I should also say...folks, there are pages and pages of rhythmic variations (Galamian) out there to cut your teeth on, or get dizzy trying. Lauren has done a fabulous service identifying a perfectly "do-able" number of them that are essential, most helpful, and well-tiered in terms of challenge (the second is a little harder than the first, third a little harder than the second.) This lesson really is some of the best advice on the internet. Brava.
Great Exercise, It's one of Jeff Bradetiche's practice techniques (and he probably got it from Galamian). But there is a little thing that Lauren is actually not explaining right. The rhythms she is using are: 1.) dotted 16th and 32nd, 2.) dotted 32nd and 16th 3.) 8th and 3 16th note triplets 4.) 2 16th note triplets and 2 8th note triplets. By practicing this way, you playing slow but are already executing some parts at the original tempo. The 32nd notes at a tempo of 60 have the same speed as the 16th at twice the tempo...
Hi Lauren, You're an amazing teacher and player. Thank you so much for your clear and detailed tutorials. Do you have tutorials where you discuss using legato style pull offs, similar to electric guitar, where you would make one bow stroke and then use the left hand to generate two or three notes off one bow stroke? I'm coming from an electric bass background, know nothing about arco playing, but was wondering if this is something you or Edgar Meyer used when you really start playing those ultra fast passages.
Super awesome. I have a question I think anyone who goes through this practice will come to appreciate, so hopefully you can satisfy us hungry masses. As you approach performance tempo, the variations become (exponentially?) more difficult than your target, the straight rhythm. It might even be a passage that's really only playable in straight rhythm. Do you carry these variations ALL the way up to performance tempo? Is this is a case of "try it out, it might be flubby, but the straight rhythm will feel so much better after trying?"
The original is all in equal note lengths (1/16's). Do you have an established way to apply such rhythmic variations to a melody that itself has rhythmic variety?
Hey there, I play the passage with the written rhythm each time before and after I apply the rhythmic variations. So, I take the tempo down to half tempo (in this case, the tempo is about 120, so I take it down to 60), play the section exactly as written, then do all four of the rhythmic variations, and finish with playing it as written again. After that, I'll bump the tempo up by 10 clicks and repeat.
queste sono le stesse tecniche che di usano per il violino. Finalmente la scuola per il contrabbasso si evolve. Comunque bene, forse un pochino l'intonazione ogni tanto.
I should also say...folks, there are pages and pages of rhythmic variations (Galamian) out there to cut your teeth on, or get dizzy trying. Lauren has done a fabulous service identifying a perfectly "do-able" number of them that are essential, most helpful, and well-tiered in terms of challenge (the second is a little harder than the first, third a little harder than the second.) This lesson really is some of the best advice on the internet. Brava.
Great Exercise, It's one of Jeff Bradetiche's practice techniques (and he probably got it from Galamian). But there is a little thing that Lauren is actually not explaining right. The rhythms she is using are: 1.) dotted 16th and 32nd, 2.) dotted 32nd and 16th 3.) 8th and 3 16th note triplets 4.) 2 16th note triplets and 2 8th note triplets. By practicing this way, you playing slow but are already executing some parts at the original tempo. The 32nd notes at a tempo of 60 have the same speed as the 16th at twice the tempo...
I love the way you play and the way you teach.
@Lauren
Thanks for sharing this exercise. I started using it and I can really see benefits after only few days!
Thank you for the class
Great , I love Your thinking. Useful.
I like You always explain the reasons why to practice it. Always it has logic.
absolutely charming and informative, Thank you for sharing that great exercise!
Great lesson Lauren. Thank you very much.
Great tip Lauren. Great job as always.
thanks so much for the advices.. they are son useful.. for me
Hi Lauren,
You're an amazing teacher and player. Thank you so much for your clear and detailed tutorials. Do you have tutorials where you discuss using legato style pull offs, similar to electric guitar, where you would make one bow stroke and then use the left hand to generate two or three notes off one bow stroke? I'm coming from an electric bass background, know nothing about arco playing, but was wondering if this is something you or Edgar Meyer used when you really start playing those ultra fast passages.
We don't have a lesson specifically on legato phrasing, but this lesson on trills might help. discoverdoublebass.com/lesson/double-bass-trills
Aren't those 16th and 32nd notes? or am I interpreting the metronome wrong?
Can you guys make a video about bottesini? Like how to understand his works and so on :)
That's an interesting topic! We'll look into it for sure :)
+Lauren Pierce i hope you guys would consider it coz it seems to me that youtube is lacking on bottesini. :)
Super awesome. I have a question I think anyone who goes through this practice will come to appreciate, so hopefully you can satisfy us hungry masses. As you approach performance tempo, the variations become (exponentially?) more difficult than your target, the straight rhythm. It might even be a passage that's really only playable in straight rhythm. Do you carry these variations ALL the way up to performance tempo? Is this is a case of "try it out, it might be flubby, but the straight rhythm will feel so much better after trying?"
The original is all in equal note lengths (1/16's).
Do you have an established way to apply such rhythmic variations to a melody that itself has rhythmic variety?
Also had this question
Hi Lauren do you have a PDF of this lesson?
I'm afraid we don't.
At what point do you play the actual -- as written -- rhythm for that section?
Hey there, I play the passage with the written rhythm each time before and after I apply the rhythmic variations. So, I take the tempo down to half tempo (in this case, the tempo is about 120, so I take it down to 60), play the section exactly as written, then do all four of the rhythmic variations, and finish with playing it as written again. After that, I'll bump the tempo up by 10 clicks and repeat.
+Lauren Pierce Thanks! Will give it a whirl on a passage that's giving me fits. :)
queste sono le stesse tecniche che di usano per il violino. Finalmente la scuola per il contrabbasso si evolve. Comunque bene, forse un pochino l'intonazione ogni tanto.
Выпадаете из метронома!
Well... talking about rhythm without being precise with the metronome doesn't seem to be a problem...
What are the dots on your fingerboard? Is that a beginner bass?