rufus reid evolving bassist ebook download

The reach far playing on the G string is more extended than that of the slanted position. the leverage is not quite as strong far pizzicato as in theįigure 14 14 slanted position.

I suggest using this positiono Figure 15 illustrates positioning,similar to that needed far the cella. ~LWF0000 Figure 14 illustrates a sitting position that is found by slanting the bass into the bodyo Just as in the standing position, the angle is found by use of the bow on the E stringo One advantage in sitting is that the bass is stationary and does not need to be heldo To play on the G string and up the board you must lean into the basso A good leverage far pulling the strings can be found in this position. Play slowly unti1 you are able to make the transition smoothly and accurately.įile:///C|/DOCUME~1/ADMINI~1/LOCALS~1/Temp/~LWF0001.htm (1 di 3) įile:///C|/DOCUME~1/ADMINI~1/LOCALS~1/Temp/~LWF0001.htm (2 di 3) Remember to keep your elbow up and concentrate on the “claw” feeling. Practice and concentrate on the positioning of each and every feeling. A tattile feeling is very important to develop on any fretless, stringed instrument. Practice unti1 you can do it accurately with your eyes closed. Use a mirror if possible to watch the form of your fingers and position of your arm as it moves up the board.

Continue this process to the next ottave. It should, however, be touching the string as in Frame 5. Don’t worry about the thumb at this point, it Concentrate just moving the arm into position. As you shift your arm, release the second and third fingers and keep your first finger down and slide it quickly to A with no resistance from the thumb. Notice the thumb is stili back on the neck. In Frame 4, the third finger extended is G, an ottave higher than the open G string. Frames 3, 4, 5 illustrate the crucial part of the transition. Figure 13 shows me playing a chromatic scale in two octaves beginning with “open G”.

Rufus reid evolving bassist ebook download