I've been working on the Romberg sonata off and on between other stuff for a while, and in the first movement there are these fun triplet figures all over it. In some of those triplet lines I can take them as they come and cross the strings like this: up-bow on the G string followed by a down-bow on the D string. However, doing a down-bow on the G string followed by an up-bow on the D string is so much easier. I suppose I could simply hook the bow and execute the line the easy way (that's what I'm going to do, actually). But the Zimmerman bowing book hammers on this sort of bowing issue with zest, and I was just wondering if anyone out there had any insight to offer on this...anything beyond, "Zimmerman is simply offering bassists the opportunity to take their bowings as the conductor demands and still pull the line off, by gosh."