In days of yore, the beginning bass student usually started in half position (Simandl) and proceeded to creep ever upward -higher and higher. One began to get dizzy somewhere around E, F or F#. Insecurity in the upper register became commonplace until someone noticed that by placing the first finger on D (on the G string) -on the spot that also produced the D harmonic -and physically remembering the position of the thumb and its relationship to the curvature of the neck, one could leap from anywhere on the bass and hit those notes now under your fingers with great accuracy.
Thus was born the first reference point on the bass. Unfortunately, the placement of that neck curve is not standard on all basses. Keep that in mind when finding this first reference point. As you maintain a proper hand position, your thumb might just be touching the curve, slightly short of it or be firmly touching it. You must determine that point yourself but it is there and it is reliable. Most modem method books, such
as my "Practical Studies for Double Bass," have the student moving from the 1st position to this 4th position freely and very early in their studies to remove that
'fear of flying high.'
The next most common reference point, I call the "Pinch." By putting your thumb firmly into the neck curvature and 'pinching' down the first finger opposite the thumb, you should be on a solid, first finger Eb. Again, because of variants in carving the bass neck, you may have a slightly different 'pinch' point of reference but, again, it is easy to physically recall and is very accurate to leap to this point from almost anywhere on the bass Now, on the G string, you should have under you fingers Eb, E and F (F# if you can also use your fourth finger). On the D string, you have Bb, B, and C (C#). If I am moving on the G string to a first-finger Eb, I will remind myself by writing in PI over the note indicating pinch, 1st finger.
The third reference point is a little more tricky. I leave the thumb in the neck's curve and move the first finger 1/2 step further than the 'pinch' so it lands on E. I call this reference point the "Corkscrew" because of the configuration on the thumb and first finger and its resemblance to the shape of a corkscrew. Your second finger is now on F and the third is on F#. Again. this hand position is very easily learned and physically remembered. If I am leaping or starting on a high F and want to remind myself about the position. I will write in C2 - meaning corkscrew, 2nd finger.
The fourth reference point is optional because it is slightly more difficult for players with small hands I maintain the thumb between the curvature and the side of the curve and place the first finger 1/2 step higher than the corkscrew so it lands on F. I call this
the "Extended Corkscrew" and, physically, it is actually very easy to remember for normal to larger sized hands. Its value is mostly locating a high F# or G as a starting pitch and moving between F and G (El to E3). Again, it's easier to use an "E" before the fingering just as a reminder.
The more you use these points the easier they become. Leaps or portamentos of 4th, 5th, and even 6th cane be done with great confidence and will enhance your playing.
Thomas B. Gale
January 2000
Copyright © 2000, Thomas B. Gale
This work may be reproduced for personal use but cannot be published, sold, or otherwise included in any works without the permission of the author.
Visit the American School of Double Bass™
Manuscript images hosted courtesy of Gollihur Music
This page built from hardcopy and hosted by Bob Gollihur as reference material for fellow bassists, as an offshoot of the Double Bass Links page at www.GollihurMusic.com.
Return to Bob Gollihur's Double Bass Links page