Hey Canaan, thanks I really appreciate that and it's so good to hear the lessons are helping. Best of luck with all your practice, cheer Geoff :-)

I do

@@Luis-tz8kt p

You're welcome! I'm glad it helped :-)

Glad it helped! Best of luck with all your bass playing :-)

Great, thanks for watching :-)

Fantastic! :-)

I personally don't think of positions in that area, just the relationship to the harmonic at C and D... but there's a great article on it here: doublebassblog.org/2015/12/nicholas-walkers-simandl-and-rabbath-double-bass-position-comparison-chart.html

Thank you! Lol sorry that this reply was so late. This really helped me.

ha!

oh nevermind i know this already its not.....

It's a big topic but posture is key, especially when standing. Make sure the left elbow is raised to allow the arm/hand weight to press the strings. It can take time to build up the calluses which can be sore, but you shouldn't need to press as the arm weight should do the work for you. Bass set up can also make a difference, especially in thumb position, so that could be worth checking. Best of luck and check out this lesson for an overview of the technique: discoverdoublebass.com/lesson/double-bass-thumb-position-lesson-pt-2-method-l48

That's another good solution! All of these variations have trade-offs so it's great to explore the different options. Your suggestion does have one shift in thumb position, but it's a nice touch that you can move the thumb in advance of the hand (crab technique). That means both of our two-octave fingerings have a total of four shifts. Some nice features of my suggestion are that you can utilise the open G and G harmonic (to reference tuning), and keep the fingerings for the 1 one octave version the same as the fingerings for the first half of the two-octave version. So all of these variations have pros and cons and I'm a big fan of practising as many as possible. Thanks for watching.

Yes, that’s right. 👍

Me too, it's a tricky one!

True. The only real reference pitch you have in the scale is the leading note, C, a perfect fourth above the top string, even if the harmonic here sounds G two octaves above the open string (for that nice Lydian effect, maybe). I suppose you could interpret Db enharmonically as C sharp and relate it to the open A, or treat Gb enharmonically as F sharp and relate it to the open D, but this seems a bit convoluted (not to say desperate)! We just have to bite the bullet and practise this scale, I think.