Grundlagen der Kontrabass-Technik: = Principles of double bass technique
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | German English |
| Veröffentlicht: |
Mainz [u.a.]
Schott
2007
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 241 S. Ill., Notenbeisp. |
| ISBN: | 9783795787325 |
Internformat
MARC
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|---|---|---|---|
| 001 | BV022585115 | ||
| 003 | DE-604 | ||
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| 008 | 070816s2007 agl| |||| 00||| ger d | ||
| 020 | |a 9783795787325 |9 978-3-7957-8732-5 | ||
| 028 | 5 | 2 | |a ED 8732 |
| 035 | |a (OCoLC)180161858 | ||
| 035 | |a (DE-599)BVBBV022585115 | ||
| 040 | |a DE-604 |b ger |e rakwb | ||
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| 100 | 1 | |a Wolf, Michael Barry |d 1954- |e Verfasser |0 (DE-588)133122050 |4 aut | |
| 245 | 1 | 0 | |a Grundlagen der Kontrabass-Technik |b = Principles of double bass technique |c Michael Barry Wolf. Ill. vom Verf. |
| 246 | 1 | 1 | |a Principles of double bass technique |
| 264 | 1 | |a Mainz [u.a.] |b Schott |c 2007 | |
| 300 | |a 241 S. |b Ill., Notenbeisp. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
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Datensatz im Suchindex
| _version_ | 1804136725215182848 |
|---|---|
| adam_text | Inhalt
(Table of
Contents
on page
8)
Vorwort...........................................................................................................................................11
Abschnitt Eins: Gewicht und Haltung...................................................................................13
1.1 Veränderung des effektiven Gewichts.........................................................................13
1.2 Verlauf der Muskelunterstützung vom Rücken zum Arm.....................................14
1.3. Verlauf der Muskelunterstützung von Hand zu Arm ............................................16
1.4 Gewichtsveränderung durch Haltung........................................................................17
1.5 Haltung und Bewegung..................................................................................................19
Abschnitt Zwei: Bewegungsanalyse.........................................................................................23
2.1 Bewegungsarten................................................................................................................23
2.2 Wahl des Drehpunktes und Eigenfrequenz...............................................................23
2.3 Aktive und passive Bewegungsarten............................................................................25
2.4 Äußerer und innerer Widerstand..................................................................................26
2.5 Sensorisches Training......................................................................................................28
2.6 Kompromisse.....................................................................................................................31
Abschnitt Drei: Einfache Bewegungen...................................................................................33
3.1 Schultergürtel....................................................................................................................33
3.2 Oberarm..............................................................................................................................35
3.3 Unterarm............................................................................................................................36
3.4 Handgelenk........................................................................................................................38
Abschnitt Vier: Komplexe Bewegungen..................................................................................40
4.1 Schultergürtel/Oberarm.................................................................................................40
4.2 Oberarm/Unterarm..........................................................................................................42
4.3 Unterarm-Streckung und Rotation.............................................................................45
4.4 Handgelenk/Finger..........................................................................................................47
4.5 Finger der linken Hand...................................................................................................48
4.6 Konsekutive Bewegungen...............................................................................................52
Abschnitt Fünf: Bogentechnik..................................................................................................55
5.1 Physikalische Eigenschaften der gestrichenen Saite................................................55
5.2 Bogenhaltung und Gewicht...........................................................................................57
5.3 Tonbildung.........................................................................................................................60
INHALT
5.4 Bogengeschwindigkeit.....................................................................................................63
5.5 Bogenwechsel.....................................................................................................................65
5.6 Saitenwechsel und Doppelgriffe...................................................................................67
5.7 Klangfarbe..........................................................................................................................74
5.8 Dynamik.............................................................................................................................75
5.9 Arten der Bogenbewegung.............................................................................................79
5.10 Stricharten..........................................................................................................................82
5.11 Weitere Klangfarben........................................................................................................93
Abschnitt Sechs: Linke-Hand-Technik...................................................................................97
6.1 Das Vier-Finger-System...................................................................................................97
6.2 Haltung der linken Hand.............................................................................................100
6.3 Kraft der linken Hand...................................................................................................103
6.4 Fingersatz-Modelle.........................................................................................................106
6.5 Daumenlage.....................................................................................................................109
6.6 Weite Lagen......................................................................................................................111
6.7 Kontraktionen.................................................................................................................113
6.8 Austausch-Fingersatz....................................................................................................114
6.9 Triller.................................................................................................................................117
6.10 Quarten.............................................................................................................................118
6.11 Der Gebrauch des Daumens in den tieferen Lagen...............................................120
6.12 Flageoletttöne..................................................................................................................121
6.13 Fingersatzwahl................................................................................................................123
Abschnitt Sieben: Lagenwechsel.............................................................................................128
71 Analyse...............................................................................................................................128
7.2 Der „kurze Lagenwechsel............................................................................................130
7.3 „Langer Lagenwechsel..................................................................................................135
7.4 Ablangen...........................................................................................................................143
Abschnitt Acht:
Vibrato
............................................................................................................145
8.1 Analyse...............................................................................................................................145
8.2 Ausführung......................................................................................................................148
8.3
Vibrato
und Lagenwechsel...........................................................................................153
8.4
Vibrato
und Fingersätze................................................................................................157
8.5
Vibrato
als Ausdrucksmittel........................................................................................159
Abschnitt Neun: Rechts/Links-Koordination....................................................................162
9.1 Analyse...............................................................................................................................162
9.2 Fingersätze und Striche................................................................................................163
INHALT
9.3 Lagenwechsel und Striche............................................................................................171
9.4 Lagenwechsel, Fingersätze und Striche.....................................................................172
Abschnitt Zehn: Intonation....................................................................................................175
10.1 Analyse...............................................................................................................................175
10.2 Einstimmen des Instrumentes....................................................................................178
10.3 Gehörbildung und Ausbildung der Tastsinnes......................................................182
Abschnitt Elf: Tonleitern und Modi......................................................................................188
11.1 Tetrachord-Fingersätze.................................................................................................188
11.2 Modale Fingersätze in den tieferen Lagen................................................................190
11.3 Modale Fingersätze in der Daumenlage...................................................................192
11.4 Überblick über modale Fingersätze...........................................................................197
11.5 Tonleiter-Studien............................................................................................................200
11.6.
„Kurze-Lagenwechseľ -Tonleitern
..............................................................................208
11.7 Triolenfiguren..................................................................................................................209
Abschnitt Zwölf: Üben..............................................................................................................210
12.1 Physiologische Lernbasis..............................................................................................210
12.2 Der Lernprozess..............................................................................................................212
12.3 Übungsprinzipien...........................................................................................................214
12.4 Übungstechniken...........................................................................................................219
12.5 Hilfsmittel beim Üben...................................................................................................228
Abschnitt Dreizehn: Vorbereitung für die Aufführung...................................................233
13.1 Üben im Gegensatz zur Aufführung.........................................................................233
13.2 Übergang vom Üben zur Aufführung.......................................................................234
13.3 Entwicklung einer Musikphilosophie.......................................................................238
Table
of Contents
Foreword
.............................................................................................................11
Section One: Weight and Posture
..........................................................................13
1.1
Varying effective weight
................................................................................13
1.2
Progression of muscular support from back to arm
.......................................14
1.3
Progression of muscular support from hand to arm
......................................16
1.4
Manipulating weight through posture
..........................................................18
1.5
Posture and motion
.....................................................................................19
Section Two: Motion Analysis
...............................................................................23
2.1
Types of motion
..........................................................................................23
2.2
Fulcrum placement and inherent frequency
...................................................23
2.3
Active and passive modes
.............................................................................25
2.4
External and internal resistance
....................................................................26
2.5
Sensory training
..........................................................................................28
2.6
Compromises
..............................................................................................31
Section Three: Simple Motions
..............................................................................33
3.1
Pectoral girdle
.............................................................................................33
3.2
Upper arm
..................................................................................................35
3.3
Lower arm
...................................................................................................37
3.4
Wrist
..........................................................................................................38
Section Four: Complex Motions
............................................................................40
4.1
Pectoral Girdle/Upper Arm
..........................................................................40
4.2
Upper Arm/Lower Arm
................................................................................42
4.3
Lower Arm Extension/Rotation
....................................................................44
4.4
Wrist/Fingers
..............................................................................................46
4.5
Left hand fingers
.........................................................................................47
4.6
Consecutive motions
...................................................................................52
Section Five: Right Hand Technique
.......................................................................55
5.1
Physics of the bowed string
..........................................................................55
5.2
Bow grip and weight
....................................................................................57
5.3
Tone production
.........................................................................................60
5.4
Bow speed
..................................................................................................63
5.5
Bow changes
...............................................................................................65
8
TABLE
OF
CONTENTS
5.6
String
changes and double stops
..................................................................67
5.7
Tone colour
................................................................................................74
5.8
Dynamics
....................................................................................................75
5.9
Modes
of bow
motion
.................................................................................79
5.10
Bowings
......................................................................................................82
5.11
Additional colours
.......................................................................................93
Section Six: Fingering
............................................................................................97
6.1
The four-finger system
.................................................................................97
6.2
Left hand position
.....................................................................................100
6.3
Left hand strength
.....................................................................................103
6.4
Fingering patterns
......................................................................................106
6.5
Thumb position
........................................................................................109
6.6
Extensions
.................................................................................................111
6.7
Contractions
.............................................................................................112
6.8
Replacement
.............................................................................................114
6.9
Trills
.........................................................................................................117
6.10
Fingered fourths
........................................................................................118
6.11
Using the thumb in the lower positions
.......................................................120
6.12
Harmonics
................................................................................................121
6.13
Choosing fingerings
...................................................................................123
Section Seven: Shifting
........................................................................................128
7.1
Analysis
....................................................................................................128
7.2
The short shift
.......................................................................................130
7.3
The long shift
.........................................................................................135
7.4
Borrowed notes
.....................................................................................143
Section Eight: Vibrato
.........................................................................................145
8.1
Analysis
....................................................................................................145
8.2
Execution
..................................................................................................148
8.3
Vibrato and shifting
...................................................................................153
8.4
Vibrato and fingering
.................................................................................157
8.5
Vibrato as an expressive medium
................................................................159
Section Nine: Left Hand/Right Hand Coordination
..............................................162
9.1
Analysis
....................................................................................................162
9.2
Fingering and bowing
................................................................................163
9.3
Shifting and bowing
..................................................................................171
9.4
Shifting, fingering and bowing
....................................................................172
TABLE
OF
CONTENTS
Section Ten: Intonation
......................................................................................175
10.1
Analysis
....................................................................................................175
10.2
Tuning the instrument
...............................................................................178
10.3
Ear and tactile training
..............................................................................182
Section Eleven: Scales and Modes
........................................................................188
11.1
Tetrachord fingerings
.................................................................................188
11.2
Modal fingerings in the Lower Positions
......................................................190
11.3
Modal Fingerings in the Thumb Position
.....................................................192
11.4
Overview modal fingerings
.........................................................................197
11.5
Scales Studies
............................................................................................200
11.6
Short shift scales
.......................................................................................208
11.7
Triplet patterns
..........................................................................................209
Section Twelve: Practicing
...................................................................................210
1 2.1
Physiological basis of learning
....................................................................210
12.2
The learning process
..................................................................................212
1 2.3
Practice principles
.....................................................................................214
12.4
Practice techniques
....................................................................................219
12.5
Practice aids
..............................................................................................228
Section Thirteen: Preparing for Performance
........................................................233
13.1
Practice vs. performance
............................................................................233
13.2
Transition from practice to performance
....................................................234
13.3
Developing a Philosophy of Music
..............................................................238
10
|
| adam_txt |
Inhalt
(Table of
Contents
on page
8)
Vorwort.11
Abschnitt Eins: Gewicht und Haltung.13
1.1 Veränderung des effektiven Gewichts.13
1.2 Verlauf der Muskelunterstützung vom Rücken zum Arm.14
1.3. Verlauf der Muskelunterstützung von Hand zu Arm .16
1.4 Gewichtsveränderung durch Haltung.17
1.5 Haltung und Bewegung.19
Abschnitt Zwei: Bewegungsanalyse.23
2.1 Bewegungsarten.23
2.2 Wahl des Drehpunktes und Eigenfrequenz.23
2.3 Aktive und passive Bewegungsarten.25
2.4 Äußerer und innerer Widerstand.26
2.5 Sensorisches Training.28
2.6 Kompromisse.31
Abschnitt Drei: Einfache Bewegungen.33
3.1 Schultergürtel.33
3.2 Oberarm.35
3.3 Unterarm.36
3.4 Handgelenk.38
Abschnitt Vier: Komplexe Bewegungen.40
4.1 Schultergürtel/Oberarm.40
4.2 Oberarm/Unterarm.42
4.3 Unterarm-Streckung und Rotation.45
4.4 Handgelenk/Finger.47
4.5 Finger der linken Hand.48
4.6 Konsekutive Bewegungen.52
Abschnitt Fünf: Bogentechnik.55
5.1 Physikalische Eigenschaften der gestrichenen Saite.55
5.2 Bogenhaltung und Gewicht.57
5.3 Tonbildung.60
INHALT
5.4 Bogengeschwindigkeit.63
5.5 Bogenwechsel.65
5.6 Saitenwechsel und Doppelgriffe.67
5.7 Klangfarbe.74
5.8 Dynamik.75
5.9 Arten der Bogenbewegung.79
5.10 Stricharten.82
5.11 Weitere Klangfarben.93
Abschnitt Sechs: Linke-Hand-Technik.97
6.1 Das Vier-Finger-System.97
6.2 Haltung der linken Hand.100
6.3 Kraft der linken Hand.103
6.4 Fingersatz-Modelle.106
6.5 Daumenlage.109
6.6 Weite Lagen.111
6.7 Kontraktionen.113
6.8 Austausch-Fingersatz.114
6.9 Triller.117
6.10 Quarten.118
6.11 Der Gebrauch des Daumens in den tieferen Lagen.120
6.12 Flageoletttöne.121
6.13 Fingersatzwahl.123
Abschnitt Sieben: Lagenwechsel.128
71 Analyse.128
7.2 Der „kurze" Lagenwechsel.130
7.3 „Langer" Lagenwechsel.135
7.4 Ablangen.143
Abschnitt Acht:
Vibrato
.145
8.1 Analyse.145
8.2 Ausführung.148
8.3
Vibrato
und Lagenwechsel.153
8.4
Vibrato
und Fingersätze.157
8.5
Vibrato
als Ausdrucksmittel.159
Abschnitt Neun: Rechts/Links-Koordination.162
9.1 Analyse.162
9.2 Fingersätze und Striche.163
INHALT
9.3 Lagenwechsel und Striche.171
9.4 Lagenwechsel, Fingersätze und Striche.172
Abschnitt Zehn: Intonation.175
10.1 Analyse.175
10.2 Einstimmen des Instrumentes.178
10.3 Gehörbildung und Ausbildung der Tastsinnes.182
Abschnitt Elf: Tonleitern und Modi.188
11.1 Tetrachord-Fingersätze.188
11.2 Modale Fingersätze in den tieferen Lagen.190
11.3 Modale Fingersätze in der Daumenlage.192
11.4 Überblick über modale Fingersätze.197
11.5 Tonleiter-Studien.200
11.6.
„Kurze-Lagenwechseľ'-Tonleitern
.208
11.7 Triolenfiguren.209
Abschnitt Zwölf: Üben.210
12.1 Physiologische Lernbasis.210
12.2 Der Lernprozess.212
12.3 Übungsprinzipien.214
12.4 Übungstechniken.219
12.5 Hilfsmittel beim Üben.228
Abschnitt Dreizehn: Vorbereitung für die Aufführung.233
13.1 Üben im Gegensatz zur Aufführung.233
13.2 Übergang vom Üben zur Aufführung.234
13.3 Entwicklung einer Musikphilosophie.238
Table
of Contents
Foreword
.11
Section One: Weight and Posture
.13
1.1
Varying effective weight
.13
1.2
Progression of muscular support from back to arm
.14
1.3
Progression of muscular support from hand to arm
.16
1.4
Manipulating weight through posture
.18
1.5
Posture and motion
.19
Section Two: Motion Analysis
.23
2.1
Types of motion
.23
2.2
Fulcrum placement and inherent frequency
.23
2.3
Active and passive modes
.25
2.4
External and internal resistance
.26
2.5
Sensory training
.28
2.6
Compromises
.31
Section Three: Simple Motions
.33
3.1
Pectoral girdle
.33
3.2
Upper arm
.35
3.3
Lower arm
.37
3.4
Wrist
.38
Section Four: Complex Motions
.40
4.1
Pectoral Girdle/Upper Arm
.40
4.2
Upper Arm/Lower Arm
.42
4.3
Lower Arm Extension/Rotation
.44
4.4
Wrist/Fingers
.46
4.5
Left hand fingers
.47
4.6
Consecutive motions
.52
Section Five: Right Hand Technique
.55
5.1
Physics of the bowed string
.55
5.2
Bow grip and weight
.57
5.3
Tone production
.60
5.4
Bow speed
.63
5.5
Bow changes
.65
8
TABLE
OF
CONTENTS
5.6
String
changes and double stops
.67
5.7
Tone colour
.74
5.8
Dynamics
.75
5.9
Modes
of bow
motion
.79
5.10
Bowings
.82
5.11
Additional colours
.93
Section Six: Fingering
.97
6.1
The four-finger system
.97
6.2
Left hand position
.100
6.3
Left hand strength
.103
6.4
Fingering patterns
.106
6.5
Thumb position
.109
6.6
Extensions
.111
6.7
Contractions
.112
6.8
Replacement
.114
6.9
Trills
.117
6.10
Fingered fourths
.118
6.11
Using the thumb in the lower positions
.120
6.12
Harmonics
.121
6.13
Choosing fingerings
.123
Section Seven: Shifting
.128
7.1
Analysis
.128
7.2
The "short" shift
.130
7.3
The "long" shift
.135
7.4
"Borrowed" notes
.143
Section Eight: Vibrato
.145
8.1
Analysis
.145
8.2
Execution
.148
8.3
Vibrato and shifting
.153
8.4
Vibrato and fingering
.157
8.5
Vibrato as an expressive medium
.159
Section Nine: Left Hand/Right Hand Coordination
.162
9.1
Analysis
.162
9.2
Fingering and bowing
.163
9.3
Shifting and bowing
.171
9.4
Shifting, fingering and bowing
.172
TABLE
OF
CONTENTS
Section Ten: Intonation
.175
10.1
Analysis
.175
10.2
Tuning the instrument
.178
10.3
Ear and tactile training
.182
Section Eleven: Scales and Modes
.188
11.1
Tetrachord fingerings
.188
11.2
Modal fingerings in the Lower Positions
.190
11.3
Modal Fingerings in the Thumb Position
.192
11.4
Overview modal fingerings
.197
11.5
Scales Studies
.200
11.6
Short shift scales
.208
11.7
Triplet patterns
.209
Section Twelve: Practicing
.210
1 2.1
Physiological basis of learning
.210
12.2
The learning process
.212
1 2.3
Practice principles
.214
12.4
Practice techniques
.219
12.5
Practice aids
.228
Section Thirteen: Preparing for Performance
.233
13.1
Practice vs. performance
.233
13.2
Transition from practice to performance
.234
13.3
Developing a Philosophy of Music
.238
10 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Wolf, Michael Barry 1954- |
| author_GND | (DE-588)133122050 |
| author_facet | Wolf, Michael Barry 1954- |
| author_role | aut |
| author_sort | Wolf, Michael Barry 1954- |
| author_variant | m b w mb mbw |
| building | Verbundindex |
| bvnumber | BV022585115 |
| ctrlnum | (OCoLC)180161858 (DE-599)BVBBV022585115 |
| dewey-full | 787.5 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 787 - Stringed instruments (Chordophones) |
| dewey-raw | 787.5 |
| dewey-search | 787.5 |
| dewey-sort | 3787.5 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| format | Book |
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| id | DE-604.BV022585115 |
| illustrated | Illustrated |
| index_date | 2024-07-02T18:16:25Z |
| indexdate | 2024-07-09T21:00:58Z |
| institution | BVB |
| isbn | 9783795787325 |
| language | German English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-015791311 |
| oclc_num | 180161858 |
| open_access_boolean | |
| owner | DE-M29 DE-12 DE-Atg1 DE-1259 DE-634 |
| owner_facet | DE-M29 DE-12 DE-Atg1 DE-1259 DE-634 |
| physical | 241 S. Ill., Notenbeisp. |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Schott |
| record_format | marc |
| spelling | Wolf, Michael Barry 1954- Verfasser (DE-588)133122050 aut Grundlagen der Kontrabass-Technik = Principles of double bass technique Michael Barry Wolf. Ill. vom Verf. Principles of double bass technique Mainz [u.a.] Schott 2007 241 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Kontrabassspiel (DE-588)4383864-9 gnd rswk-swf Kontrabassspiel (DE-588)4383864-9 s DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015791311&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Wolf, Michael Barry 1954- Grundlagen der Kontrabass-Technik = Principles of double bass technique Kontrabassspiel (DE-588)4383864-9 gnd |
| subject_GND | (DE-588)4383864-9 |
| title | Grundlagen der Kontrabass-Technik = Principles of double bass technique |
| title_alt | Principles of double bass technique |
| title_auth | Grundlagen der Kontrabass-Technik = Principles of double bass technique |
| title_exact_search | Grundlagen der Kontrabass-Technik = Principles of double bass technique |
| title_exact_search_txtP | Grundlagen der Kontrabass-Technik = Principles of double bass technique |
| title_full | Grundlagen der Kontrabass-Technik = Principles of double bass technique Michael Barry Wolf. Ill. vom Verf. |
| title_fullStr | Grundlagen der Kontrabass-Technik = Principles of double bass technique Michael Barry Wolf. Ill. vom Verf. |
| title_full_unstemmed | Grundlagen der Kontrabass-Technik = Principles of double bass technique Michael Barry Wolf. Ill. vom Verf. |
| title_short | Grundlagen der Kontrabass-Technik |
| title_sort | grundlagen der kontrabass technik principles of double bass technique |
| title_sub | = Principles of double bass technique |
| topic | Kontrabassspiel (DE-588)4383864-9 gnd |
| topic_facet | Kontrabassspiel |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015791311&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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