comp1 (fix).doc

UNIVERSITY OF NEW ORLEANS

CLASSICAL DOUBLE BASS TECHINQUES

FOR THE JAZZ BASSIST

By

Tanarat Chaichana

COMPREHENSIVE EXAM QUESTION

Submitted to the Faculty

of the university of New Orleans

in partial fulfillment of the requirement

for the degree of Master of Music

New Orleans, Louisiana

March 2014

What kind of classical string bass studies would benefit a jazz bassist? Describe in detail the mechanics of playing the string bass and how to attain the correct technical facility through classical study. Include illustrations of examples and technical exercises.

-Victor Atkins, Associate Professor of Music

Table of contents

Chapter Page

1 Introduction...................................................... 1

2 Posture

Standing Position.............................................. 3

Sitting position.................................................. 4

3 The Right hand

Bowing............................................................ 6

French Bow..................................................... 7

German Bow.................................................... 8

4 The left hand

Position............................................................ 10

Finger charts.................................................... 11

Thumb position................................................ 12

5 Shifting............................................................... 13

6 Vibrato................................................................ 14

7 Conclusion.......................................................... 15

List of exercise

Exercise 1.................................................................. 17

'' 2.................................................................. 18

'' 3.................................................................. 20

'' 4.................................................................. 21

'' 5.................................................................. 23

'' 6.................................................................. 24

'' 7.................................................................. 25

'' 8.................................................................. 26

'' 9.................................................................. 27

'' 10.................................................................. 29

Bibliography.................................................... 30

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chapter 1

Introduction

A string bass is an instrument which originated in classical music during the 15th century. The instrument was developed for utilization in small ensembles and also as the low voice of a string section in the orchestra. The string bass is also physically challenging

to the player. In the late 17th century, the Italian bass virtuoso, Domenico Dragonetti, Introduced a new contemporary style of bass methodology. He encouraged men composers to write concertos for the bass. Thus more intricate bass compositions began to evolve and over the duration of three centuries, classical bass techniques started to augment, adjust, ameliorated and then transform to the next generation. Some classical pedagogues like, Franz Simandi, the principal bassist in the Vienna Court Opera Orchestra, Francois Rabbath, a French contemporary bassist, and Gary Karr, an American educator, composed a bass methodology, which instructs a bassist to embody the fundaments of the instrument.

In classical pedagogy, there are many techniques that assist or instruct a bassist to perform their music more efficiently. Intonation is the principal concentration for a classical bassist. Bowing can help them be able to pronounce a pitch more obviously and loudly than when they play pizzicato. For example, the book, New Method for the Double Bass known as the Simandl book, is recourse to facilitate classical bass player's understanding of hand position and bowing techniques. For the jazz bassist, it is necessary to perceive a classical approach for the left hand in order to properly perform with accurate hand placements, posture, and equilibrium. Acclimation to a classical approach is advantageous for a jazz bassist because with these techniques, the jazz bassist is able to play music more accessibly, flexibly, and precisely.

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Many great jazz bassists like, Paul Chamber, Ron Carter, Eddie Gomez, Charles Mingus, Rufus Reid, Percy Heath, John Patitucci, Dave Holland, John Clayton, Marc Johnson, Christian McBride, Scott Colley and Avishai Cohen have a classical background. Gomez, at the age of fourteen, began private lessons with the virtuoso classical bassist, Fred Zimmerman.

The purpose of this study is to demonstrate various classical techniques that the jazz bassist may utilize for their instrument. The content comprises of many classical pedagogues such as, posture, left hand and right hand techniques, fingering concepts, thumb positions, shifting and vibrato. There are also some exercises and illustration pictures that help the bassist to understand and develop their skill set more easily.

Chapter 2

Posture

Posture is the principal infrastructure that conceptualizes all techniques. Improper posture can negatively affect every aspect of a bassist. Intonation, hand placements, shifting, vibrato are results of correct posture. Also, improper posture can cause physical repercussion to a player. The appropriate placement of the height of a bass allows a player to be more flexible and to be able to move their body freely. When the body and bow are played in the most natural way possible and the bow placement meet the optimum sounding point on the string, then the correct height of the instrument has been found (Double Bass the Ultimate Challenge, 8). The height of the instrument can alter easily by shifting the end-pin, which is located below the instrument's body. If it is convenient for the player to reach 1st position on left hand, but the player cannot place the bow below the end of the fingerboard, then the bass is too low. On the other hand, if the bow placement is

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convenient for the right hand of the player, but the left hand's reach to the 1st position is too far in distance, the bass placement is too high. The proper height of a bass is dependent on how tall bassist is. It is usually different for each player. Also, the balance of the body is vital for proper posture. When the player stands, their weight should be equally distributed between their feet. Every muscle should be relaxed. If the player is not nimble, but clenched, the result could cause physical injury.

There are only two postures for a classical bassist. The first is standing position and the second is sitting position

Standing position

The player must stand in such a way that the weight of his body will be born, principally by the left foot, the right foot being advanced for the distance of a short step, and in an outward direction. The body must be held as quietly as possible and in a perfectly up- right manner. The instrument is placed in front to the left, in such a way that it will incline somewhat, but very slightly, in a backward direction towards the player, and allowing the back right edge of the instrument to fit into the left thigh of player. (New method for the double bass, 5)

When holding a bass, the instrument is usually held entirely straight. There is no pressure or weight on the left hand. The right arm is always close to the instrument (refer to the example 1). If the player leans the instrument backwards into their body or forwards away from their body, there will be more trouble maintaining intonation with their left hand and bow placement with their right hand. However, because no two human figures are symmetrical, there are other methods to clutch a bass. The player should experiment and seek their individual proper position, based on the balance of their body, avoiding a posture that could potentially be damaging, which over time could possibly cause an

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injury to their body.

Example 1

Sitting position

Sitting position is the posture that is most favored by professional orchestra players. This position helps the player to be more relaxed throughout a long rehearsal. Also, the pose may facilitate a bassist to equilibrate the balance of their instrument. A stool, which is suitable for a bassist, should be at a height around 600-900 mm. In sitting position, the player should lean the instrument against their left leg. The left knee touches on the body of bass. The player may lay their left foot on the rest foot of stood (refer to the example2). Some bass players may sit with the bass directly in front of the player and

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let the instrument touch both of their leg, which is similar to the cello-sitting pose located in front of the player.

Example 2

In order to maximize the most efficient application of weight into the string, the arm angle should be emulating that of the ideal standing angle. This may very well necessitate the angle of holding the bass to be more upright than sloping. (Double Bass the Ultimate Challenge, 11)

Sometimes, the bass player may turn the bass counter-clockwise when playing on the E string. It is highly recommend that the sitting position should be practiced after the standing position.

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Chapter 3

Bowing

There are only two contrasting bows for a bassist. The first is French bow and the second is German bow. The ongoing discussion about the capabilities or differences between the two bows is boundless.

The "French" overhand bow is constructed along the same lines as the bow used with the other instruments of the orchestral string family. The French stick is grasped from opposite the frog. The "German" or "Butler" underhand bow is broader and longer than the French bow with a larger frog curved to fit the palm of the hand. The German stick is grasped with the hand encompassing the frog loosely. The German bow is the older of the two designs, having superseded the earlier arched bow. The French bow became popular with its adoption in the 19th century by virtuoso Giovanni Bottesini. (wikipedia, Bowing) Due to the different structures of the bows, it seems likely that the French bow would help allow a bassist with a short arm to play the lower bow placements more easily than the German bow. It is also necessary for a bassist to recognize that the bow placement always affects the tone when they are producing a sound. If the player puts the bow close to the fingerboard, the tone is darker, less intense and soft, but if the player sets the bow near the bridge, the sound is bright, intense and more focused. Usually, when the bass player plays a low voice, they should put the bow close to the fingerboard and if they desire to play a high note, the bow should be moved higher and closer to the bridge. More so, to maintain a long note in one bowing the bow placement should be close to the bridge.

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French bow

The French bow applies to many string instruments such as the violin, viola, cello and double bass. This bow has a different size and shape depending on which instrument is being utilized. For example, a cello bow is smaller than a bass bow. By holding the French bow, the player allows their right hand to grip the bow naturally. Holding The French bow for the bassist is similar to holding a bow by the cellist. To hold the bow correctly, the right hand must be relaxed and tenderly curved over the bow. The tip of the thumb should be pressed against the frog contact. The index finger should curve over the bow in order to touch the stick between the frog and the pad. The middle finger should also curve over the bow close to the bow's hair so the stick and the hair are located between the first two knuckles. The little finger should be placed on the center of the frog. If the frog has a small dot containing an inlaid pearl, the player should put the finger on top of the dot.

Example 3

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German Bow

The German bow has a bigger frog than the French bow. Thus requiring the player to hold the bow with the palm of right hand. The tip of the thumb should be placed on the stick of bow and the tip of the little finger should be placed under the frog next to where the hair of bow meets the frog. The first and the second finger work together and should be placed tenderly on the side of stick. Every finger should be at rest and relaxed (refer to the example 4). Both of the French and the German bows have their advantages. Therefore it is beneficial to the player to understand both bow techniques.

In order to draw the bow correctly it is principally necessary, that the arm is held in a natural, unrestrained manner and without coming in contact with the body. The movements of the upper arm are very slight, the elbow executing the most and the wrist being used for the most important ones. However the shoulder-joint of the upper arm must not be allowed to remain stiff, but must be kept responsive and very flexible. (New Method For The Double Bass, 5)

Example 4

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Chapter 4

The left hand

The left hand position is paramount when concerning the bassist. Proper technique on the left hand can assist the performer to produce a good intonation. When playing the double bass, the player only employs three fingers on a string. The 1st, 2nd and 4th fingers are primary use in classical methodology. The 3rd finger is commonly utilized to support the 4th finger. The 3rd finger is only used after the VI position because the 4th finger is unable to reach the string. The thumb is placed behind the double bass's neck between the 1st and 2 fingers. The thumb is vital because it balances the fingers while they compress a string. The shape of the left hand should be curved and it must look similar such as when holding a glass or a can of soda water. This technique is common in classical pedagogy called Hammer.

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Because Human are born with naturally curved fingers in both hand. To play with curved fingers, the finger hits the string curved and depress the string all in the same motion. (Double Bass the Ultimate Challenge, 41)

For the hammer pose, the left hand curves in order to assist the player to perceive a more accurate intonation, allowing the player to use more energy when compressing the string on the fingerboard. The angle of the left wrist should be straight and at rest so the player will be able to keep the top of the forearm and the left hand horizontal. The bassist should be conscious and aware of the left hand pose. The hand shape must always be curved. It must not be too bent or flat. Even when they move their left hand from another position to the next position the hand pose must remain the same.

There are many common problems in the left usage such as the bent left wrist, the collapsed finger or the left hand arch and unused fingers creating tension.

The position

The placement of the fingers of the left hand upon a higher or lower point of the fingerboard is indicated as a position. As the hand may be advanced to different points of the fingerboard we distinguish different positions; commencing at the nut or saddle and advancing in steps of one half-tone, these are named according to the higher or lower position of the interval. (New Method For The Double Bass, 6)

Pitches on the bass are created when the player presses their finger on the string. The positions are symmetrical in order to help the bassist categorize the fingering concept more easily. There are more than twelve positions that the bassist employs onto the fingerboard. The next page is a fingering chart, which guides the bassist to use the fingers on their left hand.

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The signs of the position The signs of fingers

h.p. refer to the half position. 1 refer to the first finger.

I first position. 2 second finger.

II second position. 3 third finger.

II half second and a half position. 4 fourth finger.

III third position. 0 open string.

III half third and a half position. + thumb finger.

IV fourth position.

IV half fourth and a half position

V fifth position.

V half fifth and half position

VI sixth position.

VI sixth and a half position.

VII seventh position.

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Thumb position

The thumb position allows the bassist to perform in the high register. The initial position is high G. The player places their thumb on the seventh position in order to produce the G pitch on the third ledger line in bass clef notation. The thumb position may be unusual when creating a walking bass line in jazz. Nonetheless, the position is exceedingly advantageous in a solo section. The thumb position also helps the bassist perform in rapid passages, facilitating massive intervals without too much shifting or moving across the fingerboard.

In order to press the string down, the player should use the side of their thumb, placing the base of their thumbnail on the string. For the beginner, pressing a string down can be painful and hurtful because there are not enough rough muscles in the thumb. The placement of the thumb position should be established where the player can produce a harmonic sound which is also the G note in seventh position as stated before. The index finger, also known as the 1st finger, is curved and touches the string to produce an A note. The player must verify that the A note is a whole step away from

the G pitch being pressed down by the thumb. The middle finger, known as the 2nd finger, is also slightly curved (less than the 1st) pressing the sting down to produce the Bb note. The pitch should be a half step from the A pitch. The ring finger or the 3rd finger is straightened out in order to produce the B pitch (refer to exercise 3). The bassist may slightly lean the instrument while they are playing in the thumb position. The thumb position seems to be perplexing or puzzling for many players, but it is similar to the preceding positions. It requires some time for player to become familiar with the thumb position.

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Example 3

Chapter 5

Shifting

In order to play the bass in multiple positions, the player may be unable to correct the intonation precisely. For example, when utilizing the 1st finger on the left hand to play the A pitch on the G string, and then sliding the finger to the D note in 4th position, it can be challenging for the player to keep accurate pitch. The shifting technique is an important skill that is required of every bassist. The technique is necessary to help the bassist when moving from one note to another more effectively. It also facilitates the expression of musical emotion from the player to the instrument. To utilize shifting, the

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left hand should gently touch the neck with low pressure in order to move the finger more flexibly. Next, press the finger down on the string lightly (It is strongly recommended that the player should start with the index finger). Thirdly, play the primary note and release the thumb pressure on the neck so the hand will be able to move naturally. Finally, start to slide the finger to the target note without stopping. The player should be able to feel the continuing motion between the primary note to the target note. There are two differences when shifting for the bassist. The first is the ascending shift and the second is the descending shift. For the ascending, the player should let the gravity assist most of the work. For the descending shift, there may be a contrasting problem because the left hand must work against gravity. The little finger is commonly used in the descending shift. The significance of the technique is the amount of pressure utilized in the fingers of the left hand. The bassist should not press the string too hard or too light. The perfect pressure should be enough for the player the press the string and slide naturally. Always pay attention to the pitch in order to make a correct stop when sliding the string.

Chapter 6

Vibrato

Vibrato is a technique that is not optional for the bassist. It is a musical expression, unique to the individual player. Vibrato is commonly used from slow tempos such as ballads to fast tempos such as samba or Latin music. This technique can be mysterious. The perception of vibrato normally comes from the innate aspect of playing. There are many different types of motions that the bassist can utilize when creating vibrato. In fact, the natural motion is the most valuable. This motion simulates an action similar to when a person shakes a can or a soda pop. To develop vibrato, the player places their left hand on the third position with their 2nd finger lightly touching the C# on the G

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string. Secondly, slowly begin bowing or pulling the G string. Then, start to shake the 2nd finger up and down slightly and naturally (like shaking a can) with low pressure. Keep concentrating on the oscillation of the pitch. While the 2nd finger is shaking, the other fingers should not touch the string, but stay relaxed in order to help maintain balance. It is important to keep the left shoulder down in relaxed position so it will create low pressure throughout the entire the left arm. This motion can be replaced by other fingers if the player is familiar with the 2nd finger. To vibrate the string, there are cooperation between the forearm, wrist and left hand. It is not accomplished by rolling the finger. Every part in the left arm has to work together to develop this technique. The pitch of vibrato usually is flatter than the written note; therefore the player must compensate in order to the produce the correct pitch. The player must listen to the pitch while they are playing vibrato. The usual problems for the beginner are putting to much pressure on the finger, holding the left arm too high, rolling the left hand and being capable to bring the pitch back to the correct spot.

Chapter 7

The Conclusion

In jazz music, the typical roles of the bassist are to keep the time and to narrate the chord progressions throughout the music by the walking a bass line. Many jazz bass books also help the player to improve their improvisation and created an outstanding bass line. However, learning classical techniques is a new challenging for the jazz bassist. These techniques can help the jazz bassist to improve and develop their skills strongly and quickly. The classical pedagogy may assist a jazz bassist to understand the physical aspects of their hands and their body correctly. For example, the left hand position is the

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technique that facilitates the player to understand the fundamentals of fingering on the fingerboard. In order to perform in the high register, the thumb position technique will help the jazz player to organize their fingering more effectively. Shifting is the technique that jazz bassist need in order to play the note that skips positions across the string with more precise intonation. The author strongly recommends that the player should practice each exercise by using the bow so they will hear the pitch clearly and obviously. To practice the exercises, the intonation is the principal concentration, therefore is important to practice them slow if necessary.

Conversely, the different structures of the human bodies are unique. To create a fundamentally correct posture in standing and sitting position, the pose may be diversely dependent on the player's body. The best pose for the player would be a position facilitating control and performance of their music naturally not causing any muscle or body injury.

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Bibliography

Bradetich, Jeff. Double bass The Ultimate Challenge

2009, Gainesville, Texas U.S.A.

Zimmerman, O.G. Elementary Double-bass Method

1939, New York, U.S.A.

Simandl, F. New Method For The Double Bass

1984, Bleecker Street, New York, U.S.A.

Wikipedia, Bow(music) http://en.wikipedia.org/wiki/Bow_(music)