Double Bass Is the use of tip, middle or towards frog

[Andy Mopley]

bowing, a matter of player's choice, conductor's choice, repertoire? Specifically, we are playing a Dvorak symphony requiring several bars in pianissimo, tremolo, same note ...Is it better to try to bow using more tip, in this case?

Thank you!

 

[coldtrain]

If neither your conductor nor principal have given specific direction then it's up to you to make the dynamic happen. Playing at the tip makes pianissimo a little easier but you should be able to get that dynamic from most of the bow length. Depending on the specific passage you may want to play more sul tasto as well as determine how much (or little) bow hair to use.

 

[David Potts]

Tremolo is a sound effect, eg in Sibelius' Finlandia. Towards the tip is easier for both German and French bows when pianissimo.With German you are using the wrist alone in its best possible direction so that is easy. With French bow it can be a little more complicated. I use a very rapid twitch between the biceps and triceps that activate bowing from the elbow but keep my wrist relaxed and springy, a sort of controlled flap if you like, so that the bow stroke is only about 1 inch max or less. It's easiest to do if you avoid tensing up. Generally I would say best in the upper half of the bow unless there are are compelling reasons (eg the following notes) to tremolo closer in.

When written Forte or Fortissimo I would come back to the lower half of the bow but carefully. The G string readily collapses with too much weight and the heavier A and E strings just don't respond unless you play higher, towards the end of the fingerboard. If you are in a section I would even suggest slowing down the tremolo and all playing at slightly different speeds

The overall guide is what sort of sound you want to make.

Cheers, DP

 

[Andy Mopley]

Thanks David - hadn't thought about the different speed! But on that, then, how does one determine when/how to use? I mean is it universally accepted that the number of diagonal strokes to indicate tremolo equates to the same number of notes? But if so playing at different speed will not yield the same result (of notes played).
Come to think of it, I think I am answering my own question, OR to your point "The overall guide is what sort of sound you want to make"!!...

 

[David Potts]

Taking Finlandia as an example, after the solo tremolo passage comes 16th notes in a fast 4/4. Here you play the note values again. The shorthand for tremolo is generally a 1/4 note with at least 3 tails and trem. written above it. The repeated notes are (almost) always fast and short even in very slow music. So many things rely on context - how loud, how aggressive, how fast, should it just be a shimmering effect. Core repertoire pieces are not a problem for experienced players who may have played them many times under different conductors. A new or strange piece requires a question put to the conductor by the section leader or by you to the latter. Orchestral etiquette asks that this is the "chain of command".

Best wishes, DP

 

[Steve Freides]

Andy, these are good questions for a teacher who has played these pieces.

-S-

 

[bassmastan]

For the quiet tremolo I would go right at the tip, you have a lot of control there, and can focus in on pitch. I would aim to use very little bow, you do not want full strokes, your shoulder will be in a lot of pain!

 

[Andy Mopley]

Thanks all.

 

[Jon Stefaniak]

If you don't have a strong feeling one way or the other about what sounds best, just do what the principal or majority of the section is doing. This is the solution for most situations.
If it is a long passage, make sure you are comfortable. There is no reason to strain yourself playing too fast or in an uncomfortable part of the bow.