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Mastering the Bow (Part 2: Spiccato)

Developing the Stroke Systematically through a Variety of Exercises and Etudes

By Anton Slama

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Strings Double Bass
Developing the Stroke Systematically through a Variety of Exercises and Etudes. Composed by Anton Slama, Frnz Simandl, Gaelen McCormick, Justus Dotzauer, Ludwik Milde, Giovanni Bottesini (1821-1889), Rodolphe Kreutzer (1766-1831), Jacques Fereol Mazas (1782-1849), David Popper (1843-1913), Sebastian Lee (1805-1887), Isaia Bille, and Johannes Palaschko (1877-1932). Edited by Gaelen McCormick. SWS. With Standard notation. 72 pages. Carl Fischer Music #BF113. Published by Carl Fischer Music (CF.BF113).

Item Number: CF.BF113

ISBN 9780825888861. 9 x 12 inches. Text: Gaelen McCormick.

Continuing her masterful series, Carl Fischer is proud to present Gaelen McCormickas Mastering the Bow (Part 2) Studies for Bass: Spiccato. Beginning with quotes from famous pedagogues Ivan Galamian and Simon Fischer, spiccato strokes are defined and each variety of bow-stroke is examined and elaborated upon in detail. Collections of etudes have been carefully selected and presented from the methods of Dotzauer, Kreutzer, Lee, Popper, BillA", Slama, Simandl, Bottesini, Palschko and Milde. Guidelines are provided for studies, as well as extensive instruction on all aspects of spiccato playing. Written in a clear and progressive manner, this book is as Orin OaBrien (New York Philharmonic) writes in her foreword aa gold-mine of helpful information and inspiration.a.
Gaelen McCormickas book on spiccato is an extraordinarily thorough exploration of many descriptions of the ahowa and of the awhat and whena of this particular bowing technique. The first eleven pages of quotes from famous pedagogues Ivan Galamian and Simon Fischer defining the vocabulary of spiccato strokes, coupled with her detailed definitions and suggestions on how to envision and produce each kind of bow stroke, are invaluable and extremely clear. The collections of etudes from Dotzauer, Kreutzer, Lee and Popper are enticing additions to the more familiar (perhaps not often practiced) BillA", Slama, Simandl and Bottesini etudes, and will fascinate bassists and encourage exploration of these necessary combinations of bow strokes. Etudes by Palaschko and Milde were unfamiliar to me and made me want to pick up my bow to try them. In Etude No. 24 (Slur and Spiccato) Gaelen makes an excellent point about starting a spiccato after a slur: aClip the last note of the slur to help resume spiccato.a It is virtually impossible to play a slur directly into a note that is staccato or off the string: many students are puzzled by this at first, and it is good to have the information that it is permissible (necessary!) to asteala a bit of the length of the slur in order to have the bow slightly in the air to attack the separate note. This book is a gold-mine of helpful information and inspiration. It will be a great addition to Fred Zimmermannas Contemporary Concept of Bowing. Each etude is short enough to inspire and long enough to do what needs to be done.

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