ㄱㅅ~~ 미국 사람인데 30년 동안 베를린 독일에서 교수였어요

잘하기는요, 뭘~~ 아직 많이 부족해요. (요즘 서울에서 살고 있어요^^) ** 죄송해요, 실수로 유신4112의 댓글을 삭제했어요.

@@wolf-bass 아 네 ^^ 괜찮습니다. 즐거운 주말 보내세요 ^^ 답글 감사합니다 ^^

고맙습니다! 미국 사람 입니다. 요즘 한국에서 살아요.

@@wolf-bass 아 네 ^^ Happy Days in Korea ^^ 감사합니다. 좋은 하루 보내세요. Thanks & have a nice day ^^

You're very welcome! Yes, I am using solo strings. But since l am playing scales in every key, you can still practice all the fingering with this video. Just begin with the D-Major fingerings (found at 2'14" on kzbin.info/www/bejne/ipq7gotqmLV_gMUsi=hEnVaZYoYepEbhYN) instead of the C-Major fingerings, and proceed through the circle of fifths from there.

aha entiendo! muchas gracias! @@wolf-bass

Thanks for your interest! I’ll try to find one for you. What country are you in?

Brazil

Brazil~~ I love Brazil! Best food, drink and people in the world! Hope to meet you someday. I’ll look into a link tomorrow.

It seems you can order the book here: www.amazon.com.br/Principles-Double-Technique-Michael-Barry/dp/3795787327/ or directly from the publisher: www.schott-music.com/en/grundlagen-der-kontrabass-technik-no227173.html I might be doing another video with more details about this fingering sometime soon. Thanks again for your interest! Obrigado!

Thanks. I’ve bought it.

Thanks so much! Hope to see you again someday.

Thanks! It is an Italian instrument, ca. 200 years old, with no indication of the maker. The scroll is from another instrument, probably French, so I just call it my "Euro" bass.

Thanks for asking! I just improvised this, so there is no music. But feel free so copy it based on the video (if you have specific questions, I can try to answer them for you). If you use it in a performance, I would be grateful, if you mentioned me in the program.

Thanks so much for the comment. I’ll be happy to help out. Have you already read my book “Principles of Double Bass Technique“, available at Schott publications or Amazon? I devote a couple of chapters to posture and weight. Take a look, and if you still have questions, you can contact me privately at wolfbass.com

This concerto is definitely not a single movement of the form ABA'. Just look at the original, Saint Saens 'cello concerto (Gliere used it as a template almost phrase for phrase). There, the third movement begins with an ornamented reference to the first movement, as many composers do, but not just a literal "copy and paste" repetition. In that regard, ornamenting the repetition in the third movement makes more, not less, sense. I agree that the Koussevitzky/Gliere is not a bad piece -- my intention was just to play with the idea of making it more like the original by using more material from the Saint Saens. If you prefer to stick to the "urtext", then by all means, there's nothing wrong with that. One other minor point: there is no "rule" that the repetition of a section must be literal or it "destroys the form" -- too many examples to quote. Composers often change the register, accompaniment, dynamics or add additional voices, etc. (see Schubert, Beethoven, Misek, Bottesini). A literal repeat as in the Koussevitzky is more like an exception. Even the repeat of the opening theme in the second movement of this very piece has a different accompaniment than the first time around. And the fact that here the bass plays the same notes means nothing -- composers assign notes to instruments according to color, not importance, sometimes even switching the parts between the soloist and "accompanist" (see Bloch, etc.). It doesn't have to be literal to be a recapitulation.