Great video and handy pdf! It's very concise and seems to cover just about everything (not in thumb position). Coming from electric bass, avoiding half steps across strings is pretty annoying, but I understand why. The Boardwalking book really helped me figure out the best way to construct cross-string scales. Thanks for introducing me to it :-)
Dear Jason, Your video on fingerings is so concise and clear!! Can I also suggest that Fred Zimmermann thought of only TWO rules about choosing scale fingerings -- you can see this on pages pp. 38-39 in my Notebook. It all depends on what note is the last note you play in a scale passage. (Sorry to sneak in an adv. for my book.)
What about bowing C on the A string , then G on the E while preparing to play B on the A...do you Barre with the pinky and play the B with the middle? Seems hard to lift the pinky in time...Context: the first bar of the first simandl etude.
That’s a great example! Welcome to the confusing world of bass fingerings. For that etude, I just pick up the 2nd finger and move it down, but if it was some sort of isolated thing in an actual solo or orchestral piece, I might try bridging with 3 and 2. For me, it really depends on the context.
Thanks, Jason. But Rule 5 is a bit confusing. You say, "Just don't do it." But you don't say how one SHOULD play a descending perfect fourth. As a recovering guitarist, my tendence is to play perfect fourths with two different fingers, but my teacher some times says that's weird and "not done" on the bass. Please clarify.
Yeah, that's the challenge of trying to "go fast" like I was doing for this vid. This one deserves a little more explanation, and these are really guidelines and not firm rules. As people get more advanced, they do exactly what you're describing for perfect fourths on different strings, especially in lyrical passages or where there's a quick alternation between the strings. When you're starting out, though, that can kind of muddy the waters, so like your teacher is describing, it's a good move to just use the same finger for the perfect fourths, even though there can be a little gap in the sound. Welcome to the confusing world of bass fingerings! 😄
2:45 for the secret rule to rule all rules!!! This was awesome 🤘
Thanks!!
Really nice short and efficient video Jason, thanks for not taking 20 minutes to get through this!
What just happened? Is he on something?
Thanks! Tried to keep this one on the short side. 😀
@@doublebasshq
No worries, just jivin' man! Good Stuff!
Great video and handy pdf! It's very concise and seems to cover just about everything (not in thumb position). Coming from electric bass, avoiding half steps across strings is pretty annoying, but I understand why. The Boardwalking book really helped me figure out the best way to construct cross-string scales. Thanks for introducing me to it :-)
You bet-thanks!
thank you very much Man! you are the best as always!
You're welcome!
Thanks Jason
You bet!
Dear Jason, Your video on fingerings is so concise and clear!! Can I also suggest that Fred Zimmermann thought of only TWO rules about choosing scale fingerings -- you can see this on pages
pp. 38-39 in my Notebook. It all depends on what note is the last note you play in a scale passage.
(Sorry to sneak in an adv. for my book.)
I love it, Orin--thank you so much for checking this out! I remember seeing that in your notebook. Such a great resource!
Rule #1
Good stuff
Thanks!
I like your Spoleto-Festival poster .... have you played there?
I did! Back in 2001 and 2002-old-school!
What about bowing C on the A string , then G on the E while preparing to play B on the A...do you Barre with the pinky and play the B with the middle? Seems hard to lift the pinky in time...Context: the first bar of the first simandl etude.
That’s a great example! Welcome to the confusing world of bass fingerings. For that etude, I just pick up the 2nd finger and move it down, but if it was some sort of isolated thing in an actual solo or orchestral piece, I might try bridging with 3 and 2. For me, it really depends on the context.
right on
Thank you!
at least you had my attention haha!
This is great!. I would love to have it in writing. But I can't figure out how to fetch it.
Thanks! There’s a link at the top of the description for a PDF of the “rules”
Thanks, Jason. But Rule 5 is a bit confusing. You say, "Just don't do it." But you don't say how one SHOULD play a descending perfect fourth. As a recovering guitarist, my tendence is to play perfect fourths with two different fingers, but my teacher some times says that's weird and "not done" on the bass. Please clarify.
Yeah, that's the challenge of trying to "go fast" like I was doing for this vid. This one deserves a little more explanation, and these are really guidelines and not firm rules.
As people get more advanced, they do exactly what you're describing for perfect fourths on different strings, especially in lyrical passages or where there's a quick alternation between the strings.
When you're starting out, though, that can kind of muddy the waters, so like your teacher is describing, it's a good move to just use the same finger for the perfect fourths, even though there can be a little gap in the sound.
Welcome to the confusing world of bass fingerings! 😄
You can grab a barre! and no problems)
@@drjazzproject I use and teach the barre along with the occasional parallel fingering. Do what you have to do to make it work.
Not only for the bass!
That's true!
😂😂theirs only one rule in this club. Their are no rules. 😂😂😂