![]() An example would be the A on the D string (see chart below). Some harmonics produce different pitches than when the note is stopped. These are notated like a regular note would be, but with a circle above the note to indicate it should be played as a harmonic. Some harmonics are the same pitch as the note when pressed down, like the octave G harmonic. Outlined below are some of the more common harmonics. The most common harmonics are the octave harmonic of each string, an octave and a 5th above the open string (on the G string, this would be the D harmonic above the octave G), and the 2nd octave harmonic (2 octaves above the open string). At each of these points is a node where, when touched on a vibrating string, will produce a harmonic overtone. The string can be divided into intervals - 1/2, 1/4, 1/8, etc. Trills begin on the written (or lower note) in music written during the Romantic Era and later (example 1 in video below), while trills in music written during the Classical Period and earlier are played starting on the upper note (example 2 in video below). A chromatic trill might use Ab or A#.ĭepending on the time period of the music written, the trill will either start with the note written (the lower note) or the note above. For example, if there was a trill over the note G in the key of C major, a diatonic trill would use the notes G and A. If there is an accidental over the trill, it is called a chromatic trill. Unless otherwise indicated, the pitch will be the in the given key signature, making it a diatonic trill. ![]() The two notes in the trill consist of the note written and the pitch directly above it. In context, “tr” will usually be written above a note, sometimes with a wavy line following. Please note: The video demonstrations are not playing the specific notated examples.Ī trill is an ornament that calls for a quick alternation between two pitches. It's comprises 5+ hours of HD video across 70 lessons for beginners to advanced students. If you would like to learn more about these articulations, as well as other bowing techniques, check out my step-by-step course, 'Double Bass Bowing Technique'. If you have a friend or student who you think would benefit from this information please share the page with them and help spread the word about what we are doing here at. The information below is intended to be used as a reference guide so I recommend bookmarking this page for later use. For some of the articulations, I’ve included the equivalent vocal sounds - these are from Henry Portnoi’s book, “Creative Bass Technique,” which is a fantastic resource for orchestral playing and overall a great read by a legendary pedagogue. Below is a list of some of the most common articulations and markings you will find in written music.
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