I personally don't think of positions in that area, just the relationship to the harmonic at C and D... but there's a great article on it here: doublebassblog.org/2015/12/nicholas-walkers-simandl-and-rabbath-double-bass-position-comparison-chart.html
Thank you for the great channel in helping amateur players like myself to be able to play better! Hats off to everyone for your efforts! Been playing for some years and I've always experience fatigue in my fingers and palm very soon, only until today that I started to explore further instead of only relying on what my teacher had taught me. Wished I had started sooner and correct both my left and right hand posture. It's gonna be a long way to change what I have learnt but I'm really glad I found your channel in becoming a better classical double bass player!
Here's a better way. Play the first octave on the D string, ending with the thumb on the octave D on the D string. Then, continuing on up the D string, play E-1, F#-2, G-3. Then, WITHOUT MOVING YOUR HAND, cross to the G string with your thumb and play the A and continue on with B-1, C#-2, D-3. This way you can play the entire second octave of the scale WITHOUT SHIFTING. Best of all, this upper octave fingering is movable, meaning you can use it for Eb, E, F and so on up the neck.
That's another good solution! All of these variations have trade-offs so it's great to explore the different options. Your suggestion does have one shift in thumb position, but it's a nice touch that you can move the thumb in advance of the hand (crab technique). That means both of our two-octave fingerings have a total of four shifts. Some nice features of my suggestion are that you can utilise the open G and G harmonic (to reference tuning), and keep the fingerings for the 1 one octave version the same as the fingerings for the first half of the two-octave version. So all of these variations have pros and cons and I'm a big fan of practising as many as possible. Thanks for watching.
It's a big topic but posture is key, especially when standing. Make sure the left elbow is raised to allow the arm/hand weight to press the strings. It can take time to build up the calluses which can be sore, but you shouldn't need to press as the arm weight should do the work for you. Bass set up can also make a difference, especially in thumb position, so that could be worth checking. Best of luck and check out this lesson for an overview of the technique: discoverdoublebass.com/lesson/double-bass-thumb-position-lesson-pt-2-method-l48
True. The only real reference pitch you have in the scale is the leading note, C, a perfect fourth above the top string, even if the harmonic here sounds G two octaves above the open string (for that nice Lydian effect, maybe). I suppose you could interpret Db enharmonically as C sharp and relate it to the open A, or treat Gb enharmonically as F sharp and relate it to the open D, but this seems a bit convoluted (not to say desperate)! We just have to bite the bullet and practise this scale, I think.
I love finding people who also play with a German bow
I do
@@Luis-tz8kt p
What position is csharp and d on the g string considered? I cant seem to get them very in tune.
I personally don't think of positions in that area, just the relationship to the harmonic at C and D... but there's a great article on it here: doublebassblog.org/2015/12/nicholas-walkers-simandl-and-rabbath-double-bass-position-comparison-chart.html
Thank you! Lol sorry that this reply was so late. This really helped me.
ha!
would this also be called a pentatonic scale?
oh nevermind i know this already its not.....
Thank you for the great channel in helping amateur players like myself to be able to play better! Hats off to everyone for your efforts!
Been playing for some years and I've always experience fatigue in my fingers and palm very soon, only until today that I started to explore further instead of only relying on what my teacher had taught me. Wished I had started sooner and correct both my left and right hand posture. It's gonna be a long way to change what I have learnt but I'm really glad I found your channel in becoming a better classical double bass player!
Hey Canaan, thanks I really appreciate that and it's so good to hear the lessons are helping. Best of luck with all your practice, cheer Geoff :-)
P
Man, that's one BIG violin...
Thank you! The up close finger placements really helped out my son!
You're welcome! I'm glad it helped :-)
Here's a better way.
Play the first octave on the D string, ending with the thumb on the octave D on the D string.
Then, continuing on up the D string, play E-1, F#-2, G-3.
Then, WITHOUT MOVING YOUR HAND, cross to the G string with your thumb and play the A and continue on with B-1, C#-2, D-3.
This way you can play the entire second octave of the scale WITHOUT SHIFTING.
Best of all, this upper octave fingering is movable, meaning you can use it for Eb, E, F and so on up the neck.
That's another good solution! All of these variations have trade-offs so it's great to explore the different options. Your suggestion does have one shift in thumb position, but it's a nice touch that you can move the thumb in advance of the hand (crab technique). That means both of our two-octave fingerings have a total of four shifts.
Some nice features of my suggestion are that you can utilise the open G and G harmonic (to reference tuning), and keep the fingerings for the 1 one octave version the same as the fingerings for the first half of the two-octave version. So all of these variations have pros and cons and I'm a big fan of practising as many as possible. Thanks for watching.
Actually working in this atm... what a coincidence!!
Fantastic! :-)
How can I improve my thumb position? I always have to press hard. Does it just come with time?
It's a big topic but posture is key, especially when standing. Make sure the left elbow is raised to allow the arm/hand weight to press the strings. It can take time to build up the calluses which can be sore, but you shouldn't need to press as the arm weight should do the work for you. Bass set up can also make a difference, especially in thumb position, so that could be worth checking. Best of luck and check out this lesson for an overview of the technique: discoverdoublebass.com/lesson/double-bass-thumb-position-lesson-pt-2-method-l48
Thank You So Much Mr.Chalmers, I've been struggling with this for the past 2 months and now I'm getting better, thank you for making this video!
Glad it helped! Best of luck with all your bass playing :-)
so is that 2 on C# ,3 on D up top ?tnx
Yes, that’s right. 👍
Thank you, this really helped me!
Great, thanks for watching :-)
ah the key of Db! i find it very hard to do. not sure why, really!
Me too, it's a tricky one!
True. The only real reference pitch you have in the scale is the leading note, C, a perfect fourth above the top string, even if the harmonic here sounds G two octaves above the open string (for that nice Lydian effect, maybe).
I suppose you could interpret Db enharmonically as C sharp and relate it to the open A, or treat Gb enharmonically as F sharp and relate it to the open D, but this seems a bit convoluted (not to say desperate)!
We just have to bite the bullet and practise this scale, I think.