Incredibly Useful Exercises, EIN HELDENLEBEN #9

Practice techniques and bow management strategies that exercise the slurred arpeggio melodies in the tone poem, "Ein Heldenleben" by Richard Strauss.
Brought to you with generous support by Houston Luthier and bass maker Joey Naeger. Visit him at joeynaegerbasses.com
Produced and Edited by David Means at "Design with Means": designwithmeans.wixsite.com
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Full Collection:
INCREDIBLY USEFUL EXERCISES:
Volume 1 - Mindfulness, Awareness, Control
Volume 2 - Expression, Beauty
Volume 3 - Hand Shaping, Precision
Volume 4 - Lower Octave Mastery Part 1
Volume 5 - Lower Octave Mastery Part 2
Volume 6 - Lower Octave Mastery Part 3
Volume 7 - Lower Octave Mastery Part 4
Volume 8 - Upper Octave Mastery Part 1
Volume 9 - Upper Octave Mastery Part 2
Volume 10 - Whole Fingerboard Familiarity
Volume 11 - Velocity
Volume 12 - Power
Volume 13 - Hybrid Workout #1
Volume 14 - Hybrid Workout #2
Volume 15 - Hybrid Workout #3
Volume 16 - Hybrid Workout #4
Volume 17 - All Exercises
Volume 18 - Primers (Primers for 3-note progressive scales, Vomits, and Oompah, 3 of the more complex exercises in the series)

[@josiasulaiman]

finally some useful classical bass content

[@incrediblyusefulexercises]

Awesome. Thanks for the support, Josia! Glad you like it.

[@gnypp45]

Great tips and playing! Your 1850 bass sounds wonderful, like thick dark chocolate.

[@incrediblyusefulexercises]

Thanks, gnypp. I love that thing. It was once owned by a man in London who played principal bass on the Empire Strikes Back soundtrack. And Indiana Jones. Bruce B. Mollison. It's a beauty

[@aMtt]

Great playing, great teaching! I will be watching all of these for sure.

[@incrediblyusefulexercises]

Thanks for the support, Matt!

[@Fleoso]

Great approach to this and Learning any kind of frases

[@incrediblyusefulexercises]

Thanks Theo!

[@pavelmanEC]

"Belleza antes que poder...." I loved it!!

[@incrediblyusefulexercises]

Thank you!

[@johns4858]

Wow, this really was incredibly useful

[@incrediblyusefulexercises]

Thanks, John!

[@teogomesdoublebass]

Thanks

[@incrediblyusefulexercises]

You're Welcome Teo

[@glenng725]

Fantastic❤

[@incrediblyusefulexercises]

Thanks!

[@realinowidianto2301]

great contens thanks Mr. your toturial is beatifull

[@incrediblyusefulexercises]

Thanks!

[@joshroyeca]

Great content, thanks you! -Watching from Davao City ☺️👌🇵🇭

[@incrediblyusefulexercises]

Thank you! Hope you're well!

[@magdalenamaziarz27]

Great advice! I clicked subscribe and can't wait for more valuable bass content :-) All the best from Poland!

[@incrediblyusefulexercises]

Thank you for the support, Magdalena! Greeting from Houston! szczęśliwego Nowego Roku!!

[@magdalenamaziarz27]

@@incrediblyusefulexercises Dziękuję! Thank you! 🙏😇

[@jurajskoda]

Great :)

[@incrediblyusefulexercises]

Thank you Juraj!

[@IvicaMarusevic]

5:47 "As your right arm freeze up over the years" :D Just kidding :) GREAT video!

[@incrediblyusefulexercises]

Haha. Thanks for watching!

[@steelslammer85]

Great advice on the Heldenlaben- I feel like what you end up with this is missing a bit of nuance. The problem people usually have with splitting the bow this way is the top note sticks out and it’s a weird in this meter. For me leading to the the first triplet on the last quarter and pulling the power through the octave on the last triplet gives a more direction. Slight difference because you don’t get the last triplet popping out. The bow distribution would be slightly different. What do you think? I’ve played it a few times and on a few occasional the horns have liked it your way but it feels very weird to me. Thank you for these great exercises! So nice to have this content and I appreciate your time in this effort :)

[@incrediblyusefulexercises]

Thanks for the comment, Paul. I agree 100% with you - I don't intend for the top note to pop out, but I don't want it choked either. I created this after seeing so many master classes where the students only left 2" of bow for the top note, because they were increasing the bow speed during the shift, combining it with their left hand shifting speed. In reality, when I add the expression to the long notes, and grow the triplets, I hit the last note closer to the frog, but so that it can still speak with the same energy as the other triplets. This measured approach is meant as a starting point for bow division awareness, but I'd never perform it this way. Thank you for the kind words and suggestions - I love discussions like this. Thanks for the support! I hope you and yours are well

[@mitchgoodwin6388]

This was an amazing video!! Very helpful. Do you plan to break down any other major excerpts for us in the future?

[@incrediblyusefulexercises]

Hi Mitch. Sorry for the delay. The short answer is yes, but I'm on video hiatus for a bit. :-) Hope to get back to it soon. Hope you're well.

[@paulyfortissimo]

I've noticed you use a French bow. I learned in a string methods class that German bows are more popular in Texas. Is that generally true?

[@rv7260]

Hey, Paul! Most of my colleagues are teaching French in school. If it's German, it's normally introduced by a bass player or someone who has gone out of their way to really study bass. As a bass player and orchestra director in Texas, I'm going to say that most people I've met are generally teaching their bass players French bow. There are lots of orchestra directors in Texas, but not many of us are bass players, so I think most will lean to French because that is what is familiar.

[@incrediblyusefulexercises]

Yeah - what Roger said :-)

[@paulyfortissimo]

What is the time signature for this?

[@rv7260]

Heldenleben is in 4/4

[@incrediblyusefulexercises]

Yes- 4/4. Thanks for watching!