etude 1

Let's start exploring the 30 Etudes by Franz Simandl by digging into the first etude in the book. It's deceptively simple and has a few challenges in sustaining the bow and creating a beautiful, rich orchestral sound. Prof. Gaelen McCormick from Nazareth College of Rochester (NY) offers tips on how to practice this etude and what to look for as you work through the book.
Closed captioning by Gareth Montanarello ([e-mail])

[@kittypablo]

grazie! and thank you all for stopping by and listening!

[@sunray1803]

thank you so much, this is really helpful

[@manny75586]

This is giving me flashbacks of studying with my double bass teacher. Great videos

[@anthonykosoko7597]

Thank you so much. I am going to work through these!!

[@p89trd]

Thanks for doing this.

[@andecko]

thank you for posting!🙏🙏🙏

[@nianinjabeetz4491]

Thank You so much for these videos

[@taniaiorio]

Bellissimo suono!

[@basslover2401]

Thank you for your helpful video!

[@bass03783]

Really helpful! Thank you!

[@j.p.fitting9226]

thanks for this!
i like being able to hear it phrased & played correctly while I'm playing along &counting/ reading the dotted 8ths etc . The bass
sounds gr8 ! really rich in & amongst all that great wood lol ! cheers

[@andecko]

TANKS LOVE IT!

[@javier.sanchez]

Lindo sonido

[@ocarinabill9702]

This sounds quite a bit like that one phantom of the opera song music of the night

[@One-Bigg-Kydd]

Great tone...how do you keep your bow parallel to the bridge with a German bow?

[@kittypablo]

My theory is that you can't keep it parallel to the bridge bc of the arm position - holding the bow from the side. My goal is to keep the contact point the same as I draw the bow across. It's sometimes easier to do this by looking down at the bow rather than using a mirror. Then start to feel what motion your arm is using to hold that contact point.

[@One-Bigg-Kydd]

Thanks for your insight. I always ended up over-compensating for my up-bows which caused loss of tone.