Vault Video: Franz Schubert - Arpeggione Sonata, movement 1 (double bass)
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- Опубліковано 9 лис 2015
- A video I found while looking through some old things! My good friend and fabulous pianist Emily Yates and I recorded this video for some auditions I had. It's fun traveling down memory lane! :)
Lauren Pierce, bass
Emily Yates, piano
Audio and video by Jason Scott Phillips
Recorded in Voertman Hall at the University of North Texas
Download my Practice Guide
lauren-pierce.ck.page/practic...
In it, we cover:
•Foundations and Routines
•Identifying the Type of Practicer You Are
•Planning Your Practice Session
•Tinkering
•Slow Practice
•And How I Use A Practice Journal
I use these exact approaches with my students in my signature program, The Virtuosity Blueprint.
laurenpierce.lpages.co/the-vi...
+Joe Warnecke - I can't reply to your comment, so I hope you see this. Thank you! I personally use Pirastro Original Flatchrome Solos, but it depends on what you're looking for sound-wise and what you're using them for. If you're playing a mix of orchestral and solo music, Pirastro Permanents (in orchestra tuning) would work well.
That being said, whenever I play an orchestra gig, I take my solos off and put on Bel Cantos. Those are really great for orchestral music, but I don't like playing solo music on them.
Thank you for sharing. Very well done!
What a beautiful sound you have here, Lauren. Way to go, as always! :)
I loved this! beautiful!
Wonderful Sound!!! I love you Lauren Pierce !!!
I love playing this piece on bass. Great job. I really like how warm your tone sounds too!
The ending of this piece is incredible. Amazing performance and such a clean sound. Congrats! You know every string instrument is so difficult but the double bass is challenging! You're always an inspiration! I just got home very tired but I'm gonna practice. Thanks!
So pleased to have come across this great performance.:-))
Great left hand and incredible control of the right. Your playing is inspirational.
you have such incredible tone... it's amazing
with double bass as more nice as with cello, beautiful ! thank you !! piano too !
love song beautifull !! (: you admirer Lauren.
Sooo goood 👌
Very, very nice.
Congrats, I know how hard it is to play solos and record it; you are doing a great legacy on your own and keeping the bass alive. Few people believe in this instruments as soloist.
+tonadamusic1 Thank you! :)
Hi Lauren, Great playing!!!! It's so great to hear the great sound of the bass. A sound I fell for 9 years ago. I was wondering what type of bass you use, and what strings you use?
The woman is a bass playing BEAST! And then some.
I'm currently working on this piece! You killed it by the way. It's very challenging. Do you have a recommendation for strings? I noticed you used solo tunning but what type of standard strings do you like?
ডাবল বাস এর গভীর একটি মিষ্টতা আছে, যা এই অসাধারণ শিল্পী নিপুণ ভাবে তুলে ধরেছেন। এত সুন্দর একটি সুর উপহার দেওয়ার জন্য অনেক অনেক ধন্যবাদ।
Wonderful! You're close to the tempo of the first recording I ever heard, by Cellist Lynn Harrell. Your description of your instrument particularly speaks to me, because for years I played a fiddle that had a wonderful voice, but was judged to have a fake label of a truly obscure luthier, and showed all the mongrel characteristics of having been cobbled together by a brilliant but self-trained fiddle-maker. Meanwhile, in more than a decade of searching for something beyond my student fiddle, I'd played fiddles appraised at more than $100K. Seemingly that was for the documentation, NOT the voice. I met LOTS of fiddlers who bragged about the pedigree of their instrument, then proved themselves incapable of playing two notes back to back in tune with each other. Ah, well! You seem to have a LOT of fun playing. Thanks for Sharing.
Very well played! This goes for all your videos but this one is definitely one of my faves. Do you have any originals you can direct me to? I've seen almost all your videos and they seem to be "covers" unless I missed the originals. I'm very curious what kind of music naturally comes out of you.
Great performance !!!! I want to ask you about your seating position. I noticed that you have flat feet on the floor which makes the instrument more forward and thus a g string is more away from you. I noticed that when you reach the top while playing down bow your arm is always slighty bent. Does it make strain in your shoulder?
Lauren! Your sound quality is always over my head, and so is your playing. What mic do you use?
On a different note altogether, I'm always impressed by your clean string crossing!
+Happy Yang Thank you! I unfortunately don't know what mikes Jason used for this recording, sorry! Wish I could be of more help.
+Happy Yang not sure but from this distance the mics look a Brauner Phantera
молодцы!
This is some phenomenal tone! Is this in standard tuning?
Bravissima
Wow, impressive. My daughter is learning this piece on the viola right now. It really seems pretty much more difficult with the "wardrobe" (please no offense: I play the bass myself)
Really good
Wonderful! Now this is also my favorite rendition of this beautiful piece alongside maestro Paradzik's.
I see that in your earlier videos you used white hairbow, but in more recent videos you're using black hairbow.
Are there really significant differences between the two (like more grip etc.)? And if you don't mind I would love to hear your suggestions and tips for hairbows (or the bow in general) and rosin. Thank you, Lauren!
+Adrie Pramudya Thank you! It's such a beautiful piece of music. I had a really great time revisiting it!
There is a different between white and black hair. White hair is finer, so you get someone clearer and more pristine tone. Black hair is coarser, so it grips the string and has much more bite to it. Some people find black hair to be too abrasive, and some people find white hair to not have enough strength - it's all preference. I had white hair for years when I decided to switch to black, just for something different. I like it, but I'll go back to white the next time I get a rehair (if I ever get around to getting one!).
The kind of rosin you use really depends on your taste and the kind of music you're playing. The rosin I use the majority of the time is Pops. It's really sticky, so it grabs the string just like I want it to. I love it when I'm playing in an orchestra, but it's also great for the kind of solo playing I do.
I've tried several different kinds of rosin over the years though. When I was at Brevard playing in a really humid climate, I would always find myself going for Kolstein All-Weather - it sounds nice and it stays on the string no matter what weather condition you're in. I've also used Bernadel Violin Rosin, which is incredibly light and very nice for something like Bach. Pirastro Cello Rosin is a bit stronger than the violin rosin, but still very light, not too grabby. There's a brand called Hidersine, and I've used their bass rosin - I have a student that's crazy about it, but it didn't work so well for me. It's sort of a middle ground between Kolstein and Bernadel.
I did pick up some oak rosin over Thanksgiving, which I've been trying out since then. I'm not quite sure how I feel about it - I have a feeling I'm just going to go straight back to Pops, my old faithful. :)
I love playing the double bass. It is so sultry and amazing to listen to. The only part I dislike about playing the bass is that anytime my orchestra starts a new piece the bass part is always too easy and so boring to play. I just want to play something exciting for once. :|
Welcome to the world of bass playing ;)
Seriously though, I totally get you. The key to my happiness and fulfillment has been to play orchestral music and also explore other projects in different styles/genres (solo music, folk music, jazz, etc.). It also important to recognize what role you play in each setting. While the parts in orchestral music aren't always the most challenging or even inspiring by themselves, they play a huge part in the harmony, timbre, and texture of the music.
Bass players are often told we're the foundation as a way to make us stop whining, but it's true! The music wouldn't sound the same without our perfectly crafted parts, in the same way it wouldn't sound the same without the violins, percussion, oboe, etc. Once I was able to identify exactly how my part affected each piece, it became a whole new ball game for me.
But, I do still need to play my solo music to scratch the "diva itch" :)
excelente... me ayudan con las partes porfa...
Do you have any tips for not messing up under pressure I have that REALLY bad I went to try out for regionals (I made it bc only two basses got cut lol and I also made it in full) but I could have done sooo much better if I wasn't so nervous. How do you get pass this stuff and control your nervousness. I'm 13 and I've been playing for almost two years and I could never give up bass. Go girl bassists! Also one more thing do you know how to get better tone? Thank you for your time! YOU ARE AMAZING
+Emiley Goodrich Hi! Congratulations on making regionals! You should be proud of yourself :)
Nervousness for a performance is actually a great thing if you know how to control it well. When you're nervous, it means you're excited - that's the energy that will transfer into a beautiful and heartfelt performance. But, it does take time to learn how to control those feelings.
If you haven't read The Inner Game of Music by Barry Green, I highly recommend it. I used to have terrible performance anxiety and that book really helped me. The most important thing for me was realizing that any physical symptoms I was having (shaky hands, sweaty palms, fast heartbeat, etc) were not going to affect my playing. I would tell myself, "Yes, my palms are sweating, but that isn't going to cause me to make mistakes." Whether that's true or not, it always helps in the moment to calm my mind.
Another thing I like to do is deep breathing. I meditate every day, so sometimes I do this in tandem with meditation, but usually I'll just find a clock that ticks (either on my phone or one on a wall somewhere) and breath in for 6 beats, pause for 6 beats, breath out for 6 beats, etc. You can change the length of the breath and pauses, but getting your breath consistent helps slow your heart rate, which also helps you calm down.
Also, visualization is incredibly effective. Close your eyes and visualize where you'll be playing and sort of go through the motions of the performance or audition in your mind - what the space will look like, what warm ups you'll do, walking up to the stool to play, going through the piece, finishing the piece, turning around and leaving, etc. I did this every day for 2 weeks before my first big recital and I can't tell you how helpful it was.
Try all of these and see how they work for you. Most importantly, keep putting yourself in scary situations outside of your comfort zone. The only way to get used to performing is to keep performing!
As far as tone, that's a much bigger conversation. Shoot me an email and we'll talk: laurenpiercebass@gmail.com
+Lauren Pierce thank you!!! I will try this!
How long have you been playing? I just started cello and I'm really beginning to consider your level of playing my goal!
+Lalondaye Aw thanks! :) I've been playing bass for about 15 years.
Oh wow! I hope I can play as well as you someday! Thanks!
I stumbled on a crowd sourcing campaign you launched to fund a new bass a while back.Is this the bass?
Can u tell us about it!
Great playing!!!
+Andrew Flores Yep, this is the bass! It's a small Italian bass ca. 1850s, unknown maker. It was actually sold to the previous owner as a Guadagnini but sadly, it's not one.
It has the measurements of a 1/2 size bass, but it was sold to me as a 5/8. It's got a great high register and a beautifully boomy low end, great for orchestral or solo playing. And it's just my size :)
Chère Lauren,
Do you know how is instrument “Arpeggione❣️⁉️
Do you know how is instrument “Arpeggione❣️⁉️
Beau
are you playing it in the original tuning but using the solo tuning and traspose everything? are you catching me?
+Angel Chavez I'm in solo tuning, and playing it down a step from the original score so it sounds in the original key, A minor. So, I'm playing in G minor, but it sounds in A.
+Lauren Pierce it's what i thought, it's a great idea but if someone it's not used to will have to think a lot :).
thanks for your prompt answer
and keep up the great job
+Lauren Pierce and beautiful schubert, it's and easy piece.
+Angel Chavez Easy?! Hahah this piece is a lot of things, but easy is definitely not one of them!
Also, there is a part specifically written for bass players in solo tuning, so I'm not transposing at sight. I did that with the Franck Sonata back in college and would rather not do it again :)
+Lauren Pierce i was trying to say, not easy, was probably the cell phone who make a correcton jejeje i know it's not because i hace learnd that piece and have a lot unconfortable parts.
sorry for the mis understanding.
#58_fine🇺🇸
también te odio eres muy buena ;-)
+jose andres herrera coronilla Lo tomaré como un cumplido :)
si eso es :)
Why didn't married 🤣🎻🎻🎻 we could do it for ever🤣🤣🤣
Hi Lauren you did really great but I feel that you could do way better let me give you some things you could’ve done better on #1 you did some accents that weren’t really necessary and I feel that you could down by the bridge that would’ve gave it a nicer sound so the bow won’t make that weird sound it sounded off to me there were some intonation issues so I think you should fix that I hated how you delayed the vibrato because I feel this piece isn’t really for that delaying vibrato but other wise you did great