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#21
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#22
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I am agreeing with you, but I think a little is lost in typing rather than talking. BG |
#23
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#24
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![]() i downloaded all the chromatic shrutis here: http://www.karnatik.com/shrutibox.shtml
and use them sometimes for practicing. edit: practicing as described above by richard + playing scales, improvising edit2: improvising with that shruti always makes me feel like charlie haden playing the song "malkauns" on the fantastic (one of my favorites) record "brown rice" by don cherry ![]() edit3: please everybody buy that record listen here: http://www.amazon.de/Brown-Rice-Don-.../dp/B0000253J0 Last edited by Anselm Hauke; 10-15-2009 at 03:02 PM. |
#25
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I find this approach very helpful. If you have any more questions let me know. Brian |
#26
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![]() Call me Ron the silly badger if you like but, couldn't one just check one's scales by playing open notes and harmonics? For example:
C D (open D) E F G (open G) A B C D (harmonic D) etc... bearing in mind that harmonics up the series won't be in tempered tuning. You could even use open strings to check a Db scale - using weirder intervals. Any thoughts? |
#27
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#28
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I've also been known to check say a Db major scale against some strange intervals - Db against A, F against D, Gb against D, Ab against E and so on. But these are all insecure and most relative intervals - a G# against an E should be a whole lot lower than the Ab against its base Db. Or you could try to establish the sound of an Ab against open D. But you still have to be able to play the scale in tune, without stopping, which you simply won't do if you haven't worked out your hand shape properly, and taken into account that you have to "fight gravity" on the way down. In many cases, it's not the shiftings themselves that seem to be the big issue, but the components therein. Or again, if you have a too big or too small hand, even a perfect shift will make you end up in the wrong place. Hope that helps. |
#29
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Audiation- or internalizing the pitch, is the key to this. You must always hear the drone! Even when it is no longer playing. Also, I am advocating playing all the scales with it. Chromatic included. I have my students in the Rollez three octave scale study book, which each study concludes in a three octave chromatic scale. The drone works for these too. The biggest point I am trying to make is: If you can't hear it, you can't play it! Period. I feel that having students work with a drone forces them to play the "right" notes. I have thousands of hours of real time experience with this concept. It works. You can use your open strings, but that limits which scales you can play with the drone and which fingerings you can use. You need an external drone such as this:http://www.navarrorivermusic.com/cello_drones.php You can make your own with a keyboard, or even turn on a chromatic tuner to listen to. I guarantee this will improve your intonation, unless you are a top professional player that has perfect pitch. It improved mine. Seven of the ten bass players in our senior region orchestra are my students this year- it works for them. Give it two weeks. If you don't feel it has helped your intonation I will give you your money back! ![]() BTW, Joel- Pitch is not absolute... because no one is perfect. We are all relatively in tune or out of tune. Absolute pitch is a concept, not reality. Brian |
#30
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![]() Well, I do not question the validity of the drone, only its monopoly.
![]() Yes, in retrospect, I used the wrong words for the wrong things... a perfectly in tune scale is of course one that is properly intonated, and not tempered at all. Only that the Pythagorean comma very successfully makes perfect impossible... With 'absolute pitch' I refer to in tune with the tuner, i.e. tempered, piano tuning. I can only further stress your point that 'if you can't hear it, you can't play it.' That was precisely my case. I couldn't hear a tempered 2nd, so I couldn't play a tempered 2nd when required of me. Seconds and sevenths - major or minor - also happens to be those which are easiest to put in the wrong place, because they could be intonated in a huge variety of ways, or so it seems to me. Low major 7th if in a downwards movement, high it it leads to the next note, etc. Now discovering that I was unable even to play an in tune open D to E was alarming, because as a bass player, your most important role is to provide the fundamental note (and I didn't even have the "bread and butter area" at all as clear as I thought I had. ![]() ![]() That said, if you have the absolute pitch of the instrument perfectly clear and could even play any note in tune without any reference points, you may still not be able to play a perfect 3rd, because you haven't played with a drone or otherwise learned how to intonate according to what's around, or at all learned the basics of intonation. We need drones. We don't want to play with frets! ![]() |
#31
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![]() Well Brian and E. Joel have really knocked that nail on the head.
It's probably time to talk about tone. Here's a starting point... A good tone, apart from needing a good bow, rosin, bass and strings, might need these ingredients: a firm left hand with maybe a good vibrato, good bow placement and speed and a smooth transition between each note. |
#32
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![]() Make that placement, speed and weight/pressure, and you're there.
![]() As for placement, somebody told me the other day that "most of the time, you seem to stay in the 'comfort zone' closer to the fingerboard, and then you go towards the bridge only when necessary. You should try to usually stay closer to the bridge, and go closer to the fingerboard only when necessary." Good point. ![]() |
#33
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