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Double Bass Bowing on G string - harder to keep bow in one spot

Steve Freides

Steve Freides

Former Mannes College Theory Faculty
Supporting Member
Dec 11, 2007
2,576
1,508
Ridgewood, NJ
#1
I'm an arco newbie, having been at it about 4 months now, and I find my bowing on the G string significantly worse than on the other three strings. Something about the position of something, I dont' know what, find me having a much harder time moving the bow back back and forth across the same spot on the string on the G string than on the other three. The result is much more frequent somebody-stepped-on-the-cat's-tail sounds on the G string than on the other strings.

I will take this up with my teacher at my next lesson, but comments appreciated in the meantime. For the time being, I'm doing a lot of bowing repeated passage on the G string where I can watch the bow and correct as needed, and that is helping.

TIA.

-S-
 
#2
Alright.. I'm no classical bow expert (I'm sure someone who is will chime in soon).. but here goes....

When bowing a down bow on the G, as the bow is about halfway and moving towards the tip being on the string, try keeping your bow arm somewhat straight (but relaxed) so that the bow naturally keeps its 90 degree angle on the string. As always, keep your bow wrist relaxed, acting as a hinge that adjusts depending on whether the frog, tip, or middle of the bow is on the string. I take you're practicing in front of a mirror, correct?
 
#4
German - is there any other way? :)

No, not practicing in front of a mirror, and also not looking at the bow much, either. Starting to watch what I'm doing directly is a recent change - I did it a lot more at the beginning, less once I got the basic hang of things, more again now. I'm not a big fan of mirrors - I'd rather videotape myself and watch it afterwards.

-S-
 
#5
SteveFreides said:
German - is there any other way? :)

No, not practicing in front of a mirror, and also not looking at the bow much, either. Starting to watch what I'm doing directly is a recent change - I did it a lot more at the beginning, less once I got the basic hang of things, more again now. I'm not a big fan of mirrors - I'd rather videotape myself and watch it afterwards.

-S-
Click to expand...

Videotaping and watching afterwards is a bit too late. The mirror gives immediate feedback and you can correct right away. All the tape does is show you how you have cemented improper techinique in place through practice.

If you hate seeing yourself in the mirror you can always get one of these :)
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#6
Oops, I guess I should have asked whether you were using French or German. I guess what I said is more geared towards French playing, though maybe there are some similarities? And definitely get yourself a mirror. It's the best way to get instant and direct feedback (as neilG mentioned) about whether you're using proper or improper technique, thus aiding you in becoming a better bassist.
 
#7
Here are my tips to a good sound.
SIT DOWN WHEN YOU PLAY!
when bowing on the g string (and all) the higher up you go the closer to the bridge you must be (when playing anything except piano..) On the g string you will hit the corner of the bass if you try to bow straight across so you will have to angle it in a bit.
 
#8
So, with German bow on the G-string it feels like you're pointing the tip way up when you're actually square on to the string; the angles are all different. I'm betting you're letting your bow tip drop away from you, and playing too far from the bridge to avoid the tip hitting the front of the bass. Also, at the point it feels like you're having to reach a long way out in front of you; this is true, you do have to do that, as the plane perpendicular to the strings really is tilted a long way out up there.

Also, you're not really aiming to run the bow across the exact same spot; instead, you're aiming at having control over where on the string you are at any given moment. Playing in one place is just an exercise that leads there, just so you understand why you're doing this.

As has already been said, you'll be moving closer to the bridge as you play higher and louder, so that the bow doesn't set off 'falsing', which is really just a harmonic being caused by the bow hair instead of your finger.
 
#9
Thank you, everyone - many good tips and things to think about, some which will take a little while (at least) to digest. I will try playing in front of a mirror and see what that feels like as well.

-S-
 
#10
maybe try turning the the bass in towards you. i agree when you say that the g string is the hardest to play (both to keep the bow straight and maintain contact ie not slip up and down the string). This is largely due to the distance you have to reach with your right arm.. turning the bass in will reduce this distance. The other thing is (apart from relax) is to just think 'bow out', use a mirror.. you'll get there :)
 
#12
SteveFreides said:
I'm an arco newbie, having been at it about 4 months now, and I find my bowing on the G string significantly worse than on the other three strings. Something about the position of something, I dont' know what, find me having a much harder time moving the bow back back and forth across the same spot on the string on the G string than on the other three. The result is much more frequent somebody-stepped-on-the-cat's-tail sounds on the G string than on the other strings.

I will take this up with my teacher at my next lesson, but comments appreciated in the meantime. For the time being, I'm doing a lot of bowing repeated passage on the G string where I can watch the bow and correct as needed, and that is helping.

TIA.

-S-
Click to expand...

This could be a combination of technique, the bow you're using and the srings you have on your bass however as your ability to control the bow increases the last two items aren't as important.

I think you just need to spend more time playing arco and working with your teacher and the control will come.
 
#14
The following might be "back to basics" for you but is worth saying

Holding the bass vertical and bowing at 90 degrees to the top string about 4 - 6 inches from the bridge means pointing the bow direction sightly down towards the floor, through the middle of the cut-out (the "dee"). This is because the bridge is rounded and strings are leaning back because of the angle of the neck. Similarly the bow angles slightly towards the floor on the bottom string.

Only on the two middle strings can you see that the bow hair is parallel to the bridge. This is a useful trick for lining up the bow at approx. 90 degrees to D and A strings when you don't have a mirror. Drop the bow hair down to the top of the bridge and line it up with the top, then pull it back up into playing position, keeping the bow direction the same.

Practice rolling the bow across all four strings without sound, starting with the bow hand low and bow pointing uphill on the E string and hand rising as you go across. pointing the bow down with higher hand as you reach G. The bow stick is travelling on a "plane" that is vertical to the length of the strings as it rolls across.

Bowing at 90 degrees to a string with steady contact point gives best tone. The "energy" is drawn across at 90 degrees. There is a trick here too. So long as the energy moves across at 90 degrees the bow can meet the string at greater or less than 90 degrees and slide to and from the bridge while still producing a clear sound. This is useful for preparing to shift big distances, say after a long held note. The moment you reach the new contact point you square up the bow properly to continue. If the bow movement is directed greater or less than 90 degrees there is a horrible distortion of the sound.

I think this "energy" idea might be why Viennese players get away with what look like crazy bow movements, bows angled and sliding, and yet produce a huge clear sound. Can anyone enlighten me?

DP
 

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