,.

QQQQQQQQQQQQQ
QQQQQQQQQQQQ~2
QQQQQQQQQQQQQ
QQQQQQQQQQQQQ
QQQQQQQQQQQQQ
QQQQQQQQQQQQQ
QQQQQQQQQQQQQ
DAILY
QQQQQQQQQQQQQ EXERCISES
QQQQQQQQQQQQQ
QQQQQQQQQQQQQ for
QQQQQQQQQQQQQ Double Bass
QQQQQQQQQQQQQ
QQQQQQQQQQQQQ
QQQQQQQQQQQQQ
QQQQQQQQQQQQQ
QQQQQQQQQQQQQ
QQQQQQQQQQQQQ
QQQQQQQQQQQQQ DAVID
QQQQQQQQQQQQQ
QQQQQQQQQQQQQ HEYES
QQQQQQQQQQQQQ
QQQQQQQQQQQQQ
QQQQQQQQQQQQQ
QQQQQQQQQQQQQ
QQQQQQQQr~QQQQ
Recital Music
QQQQQQQQQQQQQ RM158
 DAILY EXERCISES for Double Bass
Compiled by David Heyes

• These daily exercises are meant to help develop and consolidate technique.
Remember, however, that technique is only a means to an end - MUSIC is the ultimate
goal. Care should be taken not to put too much strain on the left hand and, much like an
athlete, technique and strength should be built gradually - do not work thraugh the pain
barrier! A little and often is a good maxim.

• A number of points apply to all the exercises:

• maintain a good relaxed hand shape with nicely curved fingers

• the bow should be at a 90 degree angle to the string to produce the best sound
• a strang tone can be produced by bowing closer towards the bridge, but a
slower bow speed will be required
• aim for smooth and effective shifting remembering to release the pressure during the
shift, but still maintaining the handshape
• listen to the intonation, and also to the SOUND. Your sound is the first thing an
audience hears so be aware of the quality of tone in all registers
• learn to use the entire bow and be able to play in any part of it
• play exercises with and without vibrato, and at various dynamic levels

• The book should be seen as a starting point for you to discover new technical exercises
to extend and develop your technique throughout the range of the double bass. They are
in no particular order, although the first exercise (Chromatic Positions) is also useful as
a warm-up study and to help develop a good hand shape.
Choose two or Jhree exercises each day, gradually working through the ones you feel
able to tackle, and eventually add the more challenging ones when you feel confident to
do so. It is also possible to adapt the exercise~;, using only the passages or positions you
feel comfortable playing, and many can be adapted for the less advanced bassist.

• Try not to put strain on the left hand and build technique carefully, consistently
and gradually. Remember that MUSIC is the ultimate goal. Enjoy your bass playing!

David Heyes
2003

Useful study material includes:

Frantisek Cerny - Technical Studies for Double Bass (Edito Supraphon / Bärenreiter)
Frantisek Cerny - 30 Etudes-Caprices (Edito Supraphon / Bärenreiter)
David Heyes - An Introduction to Harmorics (Recital Music)
Josef Hrabe - 86 Studies - in 2 volumes (Hofmeister)
Kreutzer-Simandl - 18 Studies (C.F.Scl7midt)
Alexander Michno - Studies for Double Bass (Recital Music)
J.P. Waud - 30 Progressive Studies (Recital Music)
1. CHROMATIC POSITIONS
This ean be used as a simple warming up exereise and to learn the geography of the
fingerboard. The fingerings remain the same in eaeh position allowing time to eonsider left
hand shape, eurved fingers, bow eontrol, tone, intonation and a good sound. Be aware
that the open string may 'shout' as you progress up the fingerboard - relax the pressure
maintaining a steady bow speed when playing the open string. This exercise ean be
played on all four strings and the first few bars can be used by younger players
experimenting with simple position ehanges. There are a number of rhythmic and bowing
variations, but there are many more whieh you eould invent for yourself.

2. ONE OCTAVE SCALES

Although only major scales are included, the concept can also be adapted to minor seal es
(natural, harmonie, melodie) and arpeggios. Several fingerings have been suggested and
it is worth learning eaeh one as musie does not always follow the fingering patterns
learned in the rehearsal room. Scales can be played in many ways, not always tonic to
tonic, possibly mediant to mediant or dominant to dominant, and these are the basis of
everything you play on the double bass. Play slowly ensuring that the tone is maintained
throughout the bow, the intonation is good and the sound is one you would like to hear.
Take your time and develop your skills eonsistently, eonfidently and gradually, eventually
building to two and three oetave scales.

3. FOUR NOTE PATTERNS

All seales are buHt up of two groups of four notes and this is a useful exercise to learn
seales with effective and aecurate shifts. The shift is always after the seeond note of each
group and remember to keep the first finger on the string, releasing the pressure during
the shift, maintaining the hand shape from position to position. Produce a confident tone in
eaeh register and make sure that the shift is smooth and legato, sustaining an even bow
stroke throughout the phrase. This can also be adapted for minor scales.

4. SCALE PATTERNS
This is an extension of the previous exercise, staying in one key throughout and can also
be adapted for minor scales and in every key. Rhythmic and bowing variations can be
introduced when you are eonfident with the basic exercise. Aim for a good legato and
smooth shift, maintaining the hand shape from position to position. Try this exercise on
various strings and in different keys, aiming for secure and accurate shifts, good intonation
and a strong tone.

5. DIATONIC SHIFTS
Designed to learn the geography of the fingerboard, this exercise should combine effeetive
and accurate shifting with smooth legato bowing and remember to release the pressure
during the shift. This can be played on other strings and in different keys, possibly
ehromatieally, and the diffieulty ean be varied to suit the standard of each student. There
are a number of rhythmie and bowing variations when you have mastered the exereise.

6. FIFTHS
This helps to consolidate astrang left hand shape and can be played in other keys and
ehromatieally. Keep equal bow pressure on each string/note and aim for a eonfident and
even tone throughout the range. Initially you may prefer to play the lower note first, then
the upper note and finally the ehord.
The Perfect 5th interval has been kept for the leading note chord (bar 4), to maintain the
handshape for eaeh interval. Although G# is not in the key of D major, you may prefer to
play G natural (ta remain in D major) throughout.
7. CHROMATIC STRING CROSSINGS
This exercise combines a repetitive string crossing exercise with a chromatic scale on G,
which can also be adapted to G major or minor. Begin slowly ensuring that the bowing
arm is always at the correct level and experiment playing in different parts of the bow - the
balance point, however, is probably the most effective place to play. There are three
strings to master so be aware of the bow speed and pressure needed for each one.
Bowing and rhythmic variations can be introduced as you learn the exercise.

8. THIRDS
This combines string crossing with maintaining a hand shape across two strings. Aim for a
strong and confident tone tor each chord, being careful to balance the two notes evenly.
The first finger is used here are a 'moving' finger for the upper note of each third, but
different fingerings can be adapted from player to player. The bow should move c10ser to
the bridge as you move up the fingerboard.

9. ARTIFICIAL HARMONICS
Although these are not commonly used in orchestral music, artificial harmonics can be
found in many modern solo pieces and are loved by the more 'adventurous' composer.
Keep the bow towards the bridge for clarity, maintaining a constant and fairly fast bow
speed. Press the thumb (+) on the string and lightly place the third finger a fifth higher.
The handshape will constrict as you move up the fingerboard, and these harmonics will
work better on the higher strings. Experiment with different bow speeds and pressure,
also using varying rhythms and bowing.

10. BROKEN SCALES

This exercise can be used in any key (major or minor) and develops key awareness
alongside shifting small distances. Play this throughout the range of the double bass and
experiment with different fingering and bowing patterns. It can be played up and down the
same string, or comdining string crossing and position changes. The fingering patterns
have been used to develop moving forwards and backwards with different fingers.

11. HAMMER FINGERS

Be careful to stay in position throughout each bar remembering to curve, and not
collapse, the fingers. The exercise is to create a strong left hand shape and fingers, and
can be played on different strings and also in thumb position. Try to play the finge red
notes by 'hammering' the fingers onto the string (without using the bow) and aim for a
ringing tone and still curved fingers.

12. THUMB POSITION

This is a chromatically ascending exercise in thumb position, using different hand shapes.
It can be combined with other exercises and scales, combining rhythmic and bowing
variations, and move the bow towards the bridge as you travel up the fingerboard. Aim to
keep the fingers curved, and for a smooth and constant bow speed. There are many other
fingering variations you can use, and remember to develop the ability to play accurately
and confidently from the lower positions into thumb position and back. Be aware of your
left arm level when moving into thumb position.

Build technique gradually and carefully. 00 not to put strain on the lett hand.
A little and often is a good way forward. Music is the ultimate goal.
The bow is your 'voice' and should be developed alongside a good lett hand.
 5

2. ONE OCTAVE SCALES

E MAJOR F MAJOR
41214 2041041

I 1I I I I I I

F# MAJOR G MAJOR

~ LJ ~ LJ L---.J L----.J L---l L---J L---J I I

~:~I'~-
Ar MAJOR A MAJOR
412414010414414 014014121410410

1,
L-J LJ L---J I I L-J L---.J L..J I !I 11 I

Bi> MAJOR B MAJOR

140140242041041 141141244142141

:1~1'_ I I ~L...JL-.-JLJL---J ~LJ~~

C MAJOR DI> MAJOR

D MAJOR Er MAJOR
014014242410410 1424241

[ II! I !
I 'L-..J~ I I L--.J I !

v V V V

v V V V ~
6

3. FOUR NOTE PATTERNS

il>~
1424424
~ 1}~ 2: .' . .. .. ..
~! I~

4 4
~ 1 4 2_4 4 2 4 1 I> 1 4 2 3 3 2 4 1

., : .:: IJ~l>~

~:.I'j,-

4 4

4 4
14233241 14244241

~I' -• -•• . ~ IJ p~ ~:RI1qqq~

FINGERING VARIATIONS

# I,. 1 4 2 4 4 2 4 1
2 2 2 2 2 2

-~~ I)~-e. ~

VARIATIONS
V V
1

,##
~~
1 1 4 1 , 1 4 2 ..
 7

4. SCALE PATTERNS

4 4
~ 14244241 14144141 12133121

~~===-:::!1:=!
~I 'L---l

4 4

33144

4 4

VARIATIONS

V i1 V i1
~n V n V n V n VnV nV nVn VnV
~~
~ '---' ~ ----- ~ '"--

. .. .
 8

5. DIATONIC SHIFTS

.,-
VARIATIONS

41' 221 1441 2112 2222

412442

.'- 4114 4224 4444

'.1, n . V v. n

6. FIFTHS
3 3 3
4 4 4 1
4
1
1 1 1
#1
Ir
0 1 1

~
3
F
3
E i f rl ~

#1 1
4
1
4
1
4
1
4 1

f
1

ffi
0

~ f §' F I~
VARIATIONS
V
11
 9

7. CHROMATIC STRING CROSSINGS

.#~ .. ~ .. #~ .. q~.
. . . . . . . -. . .
.

::::.::::::~:

::::~:::::~

VARIATIONS
10

8. THIRDS

. ~ . .
~
1

. . .
\

. . .- . . . . . . - ~

VARIATIONS V V
V ~ -.. __ -.. n

9. ARTIFICIAL HARMONICS

3 3 .

~r .hf??21=:l
~ + Slm.

1fil Ünr ~ ~ F "hF I~ ~

.,tm@~~ ~ ~ -, ~=
m~
~

_ I~ ~

'P~: EEif ===P=P=====1~' F tF F ~ F ~ ~. ~

~ 5 rf F ~ ör tt ~r ~-llmd pt ~
12

12. THUMB POSITION

Chromatic Semi-Chromatic Diatonic

· .. . ~~.
. .

· . . . ..
. .

· . . . . .

.. . . .. .

. . . . ..~~ . .

VARIATIONS
V V V