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ing = Se “The , aa! e Essentials of. Es pra pe 4 Ls WOR, of [ 22057 To John Bass 1935 - 1996 A good friend and wonderful double bass player. Introduction by Emanuel Hurwitz Fornearly acentury the exercises by Sevefk have been studied by violinists, violists and cellists (the cello transcription by Feuilliard in 1905). So it is a pleasure to have the bowing studies Opus 2 adapted for the double bass by Neil Tarlton. These exercises are of great importance to all string players desirous of improving bow control, which is, without doubt, the key to easy and confident technique. ‘The Student who practices thesé studies with intelligence and application will (Ispeak from my own and my pupils' experience) find their general control, and most impor- tantly, tone production, improving audibly in a remarkably short time. So, T am happy to introduce this book. Foreword } ‘9008 by Neil Tarlton Sevcik Op. 2 offers a carefully graduated system of practice which enables us to experience and develop every aspect of the bow in all degrees of intensity, dynamic and speed. In individual and combined study of the wrist and arm through double-stopping, staccato and ‘constant attention to the whole bow, we get used to the rarer extremes of bowing, giving greater competence with the riore usual areas of the bow. The study of the bowed staccato, although lirtle used in the music wé play, gives us a very real inowledge of a bow that has no two like parts between frog and tip. The ever-changing distance between right hand and string, coupled with the fact that every note in the scale has a slightly different sounding-point, make it essential that that knowledge becomes prior knowledge. The many studies involving double stops show that Sevetk must have thought there was more to be gained than just the ability to play two notes at once. The more obvious needs to be satisfied here are maintaining a very level bow, especially at the bow change, and the physical effort required to play loud and slow on two strings, with an even sound. The whole bow, in these studies, means from frog to tip and no less. The shorter sounding notes should have an even pressure, and throughout, care should be taken to maintain the chosen dynamic level. The demands on the left hand are kept to a minimum, and the studies are usually just long enough to make a particular point feel practised. Concentration being thus focused, good habits should form rapidly and many everyday bowing problems diminish leaving the player, when performing, to devote more energy to the music instead of to the difficulties. Neil Tarlton is Principal Double Bass of the Philharmonia Orchestra, London, and a Professor at the Royal College of Music. Chance Publications 4 Centrul Drive St. Albans ALA OUT England