Tao of Bass.Vol.1: The left hand [1, 1 ed.] 9780692808405
Double bass method for the double bass
132 72 31MB
English Pages 228 Year 2016
Introduction
Chapter 1: Endurance, Coordination, Articulation
Permutations : Traditional Lower Positions
Chapter 2: Four Finger Technique/Pivot
Permutations: Four Finger Technique
Chapter 3: Thumb Position
Permutation: Thumb Position
About the Author
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- Marcos Machado
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Citation preview
Cn\~Qf1 . A\ejt1n dr o ~toS~ Me~o~ ~u .
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MACHADO
OF BASS
Volume 1, The Left Hand Volume JI, Scales, Arpeggios, Chromatic Exercises Volume III, The Right Hand Vol u me TV, Tao of Bass Applied
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OFBAS 1 1
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MARCOS
MACHADO
Volume 1, The Left Hand Volume II, Scales, Arpeggios, Chromatic Exercises Volume III, The Right Hand Volume TV, Tao of Bass Applied
...
Copyright © 2017 by Marcos Machado All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permi~sion of the author except for the use ofbrief quotations in a book review or scholarly joumal. \
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First U.S. Printing, November 2016. Second U.S. Printing, August 2017. ISBN 978-0-692-80840-5 www.TAOofBASS.com Ordering Information: Spedal discounts are available on quantity purchases by corporations, associations, ~ducators, and others. For details, contact the author at the above listed website address. Author: Marcos Machado Editor: Roberto Pineda Assistant editors: Jeffery Baugman Guilherme Oliveira Guilherme Zils Graphic Design: Eleonora Machado
Jo\1-
Table of Contents: Introduction ............... ~ .................................................................. 3 Chapter 1: Endurance, Coordination, Articulation ..................... 5 Permutations: Traditional Lower Positions ............................... 52 Chfllpter 2: Four Finger Technique!Pivot ................................... 71 Permutations: Four Finger Technique ..................................... 112 .. '/
Chapter 3: Thumb Position ...................................................... 131 Permutations: Thumb Position ................................................ 200 About the Author ..................................................................... 220
/
Teaching wonderful students at the University ofSouthern Mississippi is a constaht source of inspiration. Mj gratitude to all double bass students, alumni, faculty and USM administrators. It is my hope that yo u willfind in this book a pq_th that is appropriate for yo u and will help guide your technical development. Photo ofMarcos Machado with current bass students (Fall2016) L-R: Nathaniél De la Cruz, Santiago Zorrilla, Roberto Pineda, Vincent D'elia, Marcos Machado, Guilherme Oliveira, Gonzalo Kochi, Sergio Flores, Carlos Valdez, Javier Barreta, David Pellow. Not pictured: William Valencia.
Acknowledgements: After more than 20 years of writing, this book takes form thanks toa sabbaticalleave granted by the University of Southern Mississippi (USM) School of M usic and to the assistance of double bass students. 1 am deeply grateful to you all. The second volume ofthis work is forthcoming in 2017.
INTRODUCTION Because human beings share the same basic physiology, there should be no major differences when performing an activity, be it playing a sport or playing a musical instrument. However, individuals vary in such characteristics as height, arm and finger length, thickness of finger pads, and so on. It is therefore unrealistic to teach a single, unvarying system of playing the double bass. Adjustments can be made to suit students' varying physiological needs, as long as these small changes do not alter the basic governing principies of string playing. There are many schools of double bass (Czech, German, Italian, French, Bulgarian, Hungarian, Dutch, etc.), each with its own set of rules for fingerings, bow hold, etc. While each is important for its historical value, inany rely on now obsólete concepts. Sorne of the traditional methods were developed at times in which the double bass was strung with gut strings, or worse, with harsh, underdeveloped metal strings. The past few decades have witnessed a revolution in the development of the double bass technique and one should embrace these changes. Double bass playing is an art, andas such, there can be no single right or wrong approach. This is the danger of the narrow nationalistic appro~ch~ which ignores individuals' strengths and weaknesses in favor of perpetuating someone else's view of how one should play the double bass. The Tao ofBass rejects sorne of the rigid rules that have been present for years in sorne traditional double bass schools. For example, while traditional schools favor using only three fingers in the lower positions, the Tao of Bass suggests that double bassists should use all the left hand fingers equally, independently, in all positions. This will vary according to the shident's particular strengths and weaknesses; there can be no one-size-:fits-all in double bass playing. Each musician should identify his or her own fingering and bowing solutions. This book is intended to be used as a tool to train the left hand and elevate the skilllevel of the double bassist. The variety of exercises, including many permutations of patterns, will help students think logically and develop their analytical FÚmprehension of future left-hand challenges found in the repertoire. I advise students to choose, with the guidance of a teacher, the appropriate exercises to complement their main practice routine consisting of scales, etudes, solos, orchestra excerpts, etc.
0
In tro duction
1
Tao of B as s by Marcos Machado
1
To deliver a creative, inspiring performance, one cannot take technical shortcuts. At the same time, all the technique in the world will not make one an artist. Simply performing technical exercises mechanically is not sufficient; when working on these exercises the mind must be actively engaged. Even on the purely mechanical exercises students should focus on sound quality, intonation, flexipility of the hand, articulation, direction (grouping), etc. When all of these elements are o bserved, yo u will notice that even exercises that first appear dull will sound musical. Everything must be perfect, or you risk i.J;lgraining bad habits by practicing incorrect techniques day after day. The exercises in this book will help you master left-hand techniques in a manner that will eventually feel and look natural and relaxed, even when using extensions. Aim to transform the initially conscious movements into unconscious ones, enabling you to focus on the musical qualities described above. After you've discussed with your teacher your speci:fic lefthand needs, practice a small set of exercises for a short period of time daily to gradually in crease your enduran ce, stamina, and flexibility. Set specific goals before you pickup your instrument. Be aware of the areas in which you need to improve. Avoid working only on what feels good and that which you have already mastered. Carefully and systematically add new exercises so your fingers, hands, and arms can adapt to the new movements without injury. It takes time to acquire new patterns, as the neurophysiological events involved in this process begin to adjust the muscles to these new movements. Most of the exercises in this book should be practiced in different keys and various positions. Be inventive. Be aware that sorne exercises will not be right for you; when you encounter these, just ignore them. The guidance in this book represents a small but crucial stage oh your lifelong journey to develop asan artist. Don't worry that these technical exercises will transform you into an insensitive musician; on the contrary, they will help you learn to express yourself fully and become a better artist.
lt is my hope that you .will find in this book a path that is appropriate for you and will help guide your technical development.
tao ofb as s. com
page 3
Endurance, Coordination, Articu lation The exercises in this chapter are aimed at developing your reflexes, flexibility, and coordination to ultimately result in improved speed and clearer articulation.
/
The maxim, "No pain, no gain'' applies here, but by the same token, you must be careful to pay attention to your body. Increase the intensity of the exercises gradually so your fingers, hands, and arms can Jdapt to the new movement without risk of injury. As in sports, sorne discomfort and muscle soreness are to be expected, reflecting the unfamiliarity of the movement and the effectiveness of the training. Be sure to warm up befare beginning these exercises, using very basic light stretches to help avoid potential injury. Coordination is one of the most important assets in playing a musical instrument. Avoid muscle tension, which creates stiffness and results is loss of motion and flexibility, making you more susceptible to injury. Truly great performers display ease of movement, making even difficult passages appear effortless.
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Chapter 1: Endurance, Coordination, Articulation
1
This takes time, as new patterns of neurophysiological. adjustment must be acquired gradually when leaning a new exercise (movement). With slow, methodical, and proper training, you will eventually acquire the skills necessary to perform with ease and without tension. Coordination relies on training your nervous system as well as your muscles. I always recommend singing the exercises in your head, anticipating the sound and motion of it, and also singing them out loud. Achieving a high level of endurance requires serious and consistent work, practicing until near exhaustion, and students are often unprepared for or unwilling to commit to this intense schedule. As in sports, endurance also requires high maintenance with consistent practice. In practicing each exercise avoid unnecessary movement of the fingers, as this consumes energy. Use only the necessary motion to perfectly execute the exercise. This can be a determining factor in improving your speed.
Tao of Bass by Marcos Machado
page 5
First position Technique Basics This chapter will feature exercises using the . traditional hand position, which encompasses a whole step between the first and fourth fingers. Below are the combinations that are possible when using this traditional technique combined with an open string.
Basic Fingering Combinations group O Oa
1
2
Oh Oc Od Oe
1
2 2 4 4
Of
'group 1 la
4 1
4 2 4
4 1 2
1 2 1
lb
o o
4
le
2
o
4 2 4
ld
4
4
o
le lf
4
o
2
4
2 ·O
group 4
group 2
4a
2a
4b
2b
4c .
2c
4d 4e
2d 2e
#
~
page 6
2
Chapter 1: Endurance, Coordination, Articulation
1
1 1
o o 4 4
o
4.
4 1
o 4
1
4 1
o
o
1
Tao of Bass by Marcos Machado0
....... ,....,_,__ 1
---
Applying the fingering combinations on two strings
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~
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11
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y:¡ E
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11
e
#¡ E 3
--'(111
11
r
#r
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0chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado
page 7
Exercise 1.1 Warm-Up J=80 1
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4
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1"1~
r
r
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1r
r
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2=
r r r r r r r r
:1=
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3
3
3
1r
E
r
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r r r r r 3
3
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-~~~~
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2=
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6
;:::::=:=~
6
6
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6
6
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6
6
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2= rcrrrcFFrrccrcccrrrrrrrrrrrrrrrrl rrccrcrcocccccrrccro:rrcrrccrorrll
p a ge 8
eh a p ter 1 : Enduran e e, e o o r di na ti o n, A r ti e u 1 a ti o n
J.
Tao o f B as s by Mar e os M a eh a do
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Exercise 1.2 Daily Warm-Ups
a. o
o
1
1212
0101212
:1= II=~ID o o 1
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4
42121
2121
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242121010121
2
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12
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2
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4
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1
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2
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1
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1
421
4
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1
2
1
2
4'21012
Exercise 1.3 Hand Shape .J=S0-120
o
o
2
1
9= rbt:FELEfrErrctcrlr"GrrtrErtrtrtrtr =11 ........_..., ........_..., ........_..., "'---" ......_..... "'---" "'---" "'---" Rest the fingers not being used on the G string.
. - .........
Rest the fingers not being used on the D string.
~
,
1.
Exercise 1.4 Coordination .J=120-192 1
4
2~2
2=
b
b~
~
1t ~r r r Er FJ =111= (fr r Er1 r E =111= E~r r EEr r E =11
2= 11= E~r
page 10
~-~
-..;::::_..._
F EEr f E =111= E~r EEEr f E =111= E~r EEEr EE =11
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado0
~--
Exercise 1.5 Coordination J=120-192 o
o
1
o
2
4
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2
1
4
4
~x II=~L
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2
1
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4
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=ll =bE ~E E E E E E E =ll =bE
0chapter 1: Endurance, Coordination, Articulation
1
E f E E E f =11
2
~E
E E E E E E =11
Tao of Bass by Marcos Machado
page 11
·
Exercise 1. 6 Coordination
page 12
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado0
Exercise 1. 7 Coordination and Independence Between Hands J=92-144 2
4
il~
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V~
il~
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3
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2
3
3
3
r E E E E E I#E . 3
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3
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0chapter 1: Endurance, Coordination, Articulation
3
1
3
3
Tao of Bass by Marcos Machado
3
page 13
Exercise 1.8 Limbering Exercise
---··--~·
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......... -.:.... ... -··-·\
Exercise 1.9 Limbering exercise
page 14
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado0
Exercise 1.1 O Coordination
Exercise 1.11 Bridge 00
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0chapter 1: Endurance, Coordination, Articulation
f
f 1
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Tao of Bass by Marcos Machado
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page 15
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1
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Bridge or barred fingering is the technique of pressing down two strings with the same finger (notes inside the box).
Double-stop exarnple
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2
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1
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Chapter 1: Endurance, Coordination, Articulation
11
1
Tao of Bass by Marcos Machado0
~--
Exercise 1.12 Bridge Exercises
11
b.
2=
t
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4
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f j EEj EEr E
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Exercise 1.13 Fork Exercises
Exercise 1.14 Fourths (Fork and Bridge) ~E}]~~ ~ ~ ~ ~
2= 2 1
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ti:] E}j[C]
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E]
2
2
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2 1
3 2
3 2
2 1
4 3
2 1
1 1
4 4
1 1
2 2
2 2
1 1
4 4
1 1
f ~ f ~ 1~ f ~ f lf ~ f ~ 1~ f ~ f JVhat is the Fork?
11
Fork is a technique which allows you to perform fourths between two strings smoothly and without breaking the line.
0chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado
page 17
Exercise 1.15 Three-Note Patterns a. :J= c.
~1
~2
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j
b4
r
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t.
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page 18
q~
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b4
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r
2
b4
4
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11
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2
~
11
Chapter 1: Endurance, Coordination, Articulation
4
r
b4
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Tao of Bass by Marcos Machado0
..... -
s. 2 :J= qr
b4
u. 2 :J= r
b4
w. 2 tJ= qr
b4
y.
b 4
r
:>= a a.
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r
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4
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4
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1
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11
Practice each of these patterns chromatically and on all strings
tJ=
r
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~1
ff.b 4 11
r
~
r
b 4
tJ=
r
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dd.
4
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bb.
2
r
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z.
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b4
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4
r
t. 2 :J= r
r
1
r
1
r
1
r q2
E F
~
2
r
q2 r
r
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4
r
4
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q2
2
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2
r
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1
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q2
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1
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r
r
r 4
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11
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r
E f 4
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1
r 4
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r
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1
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E qF 1
2 qr
r
1
r
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11
11
11
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11
Exercise 1.16 Endurance
1
n-.
1
n-
1
n-
1
n-
_...-·-~-·
- - . - .. -.;•·•·e-- - 1
continues
page 20
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado0
:>=qfritfifrf~¡t~f~¡ .
t.
t. ~·~ ::1= rttt r rtk r Vrt r &#f f r~ r €r r r €r r r €r r r 1 1
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2= t r~r Et Eb r t
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continues
0chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado
page 21
page 22
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado0
Exercise 1.17 Hand Shape 4
tJ= 11=1
1
4
1
1
4
e E ~ Er ~ ~ r ~ r r F 1~ r ~ r r r E r E E' j 3
3
:>=
4
4
·1
1
1
1
1
4
Er EE r E E r FE r
r 1~
m
11
3
3
3
m
IV
3 m
11
4
1
3 m
11
1
4
4
1
4
3
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11
4
1
4
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11
4
4
4
1
r
4
1
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3
m
4
1
m
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1
1
1
3
4
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m 1
1
f ~ r ~ Er ~ 4
1
1
1
1
F'
4
:11
3
3
11
11
Keep the fingers close to the string. Only move the fingers that are needed.
Exercise 1.18 Shifting 1~1
1~~2
~=~1)
1
3
~
f
~
1
1
1
~
3
3
~=~!)
~=~1)
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~
1
1
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n
1
f
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S2
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f S2 gtS·
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1
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ter
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~ 3
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S2
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m
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2
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a. tJ=~I' ~-------~ 3
1~4
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3
3
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3
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4
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4
ter ~ fi ¡Fn ~ ~ fi ¡rn 1
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4
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N
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Chapter 1: Endurance, Coordination, Articulation
1
4
,~
1
4
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Tao of Bass by Marcos Machado
~~ ~
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t)=~l)
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page 24
3
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Chapter 1: Endurance, Coordination, Articulation
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Chapter 1: Enduran ce, Coordination, Articulation
¡E=~
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Tao of Bass by Marcos
Macha~o
rq q ·F
page 25
1 •
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tf~l, r f 3 •
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page 26
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado0
r r r r----r r
4 gtiss. 1
1
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r
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~ingerings (for c. and d.)
~=~ll
-r r ?
4 4 4 4 4 3 3 3 3 3 2 2 2 2 2
1
0
::.:--::::::::
2 3 4
r~ 2 3 4
+
+
1 2
1 2
3
3
4
4
+
+ 1 2
2 3 4
3
+
+
1 2
1 2
3
3
4
4
4
+
+
Chapter 1: Endurance, Coordination, Articulation
~
~
~~
4 4 4 4 4
4 4 4 4 4
3 3 3 3 3 2 2 2 2 2
3 3 3 3 3 2 2 2 2 2
1 1
2 3 4
1
r 1 2 3 4
+
+
1 2
1 2
3
3
4
4
+
+
1 2
1 2
3
3
4
4
+
+
1 2 3
1 1
~S.
2 3
4
4
+
+
Tao of Bass by Marcos
4 4 4 4 4 3 3 3 3 3 2 2 2 2 2
Simt1e
!etc.
Exercise 1.19 Shifting Exercise to Connect Two Positions l
J
4
tf?:t
\
l
11
Exercise 1.20 Shifting Exercise 1~2
'§l
121212
121212121
¡1
121212121212
= =\,_.;= a,_y.=+ w\,_.;a a""-'w J~ ::± a J w a a w w '-----"' ~ 11
11
oawwoJr·r~, ~
3:=+ a=+ w
~~ ~
~
Exercise 1.21 Finger Substitution 4
2
1
2
4
!]=~ F F F F F r E E E E F F F F F1 t e. f t F r r r r r 1 1
1
1
e ¿Emi ¿ f et ee r r r r r rr i i i .;:_ ·i . ;. i t>=~ r r r: r: r: r: r: r: r: r r r r r r r r r r r r r r E)=~ ¿ i i i i i ¿ i i f f f i f f f f f i f f t>=~ t t r t
1
1
1
1
1
2
3
4
3
E E E E
2
1
4
3
2
E1
1
2
3
2
3
4
3
1
4
1
1
1
page 28
2
1
Chapter 1: Endurance, Coordination, Articulation
1
1
Tao of Bass by Marcos Machado
0
1 11
Exercise 1.22 lntonation
~=~~~~~~
1
4
1
2
(One octave scales on one string) 2
1
4
1
(3)
att crtt1ttrr1étr; 1 ~~# ;ttt Efff1ttrr1trcr 1 . 1
1
:~=~~~ att 1ttEf 1ITEf1ttr:r 1 1##~~ att1Utft 1tfU 1ttr:r 1 ¿ F DI Dgl EJ Bl JJJ) 11~1'1,~~ JJfPI !JalE! iJ¡ ~~ 1
¿ü~ ntJI na1 u81 nn 11~1'1, nDigctl ElEJI nn 1
¿ü~ n1DI g 1tFI er tr14i0n 11~
n JJ¡ aa1 u a18 n 1
&ü~#~~# nn1 a·a¡ Eiul nn 11ü DEfl gct¡ E! al un 1 ¿~~~~~~ na1 ar:t¡r:ra¡ a ®¡¡ü~#
na1 ar:t¡r:r a¡ a811
ce 1gft¡ ME! 1El EJII &a a 1att, ttu, a a·,,~~~~~~ ce ce 1rttf¡litr¡ u a 1 &~1' Ef U 1gft¡ tE E! 1L1 EJIIü~#~# Ef
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u 1ff u 1LJ E! 11
Chapter 1: Enduran ce, Coordination, Articulation
1
Use always the same fingerings.
Tao of Bass by Marcos Machado
page 29
Exercise 1.23
17
&~#~~ DDI ctEF 11~ ac;1 JJn 11~#~~#~ nn1 u a 11ü t1cr:1
&~lv fiu1
crn 1
ua= 11ü~~ tra1aJJ 11~'' uctl r:rtt 11ü~~~~ LEen rtcr 1
11
&qc:r c:r 1trrf 11~'''h €ftr1 cr rr 1 1# el c1 1r:tff1f 11. --. ·-- -- · - . ,. .~...:, --- ;¡
page 30
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado
0
Exercise 1.24 lntonation and Coordination
21
4jjJ ¡~ tlf J. j 1
1
1
31
4## ;;J a a:r 1m 1
1
:J. jJ 11~ '1,~~ fj 31 ¡J]J 1 E1f 1 ilJ 1 J3!.3 1
1
J. jJ
~~~~~~,
na c;ff r1r ca w. JJ 1
1
1
1
41
0chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado
page 31
11
11
J '1
'l
&#~#~~# J. ~ n
page 32
1 e:-
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Chapter 1: Endurance, Coordination, Articulation
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J.
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Tao of Bass by Marcos Machado0
d
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Exercise 1.26 Trill Exercise J=60
1 4
11
11
TII
Play the same pattern two!thrr;:e octaves
0chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado
page 33
Exercise 1.27 Finger Substitution;, Coordination
~
Exercise 1.28 Finger Substitution
p1 ~2 e 1ft :f f f 3
2
\p;,age. 34
2
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Chaptc;:r 1: Endurance, Coordination, Articulation
1
~.4D2 1
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f Er Er r1
4
2p1
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Tao of Bass by Marcos Machado0
Exercise 1.30 Intonation:J Finger Substitution;, Endurance
2= 1 sf#E f E[#E r~rkct r~r cqr r 1rgc#r rqr E#r rrOr E rOr E1 o
2
1
2
1
4
2
4
1
4
2
4
1
~1
4
4
4~
2
1
¡¡~2¡¡3
1
~
¡¡
~4
2
4¡_1
¡_
41_2
¡_
¡_4
2
4
1
:r!!cf!!f f fit!!f ff f tf fi tf trtff t fff ff t f~L & f~L
:.r qt~tqt r t~t!- r~t t t~t Ct t~r ¡qÉ t frlt fqj ftqéktgt t gkrt E 4
0
2
4
1
1
eh a p ter 1 : Enduran e e, e o o r di na ti o n, A r ti e u la ti o n
1
1
Tao o f B a S S by Mar e o srwMN~~;;,;il.PA;:::-D-~~ ®
BIBLIOTECA
Exercise 1.31 lntonation:J Coordination) Endurance 21
o
1
4212
4212
4212
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eE r Eer r rrt#r EeErE1f C~ EEr: fE f1ci~c~r f tc~r 1 2: er#t Eer r E~ fl r er fl r E ftfl ~et ~ fll~E *= p4
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page 36
1
2
4
2
1
2
p4
2
1
2
Chapter 1: Endurance, Coordination, Articulation
4
1
2
1
•,2
Tao of Bass by Marcos Machado0
Exercise 1.32
Intonation~ Coordination~
1201
·
sz1nile
2= E~nr Et~E
rr Emr1kct r rkc 9cr r1rEkr Eqr Ekc t 1
2414
2= ~~rqr r r~rqr r r 1rkf#g
Endurance 2414
2414
~
~
~
~
~
r E1~r cqr r~ cr r r f"r rtEr f EEr t EEr r ·
1
1
te
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1
1
1
1
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#eqtqfl f#f Eqfl t f#fl Efqf#fl Ef EqflpE tqf flpf t (EqE nrtqrn r
2:
r1t r e er r 1~r er r~, eqr n Et r r qf ~E r r
1
Exercise 1.33
0
1
1
1
Intonation~ Whole
Step Shifts with the S ame finger
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado ,
page 37
1
Exercise 1.34 Finger Substitution ~~~~~~.~ 1
:>=•¡
4
.
2
4
4
f r r 1 r r r=r 1r e r=t r nr r 1r E er fe E f 1
1
4
2
4
4
~
~
3
1~
{±E e F ex E1 1r r r r E r E E e r r e r r r r T :>=## r ¿ f r j E j E 1Wr Wc 1ttrr 1FfFF r 111## 1 ot>= # 2
---
1
:::::;¡: . --
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3
cta
3
~~
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1
4
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"1 #
o
1
1
4
1
2
1
4
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1
1
4
:@ J
tJ 4 j f9 1
3
=•#
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6
1
6
& EEIF Er r r E~
6
6
.
11
6
m
11
11
(Play the quá'rter notes on the open G string with left hand pizz.) 2
3
4
12
+ + +
3
+ + +
2
3
4
+ + +
~
13
4
+ + +
~
a. :>=•#1~!. J J J ¡l J J J 1.. J J J ¡Ro J J J 1¡· F F E 1f E E E 1 arco
1
4
m ~~
1
:>=•#
1 11
.
1
2
.
3
4
'
+ + +
4
1
2
3
1
f E F E 1- J E E F 1f E F F 1t E E·E 1f E E F 1 + 2
+ 3
1
~
~·~:~~~e
+
+ 4
3
+
+1
4
+
J J J
+3
2
~ 1 i 1
+
+4
+ 2
3
+
+3
4
1
J J J
cJi·apter 1: Enduran ce, Coordina ti o n, A rticulatio n
+ 4
+
+
1
2
0
+ + +
2
t 4 111
1
+1
2
+
+ ;z
+3
3
+
J J J
+2
2
+
3
+
+3
+ 4
4
+
~~~~ J J J
Tao of B as s by M arcos M a eh a do
11
p age 49
r 1 Exercise 1.41 Daily Exercises for Intonation 2
1
a.
9:•¡
4 13 1~
14
1~
14
~
1
12 13 .......----..,::
~
~
1
14
~
4
~
12
14
Cfritr: rfrtEr rrrrer ftfrfr tftrEr rfFffr ~~~~~~,~ 1
1
3
3
6
3
3
6
1
1
3
3
3
3
1
3
3
6
.3
3
7
:J: ¡,J 3#J q~ ~~ ~ J j ~~ q~ ~j ~ J 3~J qJ ~J fj J 3#J qJ ~J 3 J 4
page 50
4
2112
Chapter 1: Endurance, Coordination, Articulation
4
1
4
!etc.
21212
Tao of Bass by Marcos Machado®
l 1
Exercise 1.42 Shifting/Intonation 1
r
D=##~l
r ¡F r ¡L r ¡f
·4
1
1
F ¡f
4
2
4
4
1
4
1
r 4
¡f
f
1
(All on one string)
r r ¡f r ¡L r ¡L r·
:D=I#~
4
1
1
1
4
1
r r
:J=~I~
1
4
1
2
liT
~
2
1
r ¡L r
IF
1
4
2
1
4
1
liT
-
1
1
4
¡f r ¡t ft ¡f
f
¡f
4
4
2
4
r
¡L
4
2
4
1
11
¡F r
f
(All on oné string) 4
D=~lz f
~
1
5)=1###
#
¡f
f
4
1
1
4
2
4
1
4
¡f r
,r 4
2
4
r r ¡L r ¡f
f
4
1
2
¡f r ¡g -
1
4
1
r
4
1
4
r ¡L ft ¡f
11
1
1
¡F r
f
(All on one string) 4
5)=1###
1
tJ=
r
#
f
r
1
4
4
2
4
4
¡f f ¡f r
1
1
liT
4
2
4
1
¡f r ¡L f ¡f
f
f
4
2
4
2
1
¡f r ¡F 3
1
,t
¡f f
4
11
1
1
f ¡f f
(All on one string) 4
:2= 0
1
4
2
f r ¡L f
4
4
2
4
2
¡f f ¡F r ¡L r ¡f
eh a p ter 1 : En d u r a n e e, e o o r di na t i o n, A r t i e u la ti o n
1
1
T a o o f B a s s by M a re o s JY1.
1
UNilÜ'Eil\YS~ll.i)JJ.I)
-
11
p a ge
E FIT BIBLIOTECA
_..;....;;;;;;...:-~
Permutations Human beings are designed to respond to changing stimuli, and the finger permutations will thus help stimulate and motívate students. Sorne of these exercises are difficult and will demand the student's full attention. Be creative, practicing these permutations in different positions, and modulating diatonically or chromatically. Remember that shorter, more frequent practice sessions are the most effective. Do not try to play all the permutations in the same day or even the same week. The body needs time to adjust the new movements. New patterns require subtle finger rearranging and rethinking. These permutations will also help you learn new correlations, allowing you to change fingerings without discomfort.
groupO&O groupO&O group0&1 group0&2 group0&4
1 1
2 2 4 4
1
4 2 4
4
1
1
2
2
1
2 4
1 1
2 2 4 4
4
2 4
2
1
4
4
1
1
2
2
1
1
group 1 & 1 o 2 o 4
group 1 & 1 group1 &O group 1 &2 group 1 &4
o 2 o 4 2
o
4 2 4
2
o
4 2 4
2
4
o
2
4
o
4
o
2
4
o
2
4
2
o
4
2
o
group 2 & 2 ---- - --·------~---. ·-
J l
1 1
l ;¡
group2&2 group2&0 group2 & 1 group2&4
1 ~-~
'~1
Ji
]
group4&4 group4&4 group4&0 group4 & 1 group4&2
page 52
'!
Chapter 1: Endurance, Coordination, Articulation
1
1
2
o
1
2
o
1
o
2
1
o
2
2
1
o
2
1
o
2
o
1
2
o
1
o 1 o 2
2
o
1
2
1
O· 2
1
Tao of Bass by Marcos Machado0
,Í
2
4
1
2
4
1
o
4
1
2
o
2
o o
4
2
1
4
2
1
4
o
1
o
2
4
2
o
4
2
1
4
1
4
2
1
o
1
2
4
o
2
4
1
o o
4
1
2
o
1
1
2
o
2
2
4
1
o
2
2
o
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1
4
o
1
o o
1
1
4 4
1
2
4 4
2
1
1
2
4
1
4 1 4
2 2
4 4
group O &4
group O &2
group O & 1
group 1 &4
group 1 &2
group 1 &O
2
4
1
o
4
2
o o
4
2
1
4
o
o o
2
4
1
2
4
4
2
1
4
2
2
4
1
2
o
4
2
1
o
2
o
o
4
2
1
4
2
o
4
4
2
o
4
2
1
4
o
2
4
1
2
4
o
o o
1
2
4
1
2
4
o
2
o
1
4 4
o
2
1
2
4
o
2
4
1
o
2
2
2
1
4
2
o
4
o
1
2
o
o o
1
o
4 4
o
2
4 4
2
1
group2&0 1
o
4
1
4
o
o o
1
4
4
1
1
o
o
1
4 4
group2&4
group2 & 1 1 1
4 1
1
2
1
2
4
1
o
4
1
2
o
o
o o
4
2
1
4
o
1
o
2
1
4
2
o
4
1
4
2
1
o
4
1
2
4
o
o o
4
1
2
o
1
1
o
4
o
2
4
1
o
1
2
o
1
4
2
o
4
o
1
o o
2
1
1
o
4
1
4
o o 4 4
group4&2
group4 & 1
0
o o
1
2
o
1
2
4
1
2
o
1
o
2
1
4
2
1
o
2
1
o
2
1
4
2
2
o
1
2
4
1
o o
1
2
1
2
2
1
4 4
2
1
2
4
1"
2
o
1
o
4
2
o o
4
2
1
o
2
1
4
o
1
o
2
o
4
2
1
o
1
4
2
o
1
2
4
o
2
o
1
o o
4
1
o o
1
2
o
2
2
1
o
1
2
o
o o
1
2
4 4
2
1
o
1
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado
4 4
page 53
1 1
1 1
Ob&groupO
. Oa&groupO
1
1
2
4
1
2
4
1 2
4
2
1
4
2
1
4
4
2
4
4
1 2
1 2
1 2 2 '4 4
2 1
4
1
·4
1 2
1
1
1
\1
1
Od & groupO
Oc&groupO
"1
1
2
4
1
4
2
1
2
4
4
2
1
4
2 4''
2
4
1
1
4
1
2
2
4
2
1
1
J ~
- -·-
~~
........ -.::---
!
.-
J
·1 1 \
:1
J.
Of&groupO
Oe&groupO
page 54
1
1
2
4
1
2
4
1
4
2
1
4
2
2
1
4
2
1
4
2
4
1
2
4
1
4
1
2
4
1
2
4
2
1
4
2
1
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado0
1
;1
l·
Oa & group 1
Ob & group 1 o o
4
2
O,
2
o
4
o
4 2 4
2
o
2
4
o
2
4
4 2 4 -0
4 4
o
2
o
2
2
o
4 4
2
o
2
2
Oc & group 1
Od & group 1 o o
o o
4
o
4 2 4
2
o
4 2 4
4
2 2
4
o
.2
4
o
4 4
o
2
o
2
2
o
4 4
2
o
2
2
Oe & group 1
Of& group 1 o o
o o
4
o
4 2 4
2
o
4 2 4
4
2 2
4
o
2
4
o
4 4
o
2
o
2
2
o
4 4
2
o
2
0chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado
page 55
page 56
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado0
Oa & group4
Ob &group4 1 1 2 2
o o
2
o
1
2
o
o
2
o
2
1
o
1
o
o
1
1 2 2
o
1 2
2 1
o o
1 2
1· 2
1 1 2
2
o
o
2
1
o
2
o
o o
1 2
1 2
Oc&group4
Od & group4 1 1 2
2
o
o
2
1
o
2
o
o o
1 2
1 2 1
Oe&group4
0
1
1
Of&group4 1
2
o
1
2
o
1 2
o
2
o
2
1
o
1
o
2
o
o
1
o o
1 2
1 2
1 2 2
o o
1 2
2
1
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado
1
page 57
1 1
lb & group O
la & group O
J
1
2
4
1
2
4
1 2
4
2
1
4
2
1
4
2
4
2
4
1
2
1 . 4"
4
1
2
4
2
4
2
1
4
1 2
1
1
1
1
ld & groupO
le & group O
1
1
·1
4
1
4
2
2
1
4
2 4 4
4 1 2
1 2 1
J --+---+-.......¡ - -
--~
-
J
1
1
le & group O
page 58
lf& group O
1
·¡
1
2
4
1
2
4
1
4
2
1
4
2
2
1
4
2
1
4
,,
2
4
1
2
4
1
J
4
1
2
4
1
2
4
2
1
4
2
1
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado
1
0
la & group 1
lb &group 1 o o
2
4
2
4
4
2
4
2
2
o
4
2
o
4
2
4
o
·2
4
o
4
o
2
4
o
2
4
2
o
4
2
o
2
4
4
2
le & group 1
ld & group 1 o o
2
4
4
2
o o
2
o
4
2
o
4
2
4
o
2
4
o
4
o
2
4
o
2
4
2
o
4
2
o
2
4
4
2
le & group 1
0
lf& group 1 o o
2
4
4
2
o o
2
o
4
2
o
4
2
4
o
2
4
o
4
o
2
4
o
2
4
2
o
4
2
o
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado
page 59
lb & group2
la &group2
1
o
4
1
4
o
o o
1
4
4'
1
4
1'
o
4
o
1
ld & group2
lc&group2
:1
le & group2
o
4
o
4
o
1
4
+-:--+ -·-1--
4
1
4
1
o
4
1
o
4
o
1
4
o
1
1 o 1. 4
4
1 1
o
4
4
o o
.1
Of&group2
4 4
page 60
4 . -... -.. _,..~- ' -· 1
o o
Chapter 1: Endurance, Coordination, Articulation
1
. -1
o
1
4
4
1
1
o
o
1
Tao of Bass by Marcos Machado0
-1
la &group4
lb & group 4 1
2
o
l.
2
o
1 2
o
2
o
2
1
o
1
o
2
o
1
1 2 ·2
o
1
o o
1 2
2 1
le & group 4
1
2
2
1
ld & group 4 1 1
2
o
1
2
o
o
2
1
o
2
2
1
o
2
1
o
2
o
1
2
o
o o
1
2
2
1
o o
2
1
le & group 4
0
o o
1 .2 1
Of&group4 1
2
10
1
2
o
1
·o
2
o
2
2
1
o
1 2
1
o
2
o
1
2
o
1
o o
1
2 1
1 2
2
2
o o
Chapter 1: Endurance, Coordination, Articulation
_1
Tao of Bass by Marcos Machado
1
page 61
t ·1
1
2b & group o{
2a &groupO
1
2
4
1 2
4 1
2 4
2 4
4 1
1 2
.4
2
1
·1
4
:1
1
2d&group0
2c&group0 1
2
4
1 2 2
4
2
1
4
4
4
1 2
1 2 1
4
! 4 4
1 2
1 2
1
-¡
1
1
·1
1
2f&group0
2e&group0
'l
1
1 1 2 2
2
4
4
2
1
4
4
4
1 2
1 2 1
4
page 62
Chapter 1: Endurance, Coordination, Articulation
1 1 2 2 4 4
1
2
4
4
2
1
4
4
1 2 1
1 2
Tao of Bass by Marcos Machado0
"1
?J'
2b & group 1
2a & group 1 o o
2
4
4
2
2
o
4
2
o
4
2
4
o
2
4
o
4
o
2
4
o
2
4
2
o
4
2
o
2
4
4
2
4
2c & group 1
2d & group 1 o o
2
4
4
2
o o
2
o
4
2
o
4
2
4
o
2
4
o
4
o
2
4
o
2
4
2
o
4
2
o
2
4
4
2
2e & group 1
2f & group 1 o o
2
4
4
2
o o
2
o
4
2
o
4
2
4
o
2
4
o
4
o
2
4
o
2
4
2
o
4
2
o
0chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado
page 63
T
1 1
1
1
1
2b &group2
2a&group2
1
1 1
o
4
4
o
o o
1
4
4
4 4
1 1
o
4
4
o
1
4
1
o o
"4"
1
1
o
4
1
o
o
1
4
o
1
1
l 1
1
2d & group2
2c&group2
1
o
_.¡..............,_......¡
4 4
~1
4
1
o
o
1
--··-·- ·-··~-- . - 1
:j 1
2f&group2
2e&group2
1
1 1
page 64
o
4
4
o
o o
1
4
4
4 4
1 1
o
4
4
o
1
4
1
o o
4
1
1
o
4
1
o
o
1
4
o
1
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado0
:¡
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1
2a &group4
2b &group4 1
2
o
l.
2
o
1
o
2
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2
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o
2
1
o
2
o
1
·2
o
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o o
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2
1
2
2
1
o o
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1
2c&group4
! f
1
2d & group4 1
2
o
1
2
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1
o
2
1
o
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2
1
o
2
1
o
2
o
1
2
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1
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2
1
2
2
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o o
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1
r 2f&group4
2e & group4 1
2
o
1
2
o
1
o
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2
2
1
o
2
1
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2
o
1
2
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0chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by
Marco~
Machado
page 65
.,
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1
1
1
t
4b &group O
4a &group O 1 1 2 2
2
4
4
2
1
4
4
4
1 2
1 2 1
4
1 2 1 4 2 1 2 . 4' 4 4
1 2
4
2
1
4
1 2 1
1
1 1
4d & groupO
4c&group0 1 ·-··2 1 4 2 1 2 4 4 1 4 2
r
4 2 -
4
~
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...... -=---
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4f&group0
4e&group0 1 1 2 2
2
4
4
2
1
4
1 2
4 1 2 1
4
page 66
4
Chapter 1: Endurance, Coordination, Articulation
1 1 2
2
4
4
2
1
4
2 4·
4
1 2 1
4
1
1 2
Tao of Bass by Marcos Machado0
1' L 1 }
4a & group 1
4b & group 1 o o
2
4
4
2
2
o
4
4
2
4
o
o
4
o
2
2
4
2
o
o
4
4c & group 1
4d &group 1 o o
2
4
4
2
2
4
2
o o
4
2
o
4
2
o
4
2
4
o
2
4
o
4
o
2
4
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2
4
2
o
4
2
o
2
4
4
2
4e & group 1
0
4f&group 1 o o
2
4
4
2
o o
2
o
4
2
o
4
2
4
o
2
4
o
4
o
2
4
o
2
4
2
o
4
2
o
Chapter 1: Endurance, Coordination, Articulation
1
Tao of Bass by Marcos Machado
page 67
,,
1
1
1
1
4b &group2
4a &group2 1 1
o
4
4
o
o o
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4
4
4 4
1 1
o
4
4
o
l
4
1
o o
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1
1
o
4
1
o
o
1
4
o
1
4c&group2
4d & group2 1 1
o
4
4
o
o o
1
4
4'
4
1
1
4
1
o
4
1
o
4
o
1
4
o
1
4e&group2
··-
1 1 1
r
1
4f&group2 1
1 1
o
4
4
o
o o
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4
4
4 4
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4
4
o
1
4
1
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1
1
o
4
1
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o
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4
o
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l J
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page 68
eh a p ter 1 : En d u r a n e e, e o o r di na ti o n, A r ti e u la ti o n
1
Tao o f B as s by Mar e o s M a e ha d o
0
4a &group4
4b &group4 1
2
o
2
o
1
o
2
o
2
2
1
o
1
o
2
o
1
o
1
o
1
2
1
2
o 2
1
2
1
4c&group4
4d & group4 _ 1
2
o
1
2
o
1
o
2
1
o
2
2
1
o
2
1
o
2
o
2
o
1
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1
1 2
1
2
2
1
o o
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1
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4f&group4 1 1
2
o
1
2
o
o
2
1
o
2
2
1
o
2
1
o
2
o
1
2
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1
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2
1
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Tao of Bass by Marcos Machado
page 69
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4-fingerTechnique/Pivot This chapter focuses on the four-finger technique. The most important concept is that pivot should be applied at all times, with the exception of a few exercises involving bridge and double-stops.
The four-finger technique is a useful approach that allows double bassists to group passages, similar to violinists, violists or cellists. It vastly improves articulation when performing more intricate passages, including many orchestra excerpts.
Without proper training and correct motions, however, years of applying this technique incorrectly can cause injuries. Consult the many artides and books that discuss the pivot technique to fully comprehend the technique befare commencing the exercises.
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Chapter 2: 4-finger Technique
1
Tao of Bass by Marcos Machado
page 71
T
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PivotTechnique Basics
1
Pivot refers to the rotation of the forearm around the thumb. lt allows you to reach more notes without shifting, reducing the motion of the left hand. The pivot technique is particularly useful in reducing left-hand shifts in fast passages. Start the basic fingering combinatións, described below, with half-steps between adjoining fingers. This position encompassesa minar third between the first and fourth fingers.
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page 72
Chapter 2: 4-finger Technique 1 Tao of Bass by Marcos Machado0
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Chapter 2: 4-finger Technique
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Tao of Bass by Marcos Machado0
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page 82
Chapter 2: 4-finger Technique
1
Tao of Bass by Marcos Machado0
Exercise 2.22 Exercise on Three Diatonic Positions
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page 84
Chapter 2: 4-finger Technique
1
Tao of Bass by Marcos Machado
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page 86
Chapter 2: 4-finger Technique
1
Tao of Bass by Marcos Machado
0
Exercise 2.27 Daily "Clarke" Exercise 2
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Tao of _Bass by Marcos Machado
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Chapter 2: 4-finger Technique
1
Tao of Bass by Marcos Machado0
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11
page 89
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Tao of Bass by Marcos Machado
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page 93
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page 95
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Chapter 2: 4-finger Technique
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Chapter 2: 4-finger
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Tao of Bass by Marcos Machado
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Tao of Bass by Marcos Machado
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Chapter 2: 4-finger Technique
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Tao of Bass by Marcos Machado
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Dexterity
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Tao of Bass by Marcos Machado
page 105
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Chapter 2: 4-finger Technique
1
Tao of Bass by Marcos Machado
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page 108
Chapter 2: 4-finger Technique
1
Tao of Bass by Marcos Machado0
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page 109
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Chapter 2: 4-finger Technique 1· Tao of Bass by Marcos Machado
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Permutations Human beings are designed to respond to changing stimuli, and the finger permutations will thus help stimulate and motivate students. Sorne of these exercises are difficult and will demand the student's full attention. Be creative, practicing these permutations in different positions, and modulating diatonically or chromatically. Remember that shorter, more frequent practice sessions are the most effective. · Do not try to play all the permutations in the same day or even the same week. The body needs time to · adjust the new movements. New patterns require subtle finger rearranging and rethinking. These permutations will also help you learn new correlations, allowing you to change fingerings without discomfort.
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Chapter 2: 4-finger Technique
1 1
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Tao of Bass by Marcos Machado
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page 114
Chapter 2: 4-finger Technique
1
Tao of Bass by Marcos Machado0
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0chapter 2: 4-finger Technique
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Tao of Bass by Marcos Machado
3 3 1
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page 117
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Chapter 2: 4-finger Technique
1
Tao of Bass by Marcos Machado0
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0chapter 2: 4-finger Technique
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Tao of Bass by Marcos Machado
page 119
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Chapter 2: 4-finger Technique
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Tao of Bass by Marcos Machado0
1
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0chapter 2: 4-finger Technique
1
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Tao of Bass by Marcos Machado
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page 121
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page 122
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Chapter 2: 4-finger
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Tao of Bass by Marcos Machado
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page 123
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1 page 124
Chapter 2: 4-finger Technique
1
Tao of Bass by Marcos Machado0
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Tao of Bass by Marcos Machado
page 125
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page 126
Chapter 2: 4-finger Tech.nique
1
Tao of Bass by Marcos Machado
0
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0chapter 2: 4-finger Technique
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Tao of Bass by Marcos Machado
page 127
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Chapter 2: 4-finger Technique
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Tao ·of Bass by Marcos Machado
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page 128
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0chapter 2: 4-finger Technique
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Tao of Bass by Marcos Machado
UNIVIERSil'lf)AD
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BIBLIOTECA
1
.1
CHAPTER 3: Thumb position The Tao of Bass presents a systematic and gradual approach to learning the thumb position technique. Most methods list three or four basic thumb positions. I have expanded the technique to 18 basic positions to help students master the thumb position technique in a more comprehensive manner. The "Crab'' and the "Fan"* are techniques that many players have unconsciously used throughout the years. The "Crab" and the "Fan" will be integrated with the "thumb position;' not treated as distinct techniques. Introducing these techniques organically and simultaneously will help demystify them.
*These terms were coined by my teacher Fram;:ois Rabbath, who was the first to codify the technique in his double bass method, "Nouvelle Technique de la Contrebasse."
din
0chapter 3: Thumb position
1
Tao of Bass by Marcos Machado
page 131
Thumb position Technique Basics When performing using thumb position, the wrist should be as flat as possible. Use the fleshy (pads) part of your fingers. Fingers should be slightly curved, with natural springiness on them. When working on the basic fingering combinations, start with the easiest positions, such as the chromatic, semi-chrorriatic/ etc.
Basic Fingering Combinations group + +a
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page 132
Chapter 3: Thumb position
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Tao of Bass by Marcos Machado0
Applying the basic fingering combinations on two strings
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Chapter 3: Thumb position
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Tao of Bass by Marcos Machado0
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page 136
Chapter 3: Thumb position
1
Tao of Bass by Marcos Machado0
Exercise 3.3 The Pan f
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0chapter 3: Thumb position 1 Tao of Bass by Marcos Machado
page 137
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Tao of Bass by Marcos Machado0
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Tao of Bass by Marcos Machado0
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page 141
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Chapter 3: Thumb position
1
Tao of Bass by Marcos Machado0
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page 145
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page 146
Chapter 3: Thumb position
1
Tao of Bass by Marcos Machado0
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page 147
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page 148
Chapter 3: Thumb position
1
Tao of Bass by Marcos Machado0
Exercises on 2 Strings. Practice each exercise diatonically and chromatically.
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Chapter 3: Thumb position
1
Tao of Bass by Marcos Machado0
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'~ j j J J J J j j j 1
page 152
n
1
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11
1
Chapter 3: Thumb position
1
Tao of Bass by Marcos Machado0
la &group2
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3
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Chapter 2: 4-finger Technique
3
ld & group2 1 1 3 3 4 4
0
1 1 3 3 4 4
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Tao of Bass by Marcos Machado
1 1 3 3 4 4
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page 116
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Chapter 2: 4-finger Technique
1
Tao of Bass by Marcos Machado
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Chapter 3: Thumb position
1
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Tao of Bass by Marcos Machado
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page 153
Thumb Flexibility
Exercise 3.53 a.
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page 154
Chapter 3: Thumb position
1
Tao of Bass by Marcos Machado0
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0chapter 3: Thumb position 1 Tao of Bass by Marcos Machado
page 155
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page 156
Chapter 3: Thumb position
1
Tao of Bass by Marcos Machado0
Exercise 3.58 Dexterity J=IOO
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0chapter 3: Thumb position
1
Tao of Bass by Marcos Machado
page 157
'i
Exercise 3.60 Dexterity J=92 1
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3
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2
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3
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2
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1
3
+
3
2
3
1
3
+
11
page 158
Chapter 3: Thumb position
1
Tao of Bass by Marcos Machado0
Exercise 3.61 Articulation and Limbering of Second and Third Fingers
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0chapter 3: Thumb position
2
3
1
1
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3
Tao of Bass by M.arcos Machado
1
3
2
3
1
3
2
3
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3
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3
page 159
Exercise 3.62 Fingering Substitution and 2-3 Articulation
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page 160
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IV
Chapter 3: Thumb position
1
~
Tao of Bass by Marcos Machado0
Exercise 3.65 Dexterity ~=100
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