|
#1
|
|||
|
|||
Quote:
For now how about we just wish him (this character) luck. He has quite a while to go and is a pretty good young player, he has established himself with a luthier who will get him through the lean times (me) and is following the advice of his teachers. Just to be clear, his goal is to audition and play in a professional orchestra. As far as auditioning with a Christopher bass I agree. But he will have prepared himself as his teachers have advised him. |
#2
|
||||
|
||||
Well done Ken, that looks simple and neatly executed.
I'd hate to lug that bass around though ... he almost needs a bull-bar to protect the top! |
#3
|
|||
|
|||
Thanks Matthew.
We put the bass in the bag and it did not fit. I advised him to cut a slot in the top and put a sock or something over it. |
#4
|
||||
|
||||
Quote:
matthew |
#5
|
|||
|
|||
One critique Ken (McKay). Since the E-side of the Fingerboard is beveled, it would have been nice to see the extension flush with that bevel and not have a little height difference in between. When fingering between E and E-flat in a rapid passage, you can easily cut your hand.
Overall, nice work. |
#6
|
|||
|
|||
Thanks Calvin, that is good advice.
The extension is beveled, just not quite as much as the Rhomberg. I did not notice any sharp edges but you point is well taken. |
#7
|
|||
|
|||
I only know of a few pieces that require the Contra B.
Respighi's Pines (most bassists just tune their low string down a semi-tone for that work). Berg's Wozzeck has a very exposed passage for solo double bass that contains a tone of Low B's, but this was written for a fiver. Brahms 2 has a tone of low B's if you check out the original two player piano version, today a lot of conductors will ask for the low b in that work. other than that....nada. Stick with the C...it also resonates with the open G string and you don't need to worry about banging your bass against the ceiling or door! |
Currently Active Users Viewing This Thread: 4 (0 members and 4 guests) | |
|
|