Thanks, gnypp. I love that thing. It was once owned by a man in London who played principal bass on the Empire Strikes Back soundtrack. And Indiana Jones. Bruce B. Mollison. It's a beauty
Great advice on the Heldenlaben- I feel like what you end up with this is missing a bit of nuance. The problem people usually have with splitting the bow this way is the top note sticks out and it’s a weird in this meter. For me leading to the the first triplet on the last quarter and pulling the power through the octave on the last triplet gives a more direction. Slight difference because you don’t get the last triplet popping out. The bow distribution would be slightly different. What do you think? I’ve played it a few times and on a few occasional the horns have liked it your way but it feels very weird to me. Thank you for these great exercises! So nice to have this content and I appreciate your time in this effort :)
Thanks for the comment, Paul. I agree 100% with you - I don't intend for the top note to pop out, but I don't want it choked either. I created this after seeing so many master classes where the students only left 2" of bow for the top note, because they were increasing the bow speed during the shift, combining it with their left hand shifting speed. In reality, when I add the expression to the long notes, and grow the triplets, I hit the last note closer to the frog, but so that it can still speak with the same energy as the other triplets. This measured approach is meant as a starting point for bow division awareness, but I'd never perform it this way. Thank you for the kind words and suggestions - I love discussions like this. Thanks for the support! I hope you and yours are well
Hey, Paul! Most of my colleagues are teaching French in school. If it's German, it's normally introduced by a bass player or someone who has gone out of their way to really study bass. As a bass player and orchestra director in Texas, I'm going to say that most people I've met are generally teaching their bass players French bow. There are lots of orchestra directors in Texas, but not many of us are bass players, so I think most will lean to French because that is what is familiar.
finally some useful classical bass content
Awesome. Thanks for the support, Josia! Glad you like it.
Great tips and playing! Your 1850 bass sounds wonderful, like thick dark chocolate.
Thanks, gnypp. I love that thing. It was once owned by a man in London who played principal bass on the Empire Strikes Back soundtrack. And Indiana Jones. Bruce B. Mollison. It's a beauty
Realmente este vídeo é muito bom.
Obrigado
Great playing, great teaching! I will be watching all of these for sure.
Thanks for the support, Matt!
Great approach to this and Learning any kind of frases
Thanks Theo!
Wow, this really was incredibly useful
Thanks, John!
Fantastic❤
Thanks!
great contens thanks Mr. your toturial is beatifull
Thanks!
Thanks
You're Welcome Teo
5:47 "As your right arm freeze up over the years" :D
Just kidding :) GREAT video!
Haha. Thanks for watching!
Great content, thanks you!
-Watching from Davao City ☺️👌🇵🇭
Thank you! Hope you're well!
"Belleza antes que poder...." I loved it!!
Thank you!
Great advice on the Heldenlaben- I feel like what you end up with this is missing a bit of nuance. The problem people usually have with splitting the bow this way is the top note sticks out and it’s a weird in this meter. For me leading to the the first triplet on the last quarter and pulling the power through the octave on the last triplet gives a more direction. Slight difference because you don’t get the last triplet popping out. The bow distribution would be slightly different. What do you think? I’ve played it a few times and on a few occasional the horns have liked it your way but it feels very weird to me.
Thank you for these great exercises! So nice to have this content and I appreciate your time in this effort :)
Thanks for the comment, Paul. I agree 100% with you - I don't intend for the top note to pop out, but I don't want it choked either. I created this after seeing so many master classes where the students only left 2" of bow for the top note, because they were increasing the bow speed during the shift, combining it with their left hand shifting speed. In reality, when I add the expression to the long notes, and grow the triplets, I hit the last note closer to the frog, but so that it can still speak with the same energy as the other triplets. This measured approach is meant as a starting point for bow division awareness, but I'd never perform it this way. Thank you for the kind words and suggestions - I love discussions like this. Thanks for the support! I hope you and yours are well
This was an amazing video!! Very helpful. Do you plan to break down any other major excerpts for us in the future?
Hi Mitch. Sorry for the delay. The short answer is yes, but I'm on video hiatus for a bit. :-) Hope to get back to it soon. Hope you're well.
Great advice! I clicked subscribe and can't wait for more valuable bass content :-) All the best from Poland!
Thank you for the support, Magdalena! Greeting from Houston! szczęśliwego Nowego Roku!!
@@incrediblyusefulexercises Dziękuję! Thank you! 🙏😇
Great :)
Thank you Juraj!
What is the time signature for this?
Heldenleben is in 4/4
Yes- 4/4. Thanks for watching!
I've noticed you use a French bow. I learned in a string methods class that German bows are more popular in Texas. Is that generally true?
Hey, Paul! Most of my colleagues are teaching French in school. If it's German, it's normally introduced by a bass player or someone who has gone out of their way to really study bass. As a bass player and orchestra director in Texas, I'm going to say that most people I've met are generally teaching their bass players French bow. There are lots of orchestra directors in Texas, but not many of us are bass players, so I think most will lean to French because that is what is familiar.
Yeah - what Roger said :-)