1. Please take 30 seconds to register your free account to remove most ads, post topics, make friends, earn reward points at our store, and more!  
    TalkBass.com has been uniting the low end since 1998.  Join us! :)

A contemporary Concept of Bowing Technique

Discussion in 'Jazz Technique [DB]' started by gruffpuppy, May 31, 2002.

  1. Has anyone worked with this book by Frederick

    "A contemporary Concept of Bowing Technique"
  2. Yeah, somewhat.
  3. The reason I ask is because of the introduction to the book. The way he explains his concepts and the way the lessons are written out go over my head. I can read the music and play it but he writes out the bow strokes on a second staff.

    Maybe I just need to have a cup of coffee before I read the intro again.
  4. Skip the intro dude, it's the most confusing part of the book. Play through the exercises and Just remember this: The book is about bowing, not fingering. The whole purpose is to practice string crossing to get a good even tone in all styles of playing. the basic concept is that if you can visualize the actual musical phrases as just string crossing patterns at the given tempo, then you only have to worry about your other hand pushing the strings down on the right notes.
    Too easy, huh? ;)
  5. I should have remembered your quote before I asked the question.

    Thanks, that is the way I was planning on going through the book but while reading the intro before bedtime . . . well it put me to sleep. Wasn't really looking for bow technique put into calculus equations.
  6. Essentially, what the book boils down to is what Doug Mapp calls "bow to destination." Let's see if I can explain this a little bit without being too confusing.

    With each bow stroke you have to consider preparation of the next bow stroke. When playing on one string, whether slurs or detache, all you have to consider is the length and speed of is stroke. String crossings add the complexity of having to move the bow in a downward arc toward the string you are crossing to so that when it's time to sound the note on the different string the bow is already making contact with the string. There should be no daylight between the hair and the string you're crossing to.
  7. Don Higdon

    Don Higdon In Memoriam

    Dec 11, 1999
    Princeton Junction, NJ
    That's why I'm known around here as the King of Double Stops. Trouble is, they almost always weren't written.

Share This Page