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Encounter of Santander
Concerto for double bass and piano no. 2 in B minor
Janne Saksala, guest professor
María del Mar Rodríguez Martínez, student
Jesús Gómez Madrigal, accompanying pianist
Professor Saksala suggests to the student to create different atmospheres and more contrasts. The character of the piece is like a lullaby. The best way to start a long sound is with more calm and progression, and with sound projection.
It is also important to work on articulations, vibrato and dynamics related to the phrasing. The bowings should be out of the fingerboard, in the middle of the bridge, to get more resonance.
They talk about the student's instrument and the different tuning for specific notes.
Every time we have the same phrase (the same notes or the same melodic design), the repetition should have some different element and not only be played exactly as the first time.
They also talk about the harmonic richness of the piece. Saksala explains the more appropiate place where the bow have to contact with the string and he shows this point to the student.
In general, the phrasing has to be freer. Professor and student work on the note distribution in the bow to give more fluidity to the music. Although the 'rallentando' is a question of personal taste, it is not necessary to be exagerated.
Coming back to the phrasing, in a specific repetition of a phrase, the second time is much more conclusive. They work on the last phrase in aspects such as phrasing, articulation and duration of the notes, this is like a stairway to the sky.