This is great because when trying to eliminate shifting gliss I started to try to move everything faster.. realized the importance of anticipating and making the handframe ready for the next position, etc. But my bow hand was kinda driven by with all that and started to act faster that my left which make my landing to the note always be cutted of by the bow
Hi Lauren, When I'm playing I notice that I end up squeezing the neck to play notes. What would be a good way to make my thumb not hurt? Thanks, Shrish
Great job discussing an important topic that's kind of hard to put into words. I've found shifting upwards in these cases is more likely to create a slurp sound than shifting downwards. It has to do with shortening the string while it is still vibrating. It drives the energy into the string harder whereas lengthening the string has a more relaxing effect that doesn't seem as pronounced. That's why the easing up on the bow works, the energy to keep the string vibrating strong enough to project comes from the shortening of the string and the bow has to do very little to keep the sound going at that moment. There's a magical threshold where the string does continue to vibrate but does not project as much, and that is the state you want it to be in when making a large shift, that way the resonance of the environment and the body of the instrument keeps the lower sound going while a quiet, fast shift leads to another distinct, higher note that starts and ends right on pitch. In my opinion, it's more useful to use a bit of portamento than to struggle trying to eliminate it entirely. There's times when it's appropriate and times when it is not, so it's more important to have control over whether or not it's happening than to go overboard and eliminate it from your skill set entirely.
Hi Lauren, When I'm practicing shifting,(especially shifting from high note back to the low note) I found my left hand squeeze very hard and shift very slow, also my bass would try to move. Is there any method to practice that shifting? Thanks
Do you play standing? Shifting back down the fingerboard is always a difficult task when you're standing - not impossible though! I admit, I'm not the best person to give you advice on that, as standing isn't my main stance, but I'm sure Geoff can shed some light on that. In terms of squeezing though, I would practice taking your thumb away from the back of the neck (see my comment below in response to Shrish's comment). Doing that will help prevent you from squeezing, so when you put the thumb back, you'll have an easier time staying relaxed.
Lauren Pierce Thanks Lauren! Yes, I mainly practice playing standing because I can't find a chair that suits. Maybe I can ask Geoff next time! Thanks for you advice!!
![Hunxho - Ball Forever [Official Video]](http://i.ytimg.com/vi/nki9ZTF9Uls/mqdefault.jpg)
This is great because when trying to eliminate shifting gliss I started to try to move everything faster.. realized the importance of anticipating and making the handframe ready for the next position, etc. But my bow hand was kinda driven by with all that and started to act faster that my left which make my landing to the note always be cutted of by the bow
Hi Lauren,
When I'm playing I notice that I end up squeezing the neck to play notes. What would be a good way to make my thumb not hurt?
Thanks,
Shrish
Great job discussing an important topic that's kind of hard to put into words. I've found shifting upwards in these cases is more likely to create a slurp sound than shifting downwards. It has to do with shortening the string while it is still vibrating. It drives the energy into the string harder whereas lengthening the string has a more relaxing effect that doesn't seem as pronounced. That's why the easing up on the bow works, the energy to keep the string vibrating strong enough to project comes from the shortening of the string and the bow has to do very little to keep the sound going at that moment. There's a magical threshold where the string does continue to vibrate but does not project as much, and that is the state you want it to be in when making a large shift, that way the resonance of the environment and the body of the instrument keeps the lower sound going while a quiet, fast shift leads to another distinct, higher note that starts and ends right on pitch.
In my opinion, it's more useful to use a bit of portamento than to struggle trying to eliminate it entirely. There's times when it's appropriate and times when it is not, so it's more important to have control over whether or not it's happening than to go overboard and eliminate it from your skill set entirely.
thank you teacher .I really want to know . How to press correctly on the boom of the double bass. when playing notes at a distance
Hi Lauren,
When I'm practicing shifting,(especially shifting from high note back to the low note) I found my left hand squeeze very hard and shift very slow, also my bass would try to move. Is there any method to practice that shifting? Thanks
Do you play standing? Shifting back down the fingerboard is always a difficult task when you're standing - not impossible though! I admit, I'm not the best person to give you advice on that, as standing isn't my main stance, but I'm sure Geoff can shed some light on that.
In terms of squeezing though, I would practice taking your thumb away from the back of the neck (see my comment below in response to Shrish's comment). Doing that will help prevent you from squeezing, so when you put the thumb back, you'll have an easier time staying relaxed.
Lauren Pierce Thanks Lauren! Yes, I mainly practice playing standing because I can't find a chair that suits. Maybe I can ask Geoff next time! Thanks for you advice!!
Geoff presented 3 stools here: ruclips.net/video/1U7xEGs0tew/видео.html
what tipe of bow do you use i am really curious
I use a Guasti & Bottoni bow that I bought from my teacher, Jeff Bradetich. It's Brazilian made with Pernambuco wood :)
thank you very much