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Double
Bass
Survival
Kit
Mr S Heron
NEELB
Contents
Congratulations on having been chosen to play the double bass! A whole world of adventure awaits
you. Sometimes learning something new can be frustrating. I have included some information in this kit
which will give you the knowledge to answer any questions you might have to get you off to a great
start. Just take one step at a time, don’t be afraid to ask questions and stick at it when things get tough.
You have started a wonderful adventure which will be a lot of fun and very rewarding. Onwards and
upwards!
Beginners
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Beginner Double Bass Shopping List
Quizlet
Double Bass Fingercharts
Gettin’ the ‘Know How’ to Practice.
Music Theory Factsheet No. 1
Puncture Repair Kit
The Smartie Game
Samurai Sword Bow
Bow Check List
Useful apps
Operation Bow
Listening Homework
Listening Homework – Record Sheet
Grade 1
Grade 1 Double Bass Shopping List
The Low Down on the ABRSM grade exams
An Aid to Sight-Reading for Grade 1 Double Bass, (ABRSM)
Grade 1 ABRSM Scale Flash Cards
Grade 2
Grade 3
Advanced Double Bassists
Advanced Students - The Art of Practicing
Cello/Double bass left hand technique
Double Bass Survival Kit
Scott Heron - NEELB
Beginner Double Bass Shopping List
Congratulations on having being selected to play the double bass, the lowest-pitched bowed string
instrument!
Your teachers and I have noticed that you have musical ability. It will be interesting to see how your
talent will blossom as I help you gain knowledge, technique and experience.
A wonderful musician said to me once that playing an instrument is just like playing a Playstation game
with infinite levels. The possibilities and opportunities are endless.
The double bass is used in lots of different styles of music, from classical, pop, rock, jazz, religious music,
etc. A good example of a contemporary player who is comfortable changing from one style to another is
Israeli double bassist ‘Adam Ben Ezra’. Watch his amazing videos on ‘YouTube’, such as ‘The Busker’.
But remember, you only get out of it what you put into it.
Your part of the bargain is to always do your best during the lessons and at home, as I am sure you will.
You only get out of it what you put into it.
The key to success in the double bass is practice.
Each week I will set you a homework. In order to complete this, I would recommend that you practice a
minimum of 15 minutes, 4-6 days per week. Of course, if you practice more than that, you will make
even faster progress. If you don’t think you can do this it would be best to let me know and we can
arrange to give the place to another student.
You will most likely be in a class with other students. We will try as best as possible to progress together
at the same pace. In order to do this it is important to have made an effort during the week to avoid
anyone getting frustrated from being held back.
If anyone has a problem please let me know and I am only too happy to help. Don’t ever be afraid of
making mistakes. That is how we learn.
I will be giving you a blue practice record. It is important for parents to fill in the amount of time spent
practicing every day in the appropriate box’s and sign this at the end of the week (see Instrumental
Tuition - A Guide for Schools and Parents).
As a reward for doing at least 4 days practice for 15 minutes per day and the form being filled in and
signed I will reward each student with a sticker.
When you are due to get your 10th sticker I will award you a really cool, special sticker!
Please buy these 5 items:
1)
‘Team Strings’ by Christopher Bull, Olive Goodborn & Richard Duckett. It is published by Faber
Music. This is a really fun book. Make sure it includes a backing track cd.
Scott Heron - NEELB
2)
A block of rosin. This helps the hair to rub against the string and cause it to vibrate, making a
lovely sound. A good make is ‘Hindersine’. I would recommend Hindersine Original Double Bass
Rosin.
3)
A cello stopper, also known as an end pin holder, or a blackhole. There are lots of types of these
on the market. I would recommend the ‘Sure Stop Cello Endpin Stop’. This can be used for the
double bass.
4)
An electronic metronome. This is an invaluable tool for developing a sense of pulse, a skill which
is vital for playing in any ensemble. There are many on the market. The one I would recommend
is Boss TU-80. It is reasonably priced and relatively simple to use. It comes with a tone generator
which can help you to work out if your strings are in tune or not. Alternatively, download a free
metronome app.
5)
It is not entirely necessary, but once you know what size of double bass you have, it is often a
good idea to buy a spare set of strings so I can replace a broken one immediately. A bit like a
spare tyre in a car. ‘Astrea’ is a reasonably priced beginner string. Alternatively you can buy these
as and when you need them, but you may be without a string for a week or so.
7)
There are numerous places where you can buy the above. I would recommend Amazon.co.uk.
You might like to check out a local music store such as Matchetts Music in Belfast (028 9032 6695)
or Nicholl Brothers in Ballymena (028 2564 9616).
Scott Heron - NEELB
QUIZLET
‘quizlet.com’ is a superb website which specializes in flashcards. I use it for 2 different purposes:
1)
LEARN ITALIAN MUSICAL TERMS
Amongst other categories it includes a list of the Italian terms that are necessary to learn for the
ABRSM theory exams and are useful to help you understand the Italian words you may come
across in sight reading part of the practical ABRSM grade exams. It is a tradition in music that
many composers used Italian as their common language giving tempo or expression directions.
You can use this in a number of ways:
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play a quiz game
3 different memorization techniques
print out the complete list of terms
print out flash cards
All of these are superb aids to memorization.
If you come across an Italian word in your sight reading or in a piece you are working on or in an
orchestra piece, check it out in quizlet and commit it to memory.
As well as helping you to make an appropriate tempo choice, you are also learning a bit of Italian
as well.
2)
PRINT OUT SCALE FLASH CARDS
An effective way of helping you to memorize your scales for the ABRSM grade exams, and to
increase your fluency, is to print off the scale cards that I have put onto quizlet. I have included
grades 1-3 for violin, viola, cello and double bass. Just follow the simple instructions.
Alternatively, use the cards included in this booklet. Start by applying Pritstick to the b ack of each
card and glue together. You now have a pack of cards with a front describing the scale and a back
telling you what grade they are. Shuffle them and pick up the top card. Turn it over and play the
scale. If necessary use your scale book first, then try again from memory. Eventually try to avoid
using the book at all.
Once you have completed the first scale from memory, proceed to the next card and continue
until you have completed all the cards. Do this once or twice every day, trying to increase your
fluency. Perhaps start slowly using a metronome. Increase the pulse with every repetition until
you can play at the required tempo.
Picking a card at random replicates the exam scenario, as the examiner will not be ask you to play
them in order.
If you have an iphone or ipad you can also download the quizlet app. Have fun!
Scott Heron - NEELB
Scott Heron - NEELB
Gettin’ the ‘Know How’ to Practice
A TECHNIQUE FOR BEGINNERS
People often say ‘practice makes perfect’. That’s right, isn’t it? Well, it depends on the quality of your
practice. You want to aim to practise playing correctly more of the time, rather than practising your
mistakes. It’s common sense. The main problem that people experience is that they try to do too much
at once, and end up doing everything poorly. With this new technique we focus on one thing at a time.
We build each individual element and then move onto the next stage. Eventually you will be able to
combine the different elements of the music and multitask successfully. You can’t run before you can
walk! Therefore, let’s divide our practice into 5 stages:
1)
2)
3)
4)
5)
Listen
Rhythm
Notes
Other Musical Elements
Play
STAGE 1 – Listen to the CD
If at all possible, listen to a recording of the piece you are playing. This is the fastest way to speed learn
a new piece of music. Even without trying you will absorb lots of information about the rhythm, melody
and how the different parts relate to one another, the tempo, dynamics etc.
STAGE 2 – Rhythm is the Foundation of Music
Step 1: Listen to a cd recording of the music you are playing and follow your written music at the same
time by tracing it with your finger as it goes along. This will give you an idea of the overall shape of the
piece of music. At this point you may have encountered some difficulties and have some questions.
Points to look out for to help you answer your questions:
1)
2)
3)
4)
What is the time signature? Notes are often put into groups of 2, 3, or 4 and divided by bar lines.
What are the different note values in the music? Are you familiar with them?
What are you like at changing from one note value to another whilst keeping a pulse with your
metronome?
Take note of any repeat signs or DC or Dal segno signs.
Step 2: Then play the cd again for a second time and clap and count the rhythm out
loud. If possible tap your toe lightly to the pulse so that you feel the heartbeat of the
music.
Using a metronome: You may find that the tempo of the cd is too fast. In this case,
use a metronome. It you do not already have a metronome, buy one! Every musician worth his salt
should have one.
Set it to a slow tempo to give you time to get your brain around the rhythm and clap and count your
way through. Once you feel you have mastered this, crank your metronome up a few notches and try
again.
Scott Heron - NEELB
Ideally, aim to reach a little faster than the tempo of the cd. When you finally clap and count along to
the cd, it will feel easy and relaxed.
Happy days!
STAGE 3 – Make sure you are familiar with the 3 note facts.
Background:
When you see a note in the music it tells you a number of things all at once. It describes how long the
note lasts for and also what the note sounds like. When you play a stringed instrument like violin or
cello there are also 3 other facts you will need to know:
1)
2)
3)
The particular name of the note.
The finger you need to put down on the string to produce the sound.
What string your finger needs to be on to produce the sound.
You need to know these 3 facts all at once. It seems impossible, but with practice, you will be able to do
it. Flash cards are a great way to develop your fluency.
Now for action!
Step 1: Call out the names of the notes. (Do you know the lines & spaces? See Music Theory handout
No. 1)
Step 2: Call out the finger that you need to use. (See the note charts)
Step 3: Call out the name of the string you are playing on. Just do this once at the start of each new
change of string.
Step 4: Repeat the above with the cd. If you find the cd is too fast for you to work this out in time, use
a metronome at a slower speed, and repeat, getting gradually faster each time.
More experienced students:
When you are confident with this you will be able to multi task and see these 3 elements at once.
Bypass this procedure and instead look at the key signature and work out how this effects your fingering
such as close and extended 2nd fingers for violin etc.
STAGE 4 – Add other musical touches
Now that you have mastered the rhythm, tuning and fluency, try adding other musical elements, in no
particular order.
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Perhaps start with some articulation.
Once you are confident with this, add some dynamics.
Then some expression etc. The important thing is that you focus on one thing at a time.
If at any stage you notice a tuning error, go back and patch it up. You will be able to multitask and
balance theses different elements only if you have spent enough time working separately at each
stage.
Try to get as many opportunities as possible to perform music. Put on a concert at school perhaps
with others in your class. Enter yourself for a music festival. Enter yourself for exams. Go on a
summer music course. Play in church. Perform for relatives at home. When you are at home use
your imagination and pretend you are playing in a big concert hall with an orchestra in front of lots
Scott Heron - NEELB
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of people. With experience you will feel more comfortable performing and perhaps even play
better than you do on your own at home.
Try improvising to pop music, tv, etc.
Join an orchestra at school and/or the NEELB. You will make lots of friends, play great music,
improve your playing, especially your sight reading, and get lots of opportunities to perform and
travel.
This procedure may seem very slow and time consuming, but it really does work. In the long run it will
save you time, and build really good foundations in your playing, in particular your tuning.
STAGE 5 – Time to play your instrument, but focus on your tuning!
Tuning is the number 1 difficulty in playing a stringed instrument.
You will constantly need to pay attention to it.
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To do this, play through the piece slowly, with a loose sense of the pulse.
Play with a lovely big tone.
Use chaos notes (check against the open string.)
Ideally ask your folks, relative or friend to play the piano or keyboard along with you to give
yourself something to compare yourself to. Hopefully by this stage you will have memorised the
tune of the piece.
Use a chromatic tuner.
If you suspect you have played a wrong note, or just played a note out of tune, go back and fix it
and move on, like forward winding and rewinding a cd. Remember, you want to play correctly
more of the time, not practise your mistakes.
You may notice little groups of 2 or 3 notes. I like to repeat these. As I play them more
confidently, and accurately, I gradually get them faster and repeat them. Then I continue onto the
next note or next group at a slow speed. Try joining the notes or groups of notes together, like
pieces of a jigsaw.
Eventually, use your metronome. Put these small sections together to form larger sections.
Eventually join these larger sections together until you can play all the way through in one go.
Start slowly, and gradually get faster. When it is up to speed, play along with the backing track or
ask someone to accompany you on the piano.
Initially keep your eyes on the music 99% of the time in order to keep track of where you are. If
you need to, look quickly at your instrument for a split second, and back again to the music. Later
on, if you have time, you can try to memorize the music and not look at it at all.
Aim to play a bit faster than the cd. When you play with the cd, it will seem slow and easy.
Nobody said this was going to necessarily be fun. You may be able to think of a million other
things you would rather like to do, but your sacrifice will be worth it! Many other fine musicians
before you have travelled the same road and are glad they made the sacrifice. It is a means to an
end. There is no gain without pain.
Most of all, enjoy! Your effort in learning this new skill and honing your talent is well worth the effort.
It will be a blessing to you and other people.
Scott Heron - NEELB
Music Theory Factsheet No. 1
Double Bass
You are taking your first steps in learning to play the double bass. In order to do this, you need to learn
how to read music, and music has a language of its own!
General information –
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An author writes books, but a composer writes music.
Instead of reading words, musicians read notes.
Here are the different parts of a note:
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Each musical note tells you 2 things:
1)
The ‘duration’ of the note (ie, how long a sound lasts for).
2)
The ‘pitch’ (or sound) of the note.
1.
The duration of notes
A ‘note value’ refers to the duration of a note. Below is a list of some of the note values.
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You can see how one note value derives from another by looking at the note pyramid.
Notice how you half each note value to get two of the next type.
Also notice that each note has an American name (fraction name) and a British name:
Scott Heron - NEELB
Note Pyramid
Note
Rest
British Name
American Name
Duration
(in counts)
Semi breve
Whole note
4
Minim
Half note
2
Crotchet
Quarter note
1
Quaver
Eighth note
½
Semi quaver
Sixteenth note
¼
2.
Pitch
When you open your music you will notice that the notes do not live in outer space, but they are placed
on lines and spaces called the ‘stave’. This is where the notes live. Each note will have a different sound
(or pitch) depending on where it lives on the stave.
Each line and space has a name, not like Jack or Daisy, but after a letter of the alphabet. Did you know
that there are only 7 letters in the musical alphabet!
You can see why this is by looking at the piano keyboard:
Scott Heron - NEELB
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Notice how, on the stave, as you go from each consecutive line to space, or space to line, you go
through the alphabet.
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As you climb up the stave, you go up the alphabet, and vice versa as you go down. This is like
climbing up or down rungs of a ladder.
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In music you will soon come across scales. A scale is a sequence of musical notes in ascending or
descending order.
Remembering the names of the notes
Now we have a problem! With so many lines and spaces, how on earth will we remember all their
names?
1)
Rhymes
One way is that we invent 2 rhymes, one to help us remember the lines, and another for the spaces.
The first letter of each word gives us the particular alphabetic letter name of the note:
5 Lines
Anything
Fear
Don’t
Bears
Grizzly
4 Spaces
Grass
Eat
Cows
All
Another way of remembering the names of the lines and spaces of the stave is to think of your hand as
the stave. Each of your 5 fingers represents a line of the stave, and the gaps in between, the spaces:
Scott Heron - NEELB
Anything
Fear
Grass
Eat
Don’t
Cows
Bear
s
Grizzly
All
2)
Refer to the open strings
Another quick way of working out the lines and spaces is to remember the open string notes of the
double bass:
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Notice that two are all positioned on a space, and two on a line.
You can go up or down the alphabet from these notes, whichever is closest to the note you are
looking for.
So, test yourself often, and in no time at all you will know the names of the notes automatically.
What the mind repeats, it retains!
Scott Heron - NEELB
Puncture Repair Practice (PRP)
This is a technique to help with your tuning. The phrase ‘Puncture Repair Practice’ or ‘PRP’ for short, is
an analogy I use to compare fixing your tuning on the spot with fixing a puncture immediately.
Just say you were out for a drive with your folks and all of a sudden the car gets a puncture!
You have two options:
Option 1:
Carry on driving, but risk shredding the tyre which would necessitate eventually buying a new tyre to
replace it
Or
Option 2:
Replace the tyre with your spare tyre, which takes longer, but means you can go to Kwik-Fit at a later
stage and get it repaired for a fraction of the price. Remember, “No one fits quicker than a Kwik-Fit
fitter”. Try saying that 10 times!!!
The reason for this is a phenomenon called muscle memory.
When you place your fingers on the fingerboard, your fingers remember where you placed them.
You can use this to your advantage.
If you make a mistake, that is ok, but make sure that you fix it immediately afterwards, without driving
on.
This way you will condition your hand to go to the correct place more of the time.
It is slow, but works out better in the long run, building good foundations for your tuning.
The alternative is false economy.
Scott Heron - NEELB
The Smartie Game
The purpose of the Smartie Game is to develop the ability to play correctly the first time you play
something.
This is after all what we hope to do when we are performing, whether in a concert or for an exam.
First, go and buy a packet of Smarties, or perhaps ask your parents to buy them, telling them it is for
educational reasons and that I said it will help your practice.
Next, identify some aspect of the piece you are working on that is driving you round the bend. It could
be a shift, bowing, a tricky fingering, tuning, articulation etc. The main thing is to isolate 1 problem.
The reason for this is that if you multi task, you can overload your brain, and end up not mastering
anything properly.
The aim is to play your chosen extract 4 times in a row correctly.
Each time you play it correctly, you earn yourself a Smartie.
Place each Smartie in front of you.
If you can play the extract 4 times in a row correctly then you get to eat the Smarties.
If you make a mistake, go back to the beginning and try again.
This really heightens your concentration.
If you run out of Smarties then you can use any 4 objects, coins for example.
Just don’t swallow them!
Scott Heron - NEELB
Samurai Sword Bow Hold
In order to play dramatic accents try this exercise. It will get lots of bow speed into your accents. The
‘Samurai’ were ancient Japanese warlords. They were famous for their incredibly sharp swords, which
were like works of art. Think of your bow as a sword.
Next, make sure you have lots of room and swipe your bow to the right. Your objective is to make a
swiping sound, like a Samurai sword. Try swiping to the left now.
Once you have achieved this, try playing accents on your instrument and use the same amount of bow
speed. This will make them much more dramatic!
Give yourself lots of space, in order to be safe, and have fun!
Scott Heron - NEELB
Bow Check List
In order to establish a good bow hold, I think it is a good idea to break it down into 7 stages and go
through them consistently in order. This reinforces a correct bow hold and establishes it in your muscle
memory. When you are practicing and stop for some reason, go through your check list. In one practice
session you may repeat your check list several times.
Step 1:
Hold your hand out like a floppy paw. Make sure it is nice and relaxed. Your fingers should
be dangling down.
Step 2:
Pick up your bow with your left hand, pointing the frog to the right.
Step 3:
Move the bow into your hand so that your little finger is above the eye of the frog.
Step 4:
Move your hand down onto the bow until the bow is just above the first knuckle of your
index finger, from your finger tip.
Step 5:
Place the tip of your thumb just in front of the frog, on the wood.
Step 6:
Angle your hand to the left so that you lean on your first finger. This is called ‘pronation’.
Do this so much that your little finger sits on top of the stick.
Step 7:
Rest your bow on the string. Give the weight of the bow and your arm to the string.
Learn this rhyme and say it often:
'Ev'ry time you stop and start go through your bow check list, it's really smart'.
Scott Heron - NEELB
Scott Heron - NEELB
‘Operation’ Bow
Have you ever played the board game Operation?
It was one of my favorite games when I was a kid. For
those of you that do not know, the object of the game
is to extract random items that the patient has
swallowed with a pair of tweezers. If the tweezers
should happen to glance the side of the incision, the
patient screams! It is really good fun!
One of the most challenging aspects of playing the double bass as a beginner, is only playing one string
at a time, and avoiding glancing the other adjacent strings. You can practice this by playing long bow
strokes from the heel of the bow to the tip repeatedly.
Make sure that you watch where the bow meets the string. You will have to vary the height of your
elbow on each string. Your elbow will be highest on the ‘G’ string, and lowest on the ‘E’ string. Use your
imagination.
If you glance an adjacent string, it is like touching the hole in your patient’s tummy and he shouts out.
Have fun!
Scott Heron - NEELB
Listening Homework
You will often hear musicians say that one of the best ways to improve on your instrument is to listen to
other musicians play. I would certainly agree with this. It helps to give you an impression of what your
instrument is capable of. From an early age I was fascinated by watching musicians play. The visual side
of learning music is for me even more stimulating. By watching you can learn so much about the
technique required to get the most out of your instrument. If possible go and see a live concert, and
watch really good professional musicians. Perhaps the greatest reason to watch musicians is that it can
be really inspiring. I have often come from a concert and immediately taken my instrument out when I
got home because I was so inspired and wanted to try out a new idea I had seen. Going to a live concert
is not always possible. For that reason I would thoroughly recommend that you use YouTube. It is an
amazing resource.
For home work, I would like you to listen to a new piece of music for your instrument every week and
answer there 3 questions. Write the answers on the following Listening Homework Record Sheet, and
week by week you will surprise yourself as to how many pieces of music that you know.
Question 1:
What is the name of the performer?
Question 2:
What is the title of the music?
Question 3:
Who is the composer?
As well as listening to Classical music, why don’t you expand your horizons and listen to other types of
music. Perhaps start by listening to ‘Spike People Choir’, ‘Bottom Line Duo’ on YouTube. It will launch
you on a road of discovery that can shape the way that you develop as a musician.
Happy listening.
Scott Heron - NEELB
Listening Homework – RECORD SHEET
Name of the performer
Title of the music
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
Scott Heron - NEELB
Name of the composer
Congratulations on having completed your previous book/s!
You have probably been playing for a couple of years now, feeling a bit more confident than when you
started and ready to have a go at the ABRSM grade 1 exam.
It can sound a bit scary, but we have plenty of time. I would expect that we would not be sitting the
exam for at least 1 year.
Every journey starts with one step, so we will take it one step at a time and see how we get on, and have
some fun along the way.
Here is a shopping list of the 4 items you will need to get off to a good start:

Unlike the violin exam books where half of the pieces in the syllabus are contained in one book
with a cd, alas, there is no such book for the double bass. However, it is possible to buy one book
that has 2 pieces from each list for grade 1; ‘Time Pieces for Double Bass’, Vol. 1, arr Slatford
(ABRSM). To save yourself some expense I would recommend that you buy this. All of the pieces
are very attractive.

Buy the Grade 1 ABRSM Scales & Arpeggios Book from 2012 (green cover).
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Buy the Grade 1-5 ABRSM Double Bass Specimen Sight-Reading Tests from 2012 (blue cover).
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Perhaps buy the Grade 1-3 ABRSM Specimen Aural Tests, New Edition from2011 (brown and
orange cover). Make sure it includes 2 cds. Your school will prepare you for this, but I would
recommend doing work on this at home. For other alternatives see my handout ‘The Low Down
on the ABRSM Grade Exams’.
You need to play 3 pieces for your exam, one form each list A, B, & C of the syllabus. I have written the
titles down below. I will play the pieces for you in your lesson and you can decide which of the two
pieces you prefer most from each list. I may at some stage record the pieces for you and put them on
YouTube. I will keep you posted about this.
LIST (A)
1 Anon. Estonian - “Lament to the Moon” _______________________________
2 Blow - “Gavott” ___________________________________________________
LIST (B)
1 Michael Rose - “Ballad II” ___________________________________________
2 Schumann - “A Little Piece” _________________________________________
LIST (C)
1 Anon. Corn Rigs Quadrille ___________________________________________
2 Steve Berry - ‘A Little Blue‘ __________________________________________
Once we have chosen your 3 pieces listen to them repeatedly, following your sheet music at the same
time.
Scott Heron - NEELB
Try to memorize the melody.
How many little details in the music can you notice such as any crescendos and diminuendos, dynamics,
unusual rhythms, staccato notes, legato notes, slurred notes, separate notes.
The more of these little details that you can include when you come to perform, the better.
The examiner will be looking out to see if you noticed them.
It gives you such a sense of achievement to achieve your grade exams. It will be a lot of fun, but at
times you may find it frustrating. At times like this you will need patience, perseverance, and discipline.
You will get through.
I have taught hundreds of students that have made the journey and were so glad that they did.
I am really looking forward to starting this adventure with you!
Scott Heron - NEELB
THE LOW DOWN ON THE ABRSM GRADE EXAMS
There are 4 parts to the exam, which will occur in the order below. All 8 grades have the same format.
Grade 1 would be the equivalent of a white belt in Karate, and Grade 8 would be a black belt!
Part 1
There are 3 pieces, A, B, C. Each is worth a total of 30 marks. You will be accompanied by a pianist, who
will most likely be provided by your school or possibly the Music Service, depending on availability.
Make sure that each of your pieces has an accompaniment book. Most do, but occasionally they are
sold separately. Also make sure that you use original sheet music, and not photocopies. After your
performance your pianist will leave and you will proceed with the other 3 tests.
Part 2 – Scales & Arpeggios
These are worth a total of 21 marks. They need to be performed from memory. You will not be allowed
to bring your music with you into the exam. You will need to purchase the current scale book, from
2012.
Part 3 – Sight Reading
These are worth a total of 21 marks. There are very specific requirements which you should be aware of
for each grade, which will vary a little from one instrument to another. I would recommend that you
pick up a free copy of the syllabus and familiarize yourself with it. I of course will endeavor to keep you
on the right track with this.
I would also recommend that you buy the support material ‘Specimen Sight-Reading Tests, from 2012.
This will give you test examples which are representative of the technical level in the exam and keep
abreast of the recent technical requirements.
Tips – Check out www.quizlet.com. This will help you to understand the Italian words at the start of the
music, which give you an indication as to the speed it goes. Do a search for whatever grade you are
doing eg ‘Grade 1 Italian Terms’ (no25). It will give you a list of all the grade 1 Italian words that you
need to learn and also some fun games to help you memorize them.
Each student will be given a short interval of up to half a minute in which to look through and, if they
wish, try out any part of the test before they are required to perform it for assessment.
Part 4 – Aural Tests
These are worth a total of 18 marks.
I will not be preparing you for this part of the exam. This is the responsibility of the school. You will
probably only get a couple of rehearsals, but each school varies considerably. However, I would highly
recommend that you are proactive and do some preparation for these at home. They can make the
difference between you achieving a good mark and an excellent mark. There are a couple of ways of
doing this:
Scott Heron - NEELB
a) If you have an iphone there is an app that you can buy which is called the ‘ABRSM Aural Trainer’.
For Grades 1-3 it is £2.99.
b) You can buy a resource from the ABRSM called ‘Specimen Aural Tests’ New Edition from 2011
(brown and orange cover). Make sure that it includes 2 cds.
c) Look up the NEELB website: www.neelb.org.uk. Click on ‘Curriculum’ at the top of the page. Click
on ‘Creative and Expressive’, then ‘Music’ on left of page. In ‘Aural Tests’ you will find examples
for each grade, with answers.
Tips – Pick up a copy of the current 2012-2015 Bowed Strings Syllabus by the ABRSM. It has a blue
cover.
Information:







The exam is marked out of a total of 150 marks. 100 marks to 119 marks is a pass. 120 marks to
129 marks is a merit. 130 or more is a distinction.
Your school will enter you for the exam and will notify you of the cost.
All monies should go to the school and not myself.
Schools will try to arrange a suitable exam date. It is Music Service policy that tutors do not enter
students for grade exams.
You will hopefully have an opportunity to warm up and top and tail your pieces with your pianist
in a warm up room prior to the exam.
The ABRSM has produced an excellent resourse called ‘These music exams - A guide to ABRSM
exams for candidates, teachers and parents’. It is free and can obtained from most music shops,
such as Matchetts Music in Belfast (028 9032 6695).
Marking scheme –
Schedule of maximum marks for all grades:
Piece 1................................. 30
Piece 2................................. 30
Piece 3................................. 30
Scales and arpeggios........... 21
Sight-reading....................... 21
Aural tests ........................... 18
Total ................................150

All being well the school will hear the results within around 3 weeks approximately and you will be
given a distinguished certificate with your name on it.
Scott Heron - NEELB
An Aid to Sight Reading for Grade One Double Bass (ABRSM)
Crucial information for students and parents
A phrase I hear a lot in my job as a string teacher, in connection with sight reading is; “I wish I could
have had another go at it, I would have nailed it!” The sad fact is that in the Associated Board exams
(ABRSM), you only get 1 shot at it. Therefore it is important that you are fully prepared.
How Best To Prepare
Recommendation:

Purchase ‘Specimen Sight-Reading Tests’, Grades 1-5 (ABRSM, 2012 edition).
Available for Grades 1-5, this book which has a green cover gives examples of sight reading appropriate
to the level expected in the exam. It takes account of the revised requirements.
You can purchase this book for around £5 from a number of sources such as Amazon or local music
stores such as Matchetts Music in Belfast (028 9032 6695).

Pick up a free copy of the syllabus for sight-reading and familiarize yourself with it.
Sight-reading requirements:

The sight reading component is worth a total of 21 marks out of a total of 150 marks for the entire
exam.

There are very specific requirements which you should be aware of for each grade, which will vary
a little from one instrument to another.
Guidelines for Grade One
The current syllabus gives us the following guidelines:
Pulse
A four-bar piece in 4/4 or 3/4, or a six-bar piece in 2/4.
Notes/Position
In G or D major (no use of E and A strings)
or F or Bb majors (no use of G string)
Bowing
All notes separately bowed.
Dynamics
Simple dynamics (f, mf, p).
Note values
The only note values used will be minims, crotchets, and quavers.
Rests
The only rests will be crotchet rests.
Further guidelines:
Scott Heron - NEELB
“The sight-reading tests are without accompaniment. Candidates will be given a short interval of up to
half a minute in which to look through and, if they wish, try out any part of the test before they are
required to perform it for assessment.” (Syllabus, page 7.)
Sight-reading relies on two elements:
1
Observation
When I think of observation I immediately associate this trait with the
famous London detective, Sherlock Holmes. He was remarkable because
he
noticed little details that other people missed. Imagine that you are Sherlock Holmes looking for clues
in the music that the examiner has given you that will help you to play it the way the composer intended
it.
It is helpful to be systematic when approaching sight reading and to think of the building blocks of
music, such as the notes, rhythm, articulation, tempo and dynamics.
Notes
Look at the key signature. Remember that the sight reading will only be in one of two
keys, G or D major (if you have chosen Group 1 scales, which will be in first position) or
F and Bb (if you have chosen Group 2 scales, which are in half position). It is helpful to
play this scale before you play the extract in Specimen Sight-Reading, in order to
familiarize yourself with the finger patterns you will use.
Rhythm
The extract will only include rhythms made up out of quavers, crotchets, minims and
crotchet rests. Look over some of the examples in ‘Specimen Sight Reading Tests’ to
test that this is true. A useful exercise to help you gain confidence and fluency at
changing from one note value to another is to set your metronome to crotchet = 90,
establishing a pulse. Then ask someone to randomly call out a new note value. Can
you change fluently from one note value to another smoothly, without hesitation?
Examine the Time Signature. Remember it will only be in one of three time signatures:
2/4, 3/4, or 4/4.
Articulation
The good news is that for grade 1 you do not need to consider articulation. For grade
2 you will need to look out for slurs.
Tempo
In order to work out what tempo or speed the music is to be played at it is necessary
to observe the tempo marking at the start of the extract. It may be in English, but it
may also be in Italian. It is therefore necessary for you to learn the list of grade 1
Italian terms that are required for the grade 1 theory exam. A list of these can be
found at www.quizlet.com. This is a superb site. Do a search for whatever Grade you
are doing, eg, ‘Grade 1 Italian Terms’ (no25). It will give you a list of all the Grade 1
Italian words that you need to learn and also some fun games to help you memorize
them. Quizlet is primarily a flashcard website, so it gives you the option to make your
own flashcards. You may get an extract which is marked ‘Andante’. Because you have
learnt the words in Quizlet you know that Andante means ‘at a walking pace’. But how
fast is that? You need to how many beats for minute this is (BPM). You can find a
comprehensive table at: http://en.wikipedia.org/wiki/Tempo. It tells us that Andante
is 76-108 BPM. Use your metronome to hear the pulse. In time, you will get an
accurate impression of the tempo of these terms. Make sure that you choose a
Scott Heron - NEELB
realistic tempo. If the speed indicated is too fast for you, it would be better to play it a
little slower, to give yourself more thinking time, than to play too quickly and sacrifice
the fluency and detail.
Dynamics
2
There are only 3 dynamic markings for grade 1; p (piano) = softly, mf (mezzo forte) =
moderately loud, f (forte) = loud. Some examples maintain the same dynamic all the
way through. Some extracts vary the dynamics. The golden rule is to exaggerate the
dynamics. Make it crystal clear to the examiner that you have noticed the dynamic
changes. Also, ask yourself how wide is your dynamic range? Practice playing at each
dynamic level. Make your pianos quieter and your fortes louder. Be more extreme.
Execution
“Once you pop, you can’t stop!”
The golden rule of sight reading is “Once you start you can’t stop”. Just think of
the
old TV ad for the crisps called Pringles. Fluency is vitally important. The
examiner will be expecting you to play from the beginning to the end without stopping, all the time
maintaining a regular pulse. Do not be tempted to stop and fix any mistake that you may make. The
examiner will not be impressed, because in order to do this, you will be interrupting the pulse.




You will get up to half a minute to prepare yourself before you have to play -use this time wisely.
Go over the above 5 musical building blocks in order.
Do this consistently with each sight reading extract that you practice at home. In time you will get
faster and better skilled.
One of the best ways to improve your sight reading is to play in an orchestra.
“I hope that this has been helpful for you – any further questions, please do not hesitate to ask me. I
hope that your sight-reading just gets better and better!”
Mr. Heron
Scott Heron - NEELB
C major scale to the sixth,
separate bows
(long tonic version,
¾ time, crotchet = 40)
Grade 1
Double Bass Scale
Flash Cards (Group 1)
C major scale to the sixth,
slurred bows
Grade 1
Double Bass Scale
D major scale to the sixth,
separate bows
Grade 1
Double Bass Scale
D major scale to the sixth,
slurred bows
Grade 1
Double Bass Scale
G major arpeggio,
separate bows only
(one octave, crotchet = 40)
Grade 1
Double Bass Scale
Scott Heron - NEELB
G major scale,
separate bows
one octave, crotchet = 40)
Grade 1
Double Bass Scale
G major scale,
slurred bows
Grade 1
Double Bass Scale
A minor arpeggio,
separate bows only
Grade 1
Double Bass Scale
A minor natural scale,
separate bows
Grade 1
Double Bass Scale
slurred bows
Grade 1
Double Bass Scale
Scott Heron - NEELB
Congratulations on having completed your grade 1 exam!
You can see that with regular practice over the course of a year or so you can really make excellent
progress. It is now time to jump to the next stepping stone and start work for your grade 2 exam. I
would hope that you would be sitting the exam in approximately 1 year.

that has 1 or 2 pieces from each list for grade 2; ‘Time Pieces for Double Bass’, Vol. 1, arr Slatford
are very attractive. You may already have this from grade 1.

Buy the Grade 1-5 ABRSM Scales & Arpeggios Book from 2012 (blue cover).


LIST (A) 1 Boccherini - “Minuet” ______________________________________________
LIST (B) 1 Beethoven - “Andante cantabile” ______________________________________
2 Michael Rose - “Ballad 1” ____________________________________________
LIST (C) 1 Herz - ‘Galoppe‘ ___________________________________________________
2 Giles Swayne - ‘Lazybones‘ ___________________________________________
Scott Heron - NEELB
time.
unusual rhythms, staccato notes, legato notes, slurred notes, separate notes.
I have taught hundreds of students that have made the journey all the way to grade 8, and were so glad
that they did.
I am really looking forward to continuing this adventure with you!
Scott Heron - NEELB
An Aid to Sight Reading for Grade 2 Double Bass (ABRSM)
How Best To Prepare
Recommendation:



exam.

Guidelines for Grade Two
Pulse
An eight-bar piece in 4/4 or 3/4, or in 2/4.
Notes/Position
In C, G or D majors or A natural minor, in first position.
Bowing/Articulation
Notes separately bowed, or with simple two note slurs.
Dynamics
Simple dynamics (f, mf, p), with the addition of mp, ‘hairpins’
(cresc/diminuendo).
Note values
The only note values used will be quavers, crotchets, minims and
dotted minims.
Rests
The only rests will be crotchet and minim rests.
Scott Heron - NEELB
Further guidelines:
2
Observation
When I think of observation I immediately associate this trait with the famous
London detective, Sherlock Holmes. He was remarkable because he noticed little
details that other people missed. Imagine that you are Sherlock Holmes looking for
clues in the music that the examiner has given you that will help you to play it the
way the composer intended it.
Notes
Look at the key signature. Remember that the sight reading will only be in one of the
following keys – C, G or D majors or A natural minor, in first position. It is helpful to
play the scale before you play the extract in Specimen Sight-Reading, in order to
familiarize yourself with the finger patterns you will use.
Rhythm/Tempo The extract will only include rhythms made up out of quavers, crotchets, minims,
dotted minims and crotchet and minim rests. Look over some of the examples in
‘Specimen Sight Reading Tests’ to test that this is true. A useful exercise to help you
gain confidence and fluency at changing from one note value to another is to set your
metronome to crotchet = 90, establishing a pulse. Then ask someone to randomly call
out a new note value. Can you change fluently from one note value to another
smoothly, without hesitation? Examine the Time Signature. Remember it will only be
in one of three time signatures: 2/4, 3/4, or 4/4.
Scott Heron - NEELB
Other Musical
Elements
Articulation/
Dynamics
2
Notes separately bowed, or with simple two note slurs.
There are only 4 dynamic markings for grade 1; p (piano) = softly, mp (mezzo piano) =
moderately quiet, mf (mezzo forte) = moderately loud, f (forte) = loud. The golden rule
is to exaggerate the dynamics. Make it crystal clear to the examiner that you have
noticed the dynamic changes. Also, ask yourself how wide is your dynamic range?
Practice playing at each dynamic level. Make your pianos quieter and your fortes
louder. Be more extreme.
Execution
The golden rule of sight reading is “Once you start you can’t stop”. Just think of the old
TV ad for the crisps called Pringles. Fluency is vitally important. The examiner will be expecting you to
play from the beginning to the end without stopping, all the time maintaining a regular pulse. Do not be
tempted to stop and fix any mistake that you may make. The examiner will not be impressed, because
in order to do this, you will be interrupting the pulse.




Mr. Heron
Scott Heron - NEELB
B minor arpeggio,
separate bows only
Grade 2 ABRSM
Double Bass Scale
Flash Cards
B minor harmonic scale,
separate bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
B minor harmonic scale,
slurred bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
B minor natural scale,
separate bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
B minor natural scale,
slurred bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
Scott Heron - NEELB
Bb major arpeggio,
separate bows only
Grade 2 ABRSM
Double Bass Scale
Flash Cards
Bb major scale,
separate bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
Bb major scale,
slurred bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
D major scale,
separate bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
D major scale,
slurred bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
Scott Heron - NEELB
F major arpeggio,
separate bows only
Grade 2 ABRSM
Double Bass Scale
Flash Cards
F major scale,
separate bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
F major scale,
slurred bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
G major arpeggio,
separate bows only
Grade 2 ABRSM
Double Bass Scale
Flash Cards
G major scale,
separate bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
Scott Heron - NEELB
G major scale,
slurred bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
A minor arpeggio,
separate bows only
Grade 2 ABRSM
Double Bass Scale
Flash Cards
A minor harmonic scale,
separate bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
A minor harmonic scale,
slurred bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
separate bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
slurred bows
Grade 2 ABRSM
Double Bass Scale
Flash Cards
Scott Heron - NEELB
Congratulations on having completed your grade 2 exam!
You can see that with regular practice over the course of a year or so you can really make excellent
progress.
It is now time to jump to the next stepping stone and start work for your grade 3 exam. I would hope
that you would be sitting the exam in approximately 1 year.




that has 1 piece from each list for grade 3; ‘Time Pieces for Double Bass’, Vol. 1, arr Slatford
are very attractive. You may already have this from grade 2.
Buy the Grade 1-5 ABRSM Scales & Arpeggios Book from 2012 (blue cover).
LIST (A)
1 L. Couperin - “Menuet de Poitou” ____________________________________
LIST (B)
1 Schumann - “Melody” _____________________________________________
LIST (C)
1 Aprile - ‘Solfeggio No.3‘ ____________________________________________
time.
unusual rhythms, staccato notes, legato notes, slurred notes, separate notes?
Scott Heron - NEELB
I have taught hundreds of students that have made the journey all the way to grade 8, and were so glad
that they did.
I am really looking forward to continuing this adventure with you!
Scott Heron - NEELB
An Aid to Sight Reading for Grade 3 Double Bass (ABRSM)
How Best To Prepare
Recommendation:



exam.

Guidelines for Grade Two
Pulse
An eight-bar piece in 4/4 or 3/4, or in 2/4.
Notes/Position
In C, G or D majors or A natural minor, in first position, with the
addition of F, Bb majors and B minor, in half or 1st position. Occasional
accidentals (within minor keys only).
Bowing/Articulation
Notes separately bowed, or with simple two note slurs. Increasing use
of slurs. Pizzicato (at the end only) and staccato may be included.
Dynamics
Simple dynamics (f, mf, p), with the addition of mp, ‘hairpins’
(cresc/diminuendo).
Note values
Rests
The only note values used will be quavers, crotchets, minims and
dotted minims, with the addition of dotted rhythms, semiquavers.
Ties may also be encountered.
The only rests will be crotchet and minim rests. Increasing use of
rests.
Scott Heron - NEELB
Further guidelines:
3
Observation
When I think of observation I immediately associate this trait with the famous
London detective, Sherlock Holmes. He was remarkable because he noticed little
details that other people missed. Imagine that you are Sherlock Holmes looking for
clues in the music that the examiner has given you that will help you to play it the
way the composer intended it.
Notes
Look at the key signature. Remember that the sight reading will only be in one of the
following keys – C, G or D majors or A natural minor, in first position, with the addition
of F, Bb majors and B minor, in half or 1st position. Occasional accidentals (within
minor keys only). It is helpful to play the scale before you play the extract in Specimen
Sight-Reading, in order to familiarize yourself with the finger patterns you will use.
Rhythm/Tempo The extract will only include rhythms made up out of semi-quavers, quavers, crotchets,
minims, dotted minims, dotted rhythms and crotchet and minim rests. Look over
some of the examples in ‘Specimen Sight Reading Tests’ to test that this is true. A
useful exercise to help you gain confidence and fluency at changing from one note
value to another is to set your metronome to crotchet = 90, establishing a pulse. Then
ask someone to randomly call out a new note value. Can you change fluently from one
note value to another smoothly, without hesitation? Examine the Time Signature.
Remember it will only be in one of three time signatures: 2/4, 3/4, or 4/4.
Scott Heron - NEELB
Other Musical
Elements
Articulation/
Dynamics
2
Notes separately bowed, or with simple two note slurs. Increasing use of slurs.
Pizzicato (at the end only) and staccato may be included.
There are only 4 dynamic markings for grade 1; p (piano) = softly, mp (mezzo piano) =
moderately quiet, mf (mezzo forte) = moderately loud, f (forte) = loud. Also use of
‘hairpins’. The golden rule is to exaggerate the dynamics. Make it crystal clear to the
examiner that you have noticed the dynamic changes. Also, ask yourself how wide is
your dynamic range? Practice playing at each dynamic level. Make your pianos
quieter and your fortes louder. Be more extreme.
Execution
The golden rule of sight reading is “Once you start you can’t stop”. Just think of the old
TV ad for the crisps called Pringles. Fluency is vitally important. The examiner will be expecting you to
play from the beginning to the end without stopping, all the time maintaining a regular pulse. Do not be
tempted to stop and fix any mistake that you may make. The examiner will not be impressed, because
in order to do this, you will be interrupting the pulse.




Mr. Heron
Scott Heron - NEELB
C major arpeggio,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
C major arpeggio,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
C major scale,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
C major scale,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
Chromatic scale,
starting on A
(one octave, quaver = 88)
Grade 3 ABRSM
Double Bass Scale
Flash Cards
Scott Heron - NEELB
D major arpeggio,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
D major arpeggio,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
D major scale,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
D major scale,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
D minor arpeggio,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
D minor arpeggio,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
Scott Heron - NEELB
D minor harmonic scale,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
D minor harmonic scale,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
D minor melodic scale,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
D minor melodic scale,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
E major arpeggio,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
E major arpeggio,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
Scott Heron - NEELB
E major scale,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
E major scale,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
E minor arpeggio,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
E minor arpeggio,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
E minor harmonic scale,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
E minor harmonic scale,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
Scott Heron - NEELB
E minor melodic scale,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
E minor melodic scale,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
G minor arpeggio,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
G minor arpeggio,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
G minor harmonic scale,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
G minor harmonic scale,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
Scott Heron - NEELB
G minor melodic scale,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
G minor melodic scale,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
A major arpeggio,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
A major arpeggio,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
A major scale,
separate bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
A major scale,
slurred bows
Grade 3 ABRSM
Double Bass Scale
Flash Cards
Scott Heron - NEELB
Advanced Students
The Art of Practising
Tuning is the number 1 difficulty in playing the double bass!
The general principle is ‘try to practise playing (percentage wise) more correctly, rather than your
mistakes’.
If you make a tuning mistake or play a wrong note, stop and fix it, and then move on.
Don’t be tempted to play too fast.
Go slowly enough so that you can catch any mistake you may make.
It is like putting a bandage on it. In time, with consistent correct repetition you will train yourself to play
more in tune, more of the time, as your muscles remember where they were placed. It is a scientific
fact!
When you start practising in this way it feels like you are moving really slowly, but be patient. You will
get faster at it and build really good foundations for your tuning. You are going through the gradual
process of sharpening your ear.
You can’t run before you can walk!
Practise Formula
Stage 1
If you have a cd recording of the music you are practising, listen to it repeatedly in order to get the tune
into your ear. Ask yourself do you know it well enough to be able to sing it? Your knowledge needs to
be 100%. If possible, follow the score at the same time as listening to reinforce your learning. A good
knowledge of the melody will help you to detect any wrong notes or tuning mistakes all the quicker.
Stage 2
Now work through the whole piece of music very slowly on your double bass, one note at a time, all the
way through. Use a loose sense of rhythm. Listen very carefully to your tuning. Play with a full,
sustained, solid, boring tone, so that you can hear what you are playing clearly. You are going through
the process of sharpening your ear.
How quickly can you detect tuning anomalies and fix them on the spot? Professional players do not play
in tune all of the time, but they are ultra-fast at detecting faults and adjusting before anyone else has
time to register them.
Your ear is like the navigation computer of a guided missile, guiding your finger towards the target.
Go back and forward over any shifts along the way. Practise the chaos notes to realign you in whatever
position you are in to avoid drifting out of the centre of the tonality. Use ‘Spocks’. Compare your tuning
to the piano or keyboard. Practise bar by bar, phrase by phrase, until you have covered the entire piece.
Scott Heron - NEELB
Gradually join the bars and phrases together, like putting pieces of a jigsaw together. Once you have
decided on the fingering, be consistent.
Every piece has one or two tricky bits, which I circle in the part as ‘DANGER’ areas. Go over and over
theses bars until they are fluent.
Stage 3
You now need to increase your fluency. The best tool for this is a metronome. Initially set it to a
relatively slow tempo. Work through the piece in sections at this speed. Gradually connect the sections
and aim to go from start to finish continually without any stops.
Once you feel confident at this tempo, increase the tempo by increments of 10 until you are playing
faster than the correct tempo of the piece. When you play the correct tempo, it will feel relaxed, and
even slow!
You will achieve a real sense of control as you reinforce your muscle memory.
Stage 4
Eventually add other aspects of the music such as articulation, dynamics, expression, etc, one by one.
Layering your practise like this enables you to simultaneously combine the musical elements in
conjunction with the other, making it possible to multitask successfully.
Scott Heron - NEELB
Left Hand Double Bass Technique
In some ways playing in 1st position is more challenging than playing in higher positions. The reason for
this is that the spacing between your fingers on the fingerboard needs to be bigger. Because of this we
need to devise an effective way of getting from A-B with the least amount of effort and tension.
When I started the cello I used to keep all my fingers down. This created a claw-like shape in my left
hand, which I later realised was creating a lot of tension in my left hand. It was only through sheer force
of will that I used to get by. Since then I have discovered a different and more economical way of
transferring from one finger to another.
I call this the ‘Walking Fingers’ technique. It has developed since I was in music college in 2005, with a
number of different influences, especially that of the cellist Stephen Doane. The ‘Walking Fingers’
technique is analogous to taking footsteps. We do this by leaning forward and changing your balance
from one foot to another. The same principles apply to the left hand. When you travel to the new
finger, take the old finger off, and change the balance of your hand to the new finger.
The formula is this:
When ascending up the fingerboard (eg 1-4), bend the old finger.
When descending, (eg 4-1), straighten the old finger back.
Steven Doane’s ‘The Pump’ exercise is an excellent way of developing a springy, elastic feeling in your
fingers, bending from the base joint.
The ‘boingy boingy’ exercise is good as well. Place all 4 fingers on the top of the belly of your double
bass and push the base joint down. Allow it to spring back. Notice how your knuckles pop out as your
fingers bend. Repeat this several times. It is impossible to hold tension and do this exercise
successfully. Check out these exercises on video.
Left Hand Technique Check List
In order to reinforce your technique, refer to this list frequently. Perhaps sellotape it to your music
stand?







Take old fingers off.
Use the walking Fingers technique:
When ascending up the fingerboard (eg 1-4), bend the old finger.
When descending, (eg 4-1), straighten the old finger back.
Use a ‘floating thumb’.
Use ‘The Roll’. On 1st and 2nd fingers pronate them back (turn to the right). On 3rd and 4th
fingers, turn your hand to the left. Use your forearm.
Practise ‘The Pump’
Practise ‘The Walking Fingers Exercise’.
When you play an interval of a tone or more, make a particular effort to bend your knuckles.
Scott Heron - NEELB

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