Fingering and Score Study from hella frisch

I just finished reading Matt Heller’s recent post on fingerings and score study for the double bass, and he makes some interesting points. Often what one hears from a coach in a setting like the New World Symphony (where Matt currently plays), the Civic Orchestra of Chicago (where Matt and I used to both play), the Aspen Music Festival, Tanglewood Music Center, or other such educational setting does have to do with simply what is in the score. Matt makes a really good point–careful score study by instrumentalists and putting some thought into all of the minutiae in one’s part can solve most issues that would be brought up in a coaching.

Matt also mentions the recent trend of splitting the double bass and cello parts into two separate parts rather than the standard tradition of having both instruments reading off of a single part. This practice was commonly followed in the music of Bach, Beethoven, Handel, Mozart, and other Baroque and Classical composers. There are advantages to both layout styles. Reading just the double bass part usually shortens the number of pages in the part, reducing page turns ad making for a cleaner looking part. On the other hand, being able to follow along with the cello part can be very useful.