Technique Tuesday is a collaboration by Lauren Pierce and Double Bass HQ that explores techniques from Lauren’s best-selling books, Scales, Scales, Scales, Please Play in Tune, and Basstudes.
Today, we’re covering articulations. You know who loved them? Johannes Marie Brahms.
We will explore an excerpt from his 2nd symphony and learn how to execute all those challenging articulations with clarity and precision.
The Articulation Challenge
The tricky thing about this Brahms excerpt is honoring all of the articulations, because there are a lot of them! We’re dealing with:
- Staccatos
- Accents
- Sforzandos
Just in the first two measures, we have an articulation on every single note! This starts with the staccatos on the first two notes, followed by an accent on the upper E.
Staccatos
The way that I see these staccatos is like little pops off the string. They should be:
- Short and crisp
- Clean and detached
- Light but clear
Accents vs. Sforzandos: It’s All About Weight
The difference between accents and sforzandos is the heaviness in the note.
Accents
I see accents as affecting the very front of the note to give it that sort of “cuh” sound. They’re sharp and immediate, but don’t carry heavy weight throughout the entire note.
Sforzandos
Sforzandos also affect the front of the note, but there’s more heaviness overall. They’re not just about the attack. They maintain weight and intensity throughout the note.
Horizontal vs. Vertical Motion
The difference in what’s going on in your body comes down to two types of motions.
Horizontal Motion = Bow Speed
This is about how fast you move the bow across the string.
Vertical Motion = Weight
This is about how much arm weight you apply into the string.
Executing Each Articulation
For Accents: Horizontal Motion Focus
With accents, I use or require a lot more horizontal motion. A faster bow speed at the very beginning, with just a little touch of vertical motion at the front of the note.
The technique:
- Quick bow speed at the start
- Light touch of weight for the attack
- Return to normal playing immediately
For Sforzandos: Vertical Motion Focus
Sforzandos require a lot more vertical motion. That’s the heaviness I’ve been talking about, still with a little bit of a front to the note.
The technique:
- Really sink my arm into the string
- Feel it in my back (engaging larger muscle groups)
- Maintain weight throughout the note
- Still create that initial attack
My Practice Method: Slow and Exaggerated
I practice this method with slow practice. Here’s my systematic approach:
Step 1: Tempo Reduction
I recommend starting this at least half tempo, even slower if you need to. Don’t rush this process.
Step 2: Exaggerate Everything
Really, really accentuate all of the articulations. You want to:
- Make them super crystal clear
- Go to the extremes of what each articulation sounds and feels like
- Create muscle memory through repetition
Step 3: Make it Automatic
You want all of these articulations to be super crystal clear to the audience, but you also want them to be second nature to you, as opposed to simply a response to something that you’re seeing on the page.
The Practice Process
Phase 1: Identification (5 minutes)
- Mark all articulations clearly in your music
- Understand what each symbol means
- Plan your physical approach for each one
Phase 2: Slow Exaggeration (15-20 minutes)
- Practice at half tempo or slower
- Exaggerate every articulation beyond what you think is necessary
- Focus on the physical sensations of horizontal vs. vertical motion
- Use repetition to build muscle memory
Phase 3: Gradual Integration (10 minutes)
- Slowly increase tempo while maintaining clarity
- Ensure articulations remain clear as speed increases
- Record and listen back for clarity
Key Reminders
- Every note has an articulation in this excerpt—don’t miss any
- Staccatos = light pops off the string
- Accents = horizontal motion (bow speed) with light attack
- Sforzandos = vertical motion (weight) with sustained heaviness
- Slow practice is essential for building clarity
- Exaggerate in practice so they’re clear in performance
Common Mistakes to Avoid
- Treating all articulations the same way
- Rushing through without proper slow practice
- Not using enough physical differentiation between accent types
- Making articulations too subtle—they need to reach the audience
I hope this helps you tackle those challenging Brahms articulations! Try this practice method and let me know how it works for you. I’ll see you next time for more Technique Tuesday insights.
For more of Lauren’s insights, visit her Technique Tuesday series and sign up for the Double Bass HQ newsletter to have the series delivered to your inbox each week.
Connect with Lauren
