sorry I don't have a more quantifiable description of it. It's mainly a way for me to prescribe certain exercises to players coming to me for help in different aspects of their playing. For players with anxiety or stage fright, I like prescribing exercises with a 3+ mindfulness rating. it's gotten results in the past. Thanks for watching, and be well. I hope that helps.

@@incrediblyusefulexercises I myself have played many a round of Mario Kart, this makes a lot of sense, thank you!!

Thanks for sharing, Max. Yes, I hadn't thought of that aspect, but definitely switching between instruments in a work situation would benefit from a visual aid while your body is adjusting. It's your job to play the right notes by whatever means works for you. Thanks for watching, and be well!

Exactly, Hector. Many many many hours counting rests, and playing while focusing on body awareness. Thanks for watching.

That's a huge question, and generally an artistic decision. Generally, if the trill ends on the same note it starts on, you'll have an odd number of notes. If you end the trill on the note you're trilling TO, then it'll be even. Knowing that, it keeps me away from just mindlessly machine-gunning notes, and helps me understand the physicality of it better. I hope that makes sense. What is the piece you're playing? Hope you're well

Thanks for following up. The piece is Solfeggio No. 3 (Time Pieces for Double Bass). It contains the first trill I’ve come across, so your recently purchased manual suddenly became very useful (you won’t be surprised to hear). In Cmaj, the trill is on D; before and after is C (below). Despite the C bookends, I’m guessing that the D trills up to E and back. Also guessing that it’s an even trill, but that’s where the uncertainty comes in.

Thanks flute! You're more than welcome!

Haha - how's it coming along? Thanks for watching!

So glad to hear - thanks for watching. Hope you're well!

You're welcome!

You're more than welcome!

Wow - thank you. Covid was an unfortunate timing issue - the books were about ready to be published, and the pandemic allowed me time to get the videos done in the way I wanted. Thanks for watching - hope you're well.

You're welcome!

You're welcome! Thanks for watching!

Thanks, Hector. Plus 12 nerd pedagogy points for your use of the word "proprioseptivity" - one of my favorite words and concepts. That's my main focus when I'm playing the long operas - helps with endurance. Hope you're well!

Excellent Dennis! The endurance you are achieving with your body is due to the concentration and direct connection of the nerve endings through Proprioseptivity.

Thank you! Honestly, it depends on the conductor, but I'd categorize that 3rd movement as light-medium spiccato, if that's not too wishy-washy....

Thanks for watching, Karina. In a nutshell, if I get tired or fatigued, I don't want to stop playing, so I retreat to the lowest level of physical tension that I can while still spinning the string. Sometimes that means playing softer, or resting on one note, or playing open strings, or whatever. In Tetrachord warmups, I generally slow down and play softer while relaxing my non-playing fingers. Does that make sense? Hope you're well.

You're more than welcome - thanks for watching!

That's awesome - thanks for watching, and I hope you find it helpful!

Oh

Haha - yes! Hope you're well

Have fun!

Thank you Andreas!

That's great, A. Thanks for watching, and I'm glad it helps. Hope you're well.

Awesome - thank you!