Daily Exercises for the

Double Bass
Introduction
Section 1 Basic Exercises
2
3
4
5
6

Exercise #1
Exercise #2
Exercise #3
Exercise #4
Exercise #5

String Crossings
Long Tones
Hanging (One Finger, Vomit, Flesh burn)
Rotation in Shift and Pivot
Double Stops

Section 2 Rotation, Limbering and Balance

7
8
9
10
12
14
16
18
20

"el Perro"
"el Burro"
"el Porko"
Limbering Exercises
Gradus Low
Gradus High
Knucklebuster #1
Knucklebuster #2
Knucklebuster #3

Section 3 Scale Studies

22
24
25
26
28
30
33

Scale Progressions
Area Code Scales
Rosin Lovers Special
Jobber's Scale Routine
Professional Scale Routine
Virtuoso's Scale Routine
Variations for Chord Studies and Arpeggios

Introduction
Vibrato sounds best only when it occurs below the pitch and back up just to the pitch.
When vibrato occurs sharp of the pitch there are no longer any parameters of any exact pitch
and it resembles a wobble more than a musical tone. In order to achieve any discernable
variation in pitch below the note the left hand has to be in a position to actually roll (or
rock) flat of the note and it is for this reason that left hand technique should be thought of
as trying to go in the same general up and down direction as the strings, and not coming at
them on the right angle.
Acceptance of this principal leads to many wonderful applications of the left hand namely;
1. Resistance to string friction
2. Retained strength in hand
3. Inherent rhythm in finger patterns
4. Seamless, accurate and effortless shifting
5. Rotation allows hand to encompass a minor third and more
1. Resistance to string friction; When the fingers try to shift on the strings at right angles
they are pulled out of balance making consistent intonation out of the question. When the
fingers move with the strings they glide easily and are not pulled at all. As well, the hand can
truly be hung off the fingerboard in every position giving great weight to the hand. No effort
has to be spent holding up the arm. These positions of hanging are the positions of
balance that are absolutely essential in good playing.
2. Retained strength in hand; the hand stays small and focused on each note. Keeping the
hand closed or small, always retains its power. Extensions eat up power quickly and they
should be used rarely.
A rotation is a movement from note to note; it is not a stretch that is held in a position like
an extension.
Even though the hand is more up and down now and the fingers are not over top of the
notes, the hand can easily rotate to each note as needed. The faster the speed the less
rotation is possible, but the hand should never be static in a position as if it is some
scientifically calibrated device. The size of rotation varies from a very pronounced inverted
hang for vibrato to the almost imperceptible wave of an extremely fast passage.
3. Inherent rhythm of finger patterns; using a rotation lets the forearm participate in finger
motion and even though the fingers do not stay exactly over top of the notes, the rotation
lets very, very fast patterns be played that are or can be nearly perfect rhythmically.
This is the number one consideration for co-ordination with the bow.
Too much practice time is wasted trying to co-ordinate hands that will only be together by
chance. Rotations allow finger work to be clear and brilliant. Also, much less time is spent
on practicing passagework.
4. Seamless, accurate and effortless shifting; the movement of the rotation is also the
movement from the wrist that gives a perfect shifting technique. The movement is the same
if it is a whole tone or an octave; the rotation allows for a landing on the note and an
immediate restoration of balance. The notion of trying to find a note doesnt exist. It is
more like jumping from rock to rock on a beach. For this reason, switching instruments
with little or no adjustment period becomes the norm.

5. Rotation allows hand to encompass a minor third and more; allows more fingering
possibilities for musical and technical solutions. Also makes playing the bass tuned in fifths
more viable.
A misunderstood impediment to good left hand technique is the practice of trying to retain a
space between the first and second fingers in Germanic fingering and between the third and
fourth in Italian fingering. In reality both are quite useable if a rotation is used and the
strongest finger combinations utilized. For instance,
1 to 3 is stronger than 1 to 2, and 2 to 4 is stronger than 3 to 4.
A double stopped interval is strongest 1-3 and 2-4.
I believe that in a good left hand position if one allows the hand to relax while covering a
whole tone 1 to 4, the semitone in between the two will actually fall somewhere between the
second and third finger.
I think that 1 2 4 is still strongest for chromatic fingerings and flexibility of rotation.
Using a rotation of the hand from the elbow and wrist allows a player to take advantage of all
the different schools of thought on this subject which is good since they all have merit. A
good modern player should be able to utilize all his fingers in every position. A good left
hand technique rolls like a ball from note to note, not like a stiff robot-like stick doing some
job in a factory.
Just as the left hand must have the supple flexibility to allow rotations, so must the right arm
and wrist. While the right wrist does not ordinarily initiate a stroke, its looseness and
freedom is the key to allowing the arms weight onto the bow so that extra downward force
is never applied and the weight used can stay the same most of the time. As well, the wrist
effects all bow changes and articulations. When the pumping action between the elbow and
the wrist can become refined enough, spicatto at different speeds and dynamics becomes
possible.
The opening exercises (1-5) in this method work specifically on these mechanics. The
middle section (Limbering, Gradus, offers a variety of strength building exercises that
should be practiced in a varied and very moderate manner.
The scale routines are specifically designed to benefit the right wrist and its functions with
the end goal being to perform a variety of spicatto strokes.
Interval and chord study are a vital part of intonation training. I suggest that one key per
week be studied.

Fingering Explanation
I have deviated from traditional fingering methods for several reasons.
I don't believe that having a fingering over every note is beneficial; in
fact, it may lead more to playing numbers
than playing notes.
I believe I can convey more information about left hand movement by
actually giving less information.
If no fingering is present, than it means the hand stays in that position.
Sometimes I will indicate a fingering in a position if what I intend is
not obvious, for instance,
going into thumb position in the neck positions.
I want to indicate only when the hand has to change position (shift) or
else make some compensatory move.
Because the distance of a minor third can be covered by a pivot of the
hand, I don't consider that a shift,
and do not indicate it with a number. Likewise, in thumb position,
where a distance of an
augmented fourth or even a fifth is easily spanned, I don't usually
indicate a fingering.
The player has to be aware of whether or not the hand is in a closed or
open position.
For this reason, my fingering system is not the most readily understood,
but with further examination and study,
more information and understanding is available about actual left hand
movements and functions.
A pivot is defined by whether the thumb moves or not.
When the thumb (or any other finger) can re-locate itself
into a new position without shifting, I usually mark them, but without a
line. This relates to so-called "crab technique".
In the Chord Studies, exercise III has the thumb adjusting constantly
for instance.
1. A line over a finger number means a shift up the fingerboard. (toward
the bridge)
2. A line under a finger number means a shift down the fingerboard.
(toward the scroll)
3. If no line is present it means the note is reachable without a shift, but
perhaps with a pivot. (don't move thumb)
4. When the fingerings are taken in context, it becomes clear what
string is intended to be played. Therefore,
I rarely mark the string unless it is really a choice. (I use roman
numerals, I, II,III, IV)
5. With regards to my interval fingerings; I have chosen to use very
few open strings at the three octave level. Thirds, Fourths and Fifths
all play up the strings until the open string
is past. Sixths, Sevenths and Octaves however start in the first octave

and a half by being across two strings.

Only the upper octave and a half is played on the top string ( with
long shifts) and not between two strings.

Section 1
Exercise #1 String Crossings

1. Play this exercise 1.5 to 2 inches away from the bridge.

2. Always feel like your back is pulling the bow. Pull the string on it's left hand side for downbows;
push on the right hand side for upbows. Allow your wrist to react freely. Don't lock it!
3. Turn the stick to make the string change. Keep the hair very close to each string and turn it with your wrist.
Make the movement very deliberate, small and slow.
4. Resist the urge to press down on the bow especially on the lower strings. Use only the weight of and upper
body. The strings should speak easily and give the impression that the notes pop out effortlessly.

q =60

#2 Long Tones
1. This is single best way to affect change in your playing habits. It is really important
that every facet of posture be observed here, because the slow playing ingrains habits
(good and bad ones) most effectively.
2. Pull and push with your back and shoulder and play very close to the bridge.
Remember Exercise #1!
3. Control the slow relaxed movement of the right wrist in the bow changes;
the sound should never stop between notes. The bow should stay in exactly the same
track from note to note and not suddenly skip over the string during the change.
Constant slow contact!
4. Use no vibrato when you want to find the maximum hanging positions for each finger
on each note.
Use vibrato when you want to connect the different hanging positions and ensure good balance.
Use the rotational shift motion to play with no bumps.
5. The sound should be as even and full and controlled as possible.
Use the slow speed to try and visualize each successfully executed motion before it
happens.
6. Use a diatonic scale if time does not allow for the chromatic.

e =60 or less

3
3

Exercise #3/Hanging

1. Always pull the bow with your back.

2. Play these exercises close to the bridge with no force on the bow. Keep the bow moving as legato as possible
and only use the weight of your upper body. Play forte!
3. Keep your right wrist supple and loose; remember the bow motions of exercise #1.
4. Your left hand should feel like it hangs on every note and could be suspended there forever. Make sure your hand is never
at a right angle to the string except on the fourth finger which should still have some inclination to it. Let your left hand
wrist rotation help you land on the notes after all the shifts.
5. Do not make the shifts fast or of a uniform speed! Be aware of using no force or muscle to propel your hand.
Each shift starts slowly and accelerates to the landing; the wrist rotation allows your hand to land or slide into the note
maybe a little like someone sliding into base in baseball. The notes will be in tune with no effort or adjustment!
Don't hunt for the notes or guess where they are!

One Finger Scale

To be played very slowly with very wide non-stop vibrato in the following finger patterns; 1-1, 2-2, 3-3, 4-4 (1 octave), 4-1
for exercises A and B. Other possibilities exist. All exercises could be played in all keys and on different strings.

etc.

q =53

and back down

q =60/120

Vomit or Sleigh Ride Exercise

q =60

etc.

Flesh Burning Exercise

!
etc.

Exercise #4 Slow Shift and Pivot

Make all left hand motions slow and smooth. Focus on using the left wrist rotation to
make the shift upwards and the 3rd finger pull back for the downward shift. Don't lock your fingers
in the pivoting especially between 1 and 3. Don't allow your knuckles to collapse; it's really bad!

3 2 1 3 1
2
1 3 !

e =53

3 1
!

3 1

etc.

3
4

3 !
4

2 4

etc.

#
II

#
III

#
IV

Exercise #5 Double Stops

= 2

1 2

2
+

3 2

3 2 3

Var.1

4
1

1 4 2 4 2 4

1
4

2 3

etc.

etc.

3
1

4
1

Var. 2

! 3

! 4

4
1

4 2 4

4 2

1
3

3
1

+
1

3
1

etc.

Section 2
"el perro"

1. Always pull the wrist/arm right back on all the thumb notes so that the notes are closed
with a callous that extends onto the top edge of your thumb. If left in position for the
third finger, no rotation is possible. The side edge of the thumb only touches on third finger notes.
2. Try and make obvious positions for each finger through the forearm and wrist. Continous
vibrato could be helpful.
4. These next three exercises could be played in all keys and on different strings.

1 2 3 + 3 1 3
2

3 +

3 +

3 +

= 1 2 3 + 3 1 3 + 1 2 3 + 3 1 + = 1 2 3 + 3 1 3 + 1 2 3 + 3 1 +

= 1 2 3 + 3 1 3 + 1 2 3 + 3 1 + = 1 2 3 + 3 2 3 + 1 2 3 + 3 2 +

3 1 3
3 1
1 2 3
3
3
3
3
3
1 2 3
= 1 2 + 1 + 1 2 + 1 + = + + + +
3
3
3
3
2 3
+ 1 + 1 + 1 2 + 1 + + 1 2 3 + 3 2 3 + 1 2 3 + 3 2 +

+ 1 2 3 + 3 1 3 + 1 2 3 + 3 1 + + 1 2 3 + 3 1 3 + 1 2 3 + 3 1 +

+ 1 2 3 + 3 1 3

1
1
2
3
3
+
+

2
1
2
3
3
+

2 3 + 3 2 +
3 + 3 1
3 + 3 1 +
+ 1
+ 1

Var.1/2

Var.3

Var.6 (Paganini Bowing)

Var.7

Var.8

Var.4

Var.5

Var.9

Var.10

"el burro"

1 +

etc.

etc.

etc.

2
3

2
3

etc.

2
3

Var. 1

2
3

Var.5

etc.

Var.2

Var.3

Var.6

Var.7

Var.4

"el porko"

01

2 4

1 3

1 3

@ 4

etc.
= 1

2 3

etc.

Var.1

Var.3

Var.5

and down

Var.2

Var.4

Var.6

Limbering Exercises
10

Play just a few minutes of these a day and be very careful not to overdo #9 (extensions). #5 (14) is very helpful.

etc.

etc.

4 2 1

0 1 2

etc.

0 4 2 4 1 4

etc.

5
1

etc.

2 1

etc.

etc.

4 2

2 1

etc.

4 (extensions)

1 4

only down a minor third

1 4
etc.

11

10

(no extensions)

etc.

etc.

3 2 1
etc.
=
etc.

13

12

1 4

11

14

etc.

etc.

2 3 1 3
+ 3 2

16

15

2 1

1 3

etc.

etc.
3 2
+ 1 2 3 2 1

Simandl Gradus ad Parnassum #21

12

4 (3) 4

4 (3) 4

4 (3) 4

etc.
C.P.

13

Simandl Gradus ad Parnassum #21 upper octave

14

1 3 2
1
+
2

1
1
+
2
+
2
1

15

16

Knuckle Buster #1

! 3

3 !

! 3

17

3 !

3 !

1 3

3 !

1 3

Knuckle Buster #2

18

1 3

! 3

! 3

3 !

! 3

19

1 3

3 !

3 !

1 3

3 !

1 3

Knuckle Buster #3

20

2
1 3
4
!
!
$

!
1 3
!
4
$
!
4

!
! 3
1
$
@
4
4

4
4
1
@
3
!
!

!
1
4
4
! 3
!
$

3 ! 1 3
4
4
!
@
$
2

4
1
4
! 3
!
$
4
@

4
1
! 3
!
$

1 3
4
4
!
3 !
@
$
2


1

21

4
4
1

3 !

3 !

Scale Progressions

22

1.Play the 3's with three notes in the hand and pivoting. Don't use the thumb. Play up the string until you get to a clear open string
that takes all the notes.
2. Play the 4's as duples, ie. 2 shifts per beat. Play up the string until the figure sits entirely on a new open string.
3. Play the 5's with combinations of 3's and 2's. The formula is dependant on the harmony;
I = major (2&3), II =minor (3&2), III = minor (3&2), IV = major (2&3), V = major (2&3), VI = minor (3&2), VII = diminished
(either, 2&3 is better).
4. Play 6's as three groups of 2's except; play 4 & 2 when you have an open string. When you play the III, VI, and
VII degrees of the scale, they can easily be played as two groups of 3's. Groups of 6 that start in the thumbposition could all be
groups of 4&2 or 2&4. The group of 4 should always start with the thumb. 6's could be played with 2 groups of 3,
but playing two groups of the major third pivot in a row is most perilous! (except in thumbposition)
5. Play 7's as you played 5's; I = (2&3&2), II = (3&2&2), III = (3&27&2), IV = (2&3&2), V = (2&3&2), VI = (3&2&2) and
VII = (either, 2&3&2)
6. Groups of 8 could be 4 groups of 2's like the 6's and as well the III, VI, and VII degrees could be played 3&3&2.
Thumbposition could be 2 groups of 4.
7. Play scale progressions in all keys, both legato and slurred staccato.
8. Should any of the 3's in the major third spans prove too difficult, then play 1-1-4/4-4-1 or 1-1-3/3-3-1 or else use thumb.
9. THE SPEED OF ALL THE NOTES IS THE SAME! triplet eighth=sixteenth=fivelet=sextuplet=thirty second notes
etc.
0 1 4
! 2 4
1 3 4

3's

1 3 4

0 1 4

2 4

4
2
2 4
!
! 2 3
!
3 4
4
!
1
2

1 2 4

! 2 3

! 2 3 ! 2 3

2 3

2 3

2 3

! 2 3 ! 2 3

4's

3
2 3 ! 2

1
0 1 ! 4

etc.

2 4

4 !

3 !

4
4
4
4
3
1
3 !
! 4 @
4
4

@
! 4 !
1 4

@ 3
3
4
3
3 ! 4
! 4 ! 4 ! 4
! 4 4
!

3
! 3 ! 3

@ 3

! 2 ! 3 2 ! 3 ! 3 3 ! 3 @ 3 3 1 !

etc.

23

5's

4
!
4 1 3 ! 3 3 ! 4 !
4 ! 3 4

! 2 4 ! 4

0 1 ! 2 4

1 3 4 ! 4

0 1 ! 3 4

2 4

1 4 ! 2 4

4 ! 2 4 4 ! 4 !

4 ! 4 ! 2 3 4

! 2 3

! 4
! 3 4

3
3
! 3 ! 2
! 2 3 !
3

! 2 3 ! 3

! 2 3 @ 3

! 2 3 ! 3 3 ! 3 ! 2 3 3 1 ! 3 1 ! 3 etc.

6's

! 2 4 ! 3 0 1 3

0 1 3 4 ! 4

1 4 ! 4 ! 4

! 3 4

4 ! 2 4

4
! 3

! 2 4

! 2 4
1 3 4

4
4
4!
4 ! 3
4 1 3 1 2
4
1 4 ! 3 !

1 3 4 ! 4

! 4 !

4 4

4
! 3 !

! 3 ! 3 3 4 ! 2 ! 3 3 4

! 4

3 3
3 3
3
3 ! 3 ! 2 !
! 2 3 ! 2 3
! 3 ! 2 !

! 2 3 ! 2 3

! 2 3 ! 2 3 3 1 ! 3 1 ! 3
3 etc.

Area Code ScalesAny combination adding up to 12 will

24

246

6



6

462

624

642

264

6


6

426

work. eg.345,831,255)

Rosin Lovers Special

Slowly

25

19

13

14

15

21

27

26

22

10

11

20

12

23

28

24

18

17

16

25

29

30

31

32
33
34

3
3
3

36
37
38
39

35

40

41

42

43 44

45
46
47

48

51

52

49

53

50

54

55

repeat 51-55 with separate bows

The Jobber's Bowing Exercises (2 octaves)

30

q =60

5 short, on string

10

14

15

16

17

18

19

21

22

20

23

11 legato

q =80

25

26

24

12

13

27

31
q. = 84

28

29

30

q = 100-120

31

32

36

39

41

43

42

33

40

45

48

51

49

34

37

46

44

47

spiccato

52

50

53

38

q =87+

35

54

The Professional's Bowing Exercises (3 octaves)

32

10

13

q =60-80

11

short, on string

12

14

17 legato

16

18

15

19

21

20

22

24

26

28

23

25

27

29

33
31 32
30

3
3
3
q =108-120

34

q. =96-104

35

36

Beethoven 7 (repeat with no slurs 34-38)

38

41

45

q =110-126

39

frog

40

37

33

tip

frog

tip

Fast (repeat with no slurs 39-41)

42

43

q =110-130

46

44

47

51
52

48

50

53

spiccato

54

49

55

56

58

59

57

ricochet
3

60

The Virtuoso's Bowing Exercises

34

q =80-100

3
3

short, on string

10

13

11

14

19

21

16

18

20

12

legato

22

23

17

15

3
3
3

24

35

3
3
3
3

25

28

26

29

27

30

32

6
6
6
6
31

33

35

34

frog

40

44

47

tip

frog

q =104+

37

tip

41

36

42

38

45

q =144+

48

46

39

43

49

50

54

51

q =126+

52

53

55

36

59

56

62

57

58

60

63

3
3

70

q =132+

spiccato

73

67

68

71

69

72

74 3
75

78

65

76

64

66

61

77

79

6
6

Variations for Chord Studies/Arpeggios

Chord Study
1

10

13

Arpeggios
23

20

14

12

11

16

19

37

15

17 three note patterns 18

21

22