"From The Neck To Thumb Position" and Much More - Vito D.liuzzi - The CLASSICAL DOUBLE BASS "Il Contrabbasso Classico"

"From the neck to thumb position" and much more - Vito D.
Liuzzi - THE CLASSICAL DOUBLE BASS "Il Contrabbasso classico"
10/12/2016, 18)07
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"From the neck
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From the Neck to Thumb position

In this new section you will find some technical exercises relating to a main
aspect of a doublebass: "The passage from the neck towards the Thumb
position". I hope they might be interesting for someone.
Click to use Flash
Dcouvrez la playlist vito 17 avec Gergely Jrdnyi, Istvn Lantos & Eva Marton
http://www.vitoliuzzi.com/from-the-neck-to-thumb-position-and-much-more/?mobile=1
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"From the neck to thumb position" and much more - Vito D.Liuzzi - THE CLASSICAL DOUBLE BASS "Il Contrabbasso classico"
10/12/2016, 18)07
All about Bottesini - I think it is written only in Italian but it's the most complete
resource in the world.
FROM THE NECK TO THE THUMB POSITION

If you are going to study the Thumb Position little by little.
... click on the photos to enlarge. You can freely copy them!!
From the neck to thumb position
Not so difficult exercises (if you need, at the neck change 3 into 2 !!). No
virus found.
Free copy.
MIO LIBRO dal manico al capotasto.rar
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Archivio dati compresso 16.6 MB

Download
Also fingerings are mine and they usually follow the Petracchi's conception
There are a lot of brief exercises, I know. But I think it's a great way to develope
this very difficult passage
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Very exepensive!! Italian and English
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Let's go on
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THE "question" about DRAGONETTI's Concerto in A major
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FIONA PALMER excellent book
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Nanny
Well, sorry for my no correct English, but I will try to explain that the famous
Concerto in A major by Dragonetti, was written by Edoard Nanny and edited from
Sankey. It's not only my opinion but also important musicologies have noted
something wrong.
First of all FIONA PALMER who has written a wonderful book about Dragonetti in
the English period, strangely doesn't talk of a A major concerto like the one we study
more. In the page above (dr. Palmer doesn't kill me for copyright!!!), in fact, we can
see the A major original Concerto no. 3 (Ed.Malaric, a little bit far from the one that
we can find in the British Museum ... much more different).
Well, maestro Ubaldo Fioravanti has recorded the other "fragments" of concerts
written by Dragonetti, but the one written by Nanny/Dragonetti is invisible. In the
British Museum it seems there's no trace of this Concerto.
Ok, now we analize another point of you. I have seen the Dragonetti's Gasparo da
Sal 1590. Dragonetti wasn't a "giant", so when he wrote compositions for double
bass or in duet with other instruments, he always used the same technique. Let's see
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the 12 waltz, the other complete musics. We can say: this Dragonetti 's signature. I.e..
It was very difficult that he wrote a lot of harmonic notes (compare the second time
in the two concerts ... ) probably because the same had some problem to reach them
easily.
At the contrary if we give a look at Nanny's works they are very similar with the one
attribuited to Dragonetti. It's "lapalissiano" (like to tell: it's impossible that Dragonetti
could write in Nanny's way).
So, the motives could be very different. Perhaps Sankey needed a Concerto to put
asap on the market. I don't know! Surely, none would have bought a Nanny Concerto
in A major. Perhaps under the name of Dragonetti it was much better. A lot of things
we have found but others live in a mistery.
Today in International Competition we read"Concerto in A major" by
Nanny/Dragonetti !! It's absurd!!
Probably to say: pay attention is not the one by Malaric,but the one by Nanny (first
time is very difficult, 2nd not so beautiful, 3rd very difficult and here we know
the hand of maestro Domenico Dragonetti, in the original one).
By the way, if we compare Malaric's revision
of the original one with the Stefano Sciascia's
performance ... well ... there are differences.
Asap, an interview with maestro Stefano Sciascia.
dr.Vito Liuzzi
BOTTESINI and THUMB POSITION: two Schools in comparison
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Push on the picture to link RICORDI

SUMMARY
Well, with my no correct English, I will try to explain something about the ancient
technique for the Thum Position.
First of all, I think that Giovanni Bottesini has been the first to use also the "little
finger" (he call it number "4") in thumb position or harmoniques.
But the most interesting is this one:
"When Bottesini used to go in Thumb Position
he pressed on the fingerboard the thumb but the other fingers must press a lot but
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without
touching the fingerboard. This was the way of his playing. How can it be possible?
I don't know, but I think that the action of his three gut strings should be quite
high. It's no possible to play in his way with the 1st string at mm. 5 from
fingerboard.
But there's another thing.
Bottesini was convinced that his way of playing in the thumb position was the
better at that time, because all the notes play very clear and powerful.
But why did he specified it?
Because he knew that there were another School of Thought for which the better
way to play in the thumb position was to press all the fingers on the fingerboard
whith great force. But Bottesini tell us he didn't like it because of the quality
sounds.
So two Schools in comparison. And Dragonetti what sort of technique used?
It's an aspect very important, because I think
the "ancient" concertos or sonatas ... at that time were played much slower respect
to the one we do nowadays!! So if my thesis can be exact (I don't know),
Dragonetti, Sperger, Vanhal, Dittersdorf, bottesini and so on must be play much
slower. Why? A question of philology!! But the Double Bass seems to be the
instrument among the bows for which the
concept of philology doesn' t exist.
Everyone tell us his trascription is the original one and the best, other Editions are
totally different and so on. Why? The answer is simple. All must work.
Ops ... sorry! There was another "school": in thumb position they used to push the
string towards their left. In Cantabile it was good, but in fast passages??
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Vito Liuzzi
ITALO CAIMMI
Scale e Studi (Scales and Studies)
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Italo Caimmi
Benfield
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LUCAS DREW
MUZZI Franco
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ZIMMERMAN Fred
JISKRA
HEGNER Ludwig
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MANOLY
Torna su
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"From The Neck To Thumb Position" and Much More - Vito D.liuzzi - The CLASSICAL DOUBLE BASS "Il Contrabbasso Classico"

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Copyright:

Available Formats

"From the neck to thumb position" and much more - Vito D.

Liuzzi - THE CLASSICAL DOUBLE BASS "Il Contrabbasso classico"

"From the neck

From the Neck to Thumb position

Click to use Flash

FROM THE NECK TO THE THUMB POSITION

Archivio dati compresso 16.6 MB

Very exepensive!! Italian and English

THE "question" about DRAGONETTI's Concerto in A major

FIONA PALMER excellent book

Push on the picture to link RICORDI

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