Wolf, Michael Barry - Principles of Double Bass Technique
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  • Wolf, Michael Barry - Principles of Double Bass Technique

Wolf, Michael Barry - Principles of Double Bass Technique

Catalogue No: ED8732
Product FormatBook
ComposerWolf, Michael Barry
£22.99
Typically dispatched in 5-7 working days
SeriesMusic studybook
Pages242
Publication Date25 June 2007
ISBN9783795787325 (3795787327)
'What do I do when I want to produce this sound and am unable to?' The book 'Grundlagen der Kontrabass-Technik' by Michael B. Wolf provides detailed answers to such questions. With the help of a detailed programme, the pupil will quickly learn the purely technical elements which are indispensable for artistic expression. Topics such as bowing technique, change of position, vibrato, right-left coordination, intonation or performance preparation condense into an increasingly complex system that always takes all technical and intellectual aspects of sound generation into account. Although many techniques of this method represent a radical breach of tradition, they can be easily used for all double-bass methods and playing techniques. Michael Barry Wolf, born in 1954 in the USA, is professor of double bass at the Berlin Universitat der Künste. He studied music at the CaliforniaStateUniversity and was member of the San Diego Symphony Orchestra. His radio and disc recordings as well as numerous concert activities and master classes at home and abroad have always received great critical acclaim.

Contents

  1. Foreword
  2. Section One: Weight and Posture
  3. Varying effective weight
  4. Progression of muscular support from back to arm
  5. Progression of muscular support from hand to arm
  6. Manipulating weight through posture
  7. Posture and motion
  8. Section Two: Motion Analysis
  9. Types of motion
  10. Fulcrum placement and inherent frequency
  11. Active and passive modes
  12. External and internal resistence
  13. Sensory training
  14. Compromises
  15. Section Three: Simple Motions
  16. Pectoral girdle
  17. Upper arm
  18. Lower arm
  19. Wrist
  20. Section Four: Complex Motions
  21. Pectoral Girdle/Upper Arm
  22. Upper Arm/Lower Arm
  23. Lower Arm Extension/Rotation
  24. Wrist/Fingers
  25. Left hand fingers
  26. Consecutive motions
  27. Section Five: Right Hand Technique
  28. Physics of the bowed string
  29. Bow grip and weight
  30. Tone production
  31. Bow speed
  32. Bow changes
  33. String changes and double stops
  34. Tone colour
  35. Dynamics
  36. Modes of bow motion
  37. Bowings
  38. Additional colours
  39. Section Six: Fingering
  40. The four-finger system
  41. Left hand position
  42. Left hand strength
  43. Fingering patterns
  44. Thumb position
  45. Extansions
  46. Contractions
  47. Replacement
  48. Trills
  49. Fingered fourths
  50. Using the thumb in the lower position
  51. Harmonics
  52. Choosing fingerings
  53. Section Seven: Shifting
  54. Analysis
  55. The "short" shift
  56. The "long" shift
  57. "Borrowed" notes
  58. Section Eight: Vibrato
  59. Analysis
  60. Execution
  61. Vibrato and shifting
  62. Vibrato and fingering
  63. Vibrato as an expressive medium
  64. Section Nine: Left Hand/Right Hand Coordination
  65. Analysis
  66. Fingering and bowing
  67. Shifting and bowing
  68. Shifting, fingering and bowing
  69. Section Ten: Intonation
  70. Analysis
  71. Tuning the instrument
  72. Ear and tactile training
  73. Section Eleven: Scales and Modes
  74. Tetrachord fingerings
  75. Modal fingerings in the Lower Positions
  76. Modal fingerings in the Thumb Position
  77. Overview modal fingerings
  78. Scales Studies
  79. Short shift scales
  80. Triplet patterns
  81. Section Twelve: Practicing
  82. Physiological basis of learning
  83. The learning process
  84. Practice principles
  85. Practice techniques
  86. Practice aids
  87. Section Thirteen: Preparing for Performance
  88. Practice vs. performance
  89. Transition from practice to performance
  90. Developing a Philosophy of Music
ED8732