A systematic approach to double bass fingerings for the classroom string teacher

UNCG Author/Contributor (non-UNCG co-authors, if there are any, appear on document)
Cody Rex (Creator)
The University of North Carolina at Greensboro (UNCG )
Web Site: http://library.uncg.edu/
Scott Rawls

Abstract: The purpose of this dissertation is to outline a systematic process for the creation of double bass fingerings that will aid the classroom teacher of intermediate to advanced high school bassists in the preparation of common orchestral and solo literature frequently performed by high school all-state and honors orchestras. Five sequential topics will serve as a systematic tool for creating fingerings on the double bass: (1) reverse mapping, (2) bowing coordination, (3) vibrato, (4) tone color, and (5) performance tempo. When paired with any double bass method, these points will function as a support mechanism to the technique, terminology, positions, and vernacular of the chosen method. Six existing double bass methods were chosen for brief review: New Method For String Bass by Franz Simandl; Méthode Complète Pour la Contrebasse by Édouard Nanny; Nuovo Metodo by Isaia Billè; Suzuki Bass School by Shinichi Suzuki; Nouvelle Technique de la Contrebasse by Francois Rabbath; and Progressive Repertoire for the Double Bass by George Vance. Examination of these methods will help to clarify finger patterns, fingerboard geography, and other idiosyncrasies unique to the double bass. Annotated musical examples provide a detailed description for why fingerings were constructed and how they function in the context of this music.

Additional Information

Language: English
Date: 2015
Double bass, Fingerings, Method
Double bass $x Fingering
Double bass $x Instruction and study
Double bass $x Methods

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