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Re: Fingering written music, on the electric...

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Posted by Xavier Padilla on February 10, 2001 at 18:59:59:

In Reply to: Re: Fingering written music, on the electric... posted by Zach on February 10, 2001 at 12:51:26:

Well Zach, I can't help but listen to this,

Playing upright first and then electric won't help you more at reading on the electric. This is a short term illusion. If you do however some upright before the electric you'll probably end up playing more often open strings on the electric, but your reading capabilities, that is, your fingering capabilities at reading ON THE ELECTRIC BASS won't be at all favoured. You might feel you are better off if trained previously on the upright (which in fact would be true if we consider that there is no comparable scholar training out there for the electric) but then you'd still be a diletant on the electric, for the instrument called electric bass demands specific attention to subjects that double bass approachs just don't cover right.
Why you think you would be at easy by employing a technique made and developed on such a different instrument? Uhm, you might be thinking that both instruments are not so different in essence. But then tell me why a double bass player never needs to look at the neck when shifting positions up and down the neck and electric bassists more than often are instead forced to do so much so?
There are enormous physical differencies between both instruments. A legitimate technique for the electric should alow to behave like the double players, that is, without the eyes. But don't get me wrong, our eyes-to-neck dependency (which is in contradiction with the eyes-to-page efectiveness) is only one of the things that shows we are in the need of a technique we still don't have on the electric.
Even if I don't imagine what's the importance of it, or of what help it can be in order to understand what I'm saying, I'll answer to your questions: I can't play very well the upright, but I can tell you several Dragonetti anecdotes, or Bottesini's, or about the Viena school. I love so much the upright that I'm almost commited to not to touch it! That's one thing. The other is about your P.S.. Well I've done the most varied professional work you might imagine over the last 22 years. I'm supposed to be a salsa and latin jazz player expert, though I'm not. I would say I know to play in a big band, combo, trio, duo and solo setting. Styles might vary, from bop to fusion, to pasodoble, to ondanueva, to samba, salsa, cha-cha, rock, R&B, motown... So what, dear Zach?

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