Double Bass Bowing patterns

[Andy Mopley]

Hi all

hopefully I can get some advice on correctness of attached, thanks!
On Mendel3 - the blue notation I have included because I think it emphasizes the strong 2nd beat (6/8, in 2). I have also seen references to the 2 up bows in this kind of time signature as being a good pattern to follow.
As always, thanks for the help.

 

[neilG]

I wouldn't bother with the two up bows in the blue bowing. There's nothing to be gained by the relative awkwardness of the bowing at that tempo and dynamic, IMO. The other bowings are the usual ones.

 

[David Potts]

In the third look at the dynamics, FF. Alternate bows, hard on the string, at the balance point or closer in, judging length weight and contact point for a crisply articulated musical sound. Too long scrubs and too short chokes the string. Bow hair tension and rosin are other factors to add to the mix. Have lots of fun experimenting. Cheers, DP

 

[Neil Pye]

If the third were mp or even mf, I'd be tempted by the blue bowing, just because it would probably make the passage move better, but ff means separate bows

 

[Andy Mopley]

Thanks Neil - I have been searching (and perhaps one of the kind folks like yourself may help me out here) some general rules around bowing, specifically...I can understand that the strong beat within a measure should be on the down bow, but there are examples (like the Mendel 3 in my original thread) where you may have an eight note followed by two sixteen notes, and the same three notes again. Let's assume 2/4 allegro, with no specified dynamics. The (suggested) bowing pattern, if I've understood neilG and David's reply correctly, then would look like this: d up d - up d up, which then makes the start of the 2nd set of bowing on the upbeat - is this correct?
When would a retake be advisable?
Regards to all - and BTW, nice makeover Mr Potts!! ;-)

 

[David Potts]

Call the bowing "as it comes" except that the third measure will end down-up-up to set up the fourth. Dropping across for the two ups keeps the bow and arm down and helps gouge the sound closer to the bow heel.

It's a bit too hard to generalise about when to do a retake vs playing shorter following notes as they come then two ups to get back on track. Which is best bowing becomes so case-specific. Doing two down bows generally shortens the first note which can be clumsy, may or may not be desirable or in style with the music. So, practice every which way for future flexibility. If you are the Principal you can call the shots to your liking. If you are not ............

 

[Dogfightgiggle]

@Andy Mopley

You know, I picked up a copy of the Louis Bellson rhythm reading book and I think you could use it for your purposes. Though you’ll need to devise your own solutions it gives you endless little bowing puzzles to work with. It’s a good complement to the Zimmerman string crossing book if you’ve ever used that.

 

[Neil Pye]

If you're deciding on bowing for an amateur section, you also really need to consider that you shouldn't let perfection be the enemy of good. The ideal bowing for a particular passage may simply be too tricky for an amateur section to play cleanly, so a compromise is sometimes necessary