In questo metodo vengono proposte alcune soluzioni scelte per risolvere un arduo problema noto ai contrabbassisti: le diteggiature delle scale e degli arpeggi.
In questo metodo vengono proposte alcune soluzioni scelte per risolvere un arduo problema noto ai contrabbassisti: le diteggiature delle scale e degli arpeggi. Nel contrabbasso ci sono molte scuole che corrispondo ad altrettanti differenti modi di diteggiare le scale maggiori, minori e gli arpeggi. Nel corso degli anni Francesco Pierotti ha cercato una soluzione utile a questo problema, il tentativo di definire delle diteggiature efficaci e che avessero un sistema costruttivo semplice e applicabile nelle diverse tonalità. L’ intento non era solo quello di scrivere delle diteggiature, ma di determinare una logica che permettesse di sviluppare, in tutte le tonalità, diteggiature simili per le scale maggiori e minori e da queste poter poi sviluppare la costruzione anche degli arpeggi. Un lavoro svolto partendo da appunti e riflessioni fatti sulla base di studi e ricerche portate avanti negli anni. Confrontando diversi metodi di grandissimi contrabbassisti e didatti come Vladimir Khomenko, Joseph Prunner, Ludwig Streicher, Francesco Petracchi, Giovanni Bottesini.
This is a marvelous work and many future generations will benefit from it! The idea about scale fingerings is very intelligent. It is a crossover between various schools of double bass. This method is really efficient in developing a good left hand technique.
It is a great honour and pleasure for me to write a few words about this new amazing book by Francesco Pierotti, Finger It Different. Francesco, a very gifted and prominent bass player and composer himself, has done a truly impressive work putting together this incredible collection of various fingerings coming from different bass schools. Knowledge of the instrument is crucial, and an improper choice of fingerings can make performing tasks far more difficult to achieve (if not impossible!) than they should actually be. To be able to make the right choice, one does have to have both thorough knowledge of the fingerboard, and the ability to think “out of the box”, as well as digest an array of different options and exercises. Well, this is what this great analytic work is about! I believe this book deserves a place in the library of any serious professional of the instrument, and, naturally, will be extremely useful for any aspiring bass student, too. Thank you, Francesco, from all the Bass community for this work!
Francesco Pierotti’s new book, “Finger It Different”, is a welcome and much needed contribution to the world of double bass pedagogy. By devising an efficient fingering system for all scales and arpeggios in all keys, employing little to no variations from key to key, Maestro Pierotti allows us to instantly develop a better knowledge of the bass fingerboard, in a more organic and unified way. I highly recommend this book to all serious students of the double bass, regardless of their current level of proficiency on the instrument.
We all know how scales and arpeggios are fundamental for the development of a new technique evolved for this bulky instrument. Thus, great merit goes to Francesco Pierotti, whose brilliant quality I am witness, who with his rich work gives support for this fascinating process. Practicing his scales and arpeggios will lead us to new spaces and instrumental goals. Enjoy your journey!
This method is intended to usefully serve either classical and jazz musicians. Especially the latter will find in it a new and richer instrument, and through these excercises they’ll find a way to fully express their inner perception of music. Since when technical limits fade out, your soul can speak out loud.
I have known Francesco Pierotti for many years: he is an excellent doublebass player and an amazing composer. I was introduced to his work when it was just a small idea since and since then, I have seen it developed and the results are exciting, especially for doublebass player who could benefit from it a lot. Francesco proposes many different fingering techniques for every scale: each and every one of them has been deeply thought and experimented on the instrument. Every detail of this research has not been neglected, the fingerboard becomes a new field to be deeply explored: everyone should find his own way and use this method to create new possibilities.
I highly recommend this method to those who wish to improve their acknowledgement about scales and arpeggios, both in classical music and improvisation. Through the use of a wide variety of fingerings these excercises will give the musician the capability to handle all the unexplored parts of the neck of the instrument, enhancing his/her technical and musical skills.
I’ve had the pleasure to closely follow up the evolution of this work and I would like to compliment Francesco Pierotti for having accomplished a missing key in the many methods on Double-bass teaching Techniques. In this book we can find fingerings used by different schools but overall an original synthesis by the author as a result of an intensive research. I’m sure it would be greatly appreciated by everyone who is interested in intensifying technical skills on the instrument regardless of which musical genre or style will be approached.
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