Bravo maestro! This is the exact tempo. A lot of people play it slower on UA-cam, and Beethoven didn't mean it that way. The tempo is written allegro with 92 bpm and that's the speed at which it should be played.
I think the string set is Pirastro Eva Pirazzi Orchestral tuning. Eva's don't seem to work well on every bass. They are aguably more suitable for bowing. D'addario Helicores are the only ones that I know of which have specific sets for pizz, bow, or hybrid. Thiomastik makes the most traditional strings, Spirocores being more suitable for Jazz/pizz and Belcantos being more suitable for Classical/bowing playing. There are some double bass players who would argue that Evas and Spirocores are "hybrid" strings which will go well on both genres. I think it is all a mix of taste, opinion, instrument, and skill. Enjoy the Music :)
Hello again. In the Symphony No. 5 of the trio section, is the bow being bounced off of the string to create the speed or is it directly on the string? Also, how is this practiced? Any thoughts, thanks!
@@Badtvset in an orchestra the double bass section may sound like a big legato when 9 basses are playing fast 16th note phrases. Then the rythmn would get practically undestingluishble. By using the spring nature of the bow and the string, what you describe well as "the bow being bounced off of the string" is used to produce "its own characteristic articulation", as deswcribed by Henry Portnoy on his book "Creative Bass Technique", and I qoute: "That can be described as a 'lighly marcato'. "Since the sound is obtained by bouncing the bow a glancing blow at the string, there is no sustained duration to the sound. In this sense it resembles the pizzicato. In speech a parallel would be 'Peter Piper' ". (page 8) (In fact, try repeating Peter Piper several times, it is clearly articulating every sillable). Therefore, I think it has to do with distinctive articulation, rather than speed, if that makes sense.
@@Badtvset In regards to Beethoven's Symphony 5, besides this wonderful video lesson upload showing Christian Ciaccio's valuable lesson that we may watch here, I have found a video upoload of the All-Star Orchestra performance of movements 3 and 4. It is also particularly good for double bass study, because the video editing shows a lot from a dedicated camera for the double bass, showing the performance by several other great contrabassists. Among those players is one of Henry Portnoy's pupils and successor to his double bass principal chair at the Boston Symphony Orchestra, once directed by Serge Koussevitzky. I constantly watch all these videos over and over, and there is always something to learn every time
I might be your bow, your bass (reactivity, vibration easy to get or not) or maybe something to adapt in your gesture (weight/speed of the arm when starting a sound).
Bravo maestro! This is the exact tempo. A lot of people play it slower on UA-cam, and Beethoven didn't mean it that way. The tempo is written allegro with 92 bpm and that's the speed at which it should be played.
I love Mr. Ciaccio's playing. So full of character!
Thank you for watching!
Is your technique spiccato or staccato? Thanks a lot
Amazing channel!
Glad you enjoy it!
What kind of strings do you use? Strings for solo work? Orchestral; hybrids? Beautiful playing. Thanks.
I think the string set is Pirastro Eva Pirazzi Orchestral tuning.
Eva's don't seem to work well on every bass. They are aguably more suitable for bowing.
D'addario Helicores are the only ones that I know of which have specific sets for pizz, bow, or hybrid.
Thiomastik makes the most traditional strings, Spirocores being more suitable for Jazz/pizz and Belcantos being more suitable for Classical/bowing playing.
There are some double bass players who would argue that Evas and Spirocores are "hybrid" strings which will go well on both genres.
I think it is all a mix of taste, opinion, instrument, and skill.
Enjoy the Music :)
Hello again. In the Symphony No. 5 of the trio section, is the bow being bounced off of the string to create the speed or is it directly on the string? Also, how is this practiced? Any thoughts, thanks!
@@Badtvset in an orchestra the double bass section may sound like a big legato when 9 basses are playing fast 16th note phrases. Then the rythmn would get practically undestingluishble.
By using the spring nature of the bow and the string, what you describe well as "the bow being bounced off of the string" is used to produce "its own characteristic articulation", as deswcribed by Henry Portnoy on his book "Creative Bass Technique", and I qoute: "That can be described as a 'lighly marcato'.
"Since the sound is obtained by bouncing the bow a glancing blow at the string, there is no sustained duration to the sound. In this sense it resembles the pizzicato. In speech a parallel would be 'Peter Piper' ". (page 8)
(In fact, try repeating Peter Piper several times, it is clearly articulating every sillable).
Therefore, I think it has to do with distinctive articulation, rather than speed, if that makes sense.
@@Badtvset In regards to Beethoven's Symphony 5, besides this wonderful video lesson upload showing Christian Ciaccio's valuable lesson that we may watch here, I have found a video upoload of the All-Star Orchestra performance of movements 3 and 4.
It is also particularly good for double bass study, because the video editing shows a lot from a dedicated camera for the double bass, showing the performance by several other great contrabassists.
Among those players is one of Henry Portnoy's pupils and successor to his double bass principal chair at the Boston Symphony Orchestra, once directed by Serge Koussevitzky.
I constantly watch all these videos over and over, and there is always something to learn every time
Pretty sure he uses belcanto solos for solo stuff
The best!👏👏👏
Glad you enjoyed the video!
6:35 My bow doesn't grip that well...!! :( Any recommendations? I've already re-haired just a few months ago, and using medium Helicore strings.
Use more rosin
Not all rosins are born equal. Carlsson and weidoeft are nice and grippy
I might be your bow, your bass (reactivity, vibration easy to get or not) or maybe something to adapt in your gesture (weight/speed of the arm when starting a sound).
Looks like he’s really inspired by Mr Ettore 😊
Ouch...