Double Bass Rehearsing a heterogeneous section

[hsu912174]

Hi,
My orchestra in which I play the principle bass came down to a situation in which half of the section plays german bow and another half plays french bow. Being on the French bow camp I tend to prescribe bowings that facilitate french bow playing. Recently we run into slightly more demanding stuff (Beethoven 7 and Brahms Violin Concerto, as opposed to Debussy, Ravel, Mozart and Rimsky-Korsakov - our conductor has an unusual taste, or so it seems.), and some of the German bow people are complaining that the bowings I put down are awkward to execute. For situations like this, does anyone have any good suggestion as to how I can reconcile the technicalities?
Thanks.

 

[fergus currie]

If you are the principal then one of your jobs is to adopt bowings that suit the players in your section, not just ones that you like (although you do get the chance to argue your case for oddball bowings).
This is not always easy. Firstly you must realise that there will be some suggestions from within the section about bowings which might be useful and maybe they're better than the ones you have in mind. Be prepared to try out things that come from the rank and file; they come from a will to help and get the best from the section and not from a desire to disrupt or piss you off.
Take a look at what the celli and violins are doing and try to coordidate with them, but don't do this blindly. If you find a better bowing for the bass then use it.
Try to find the easiest, most comfortable, and logical bowing for any passage.

I was playing in the BBC while Nicole Boysen was principal there and we work a week on some crazy bowing. The day of the gig she was ill and Terry Darke took over in the dress rehearsal and changed the bowing to a logical, easy and very effective bowing which everyone played perfect first time!
The problem is not German or French but logical, simple and effective versus the eccentric quirks of an egocentric boss....
FC

 

[hsu912174]

I tend to keep things simple, so I would usually set the bowings up to get a down bow on notes that need accent (down beat or the ones marked.) To do that I have to take some double ups (which, in fact, came from the cello section.). Just lately a guy that plays the German bow complained that it is awkward. That was my main concern.
I was not so tied up with the geocentricism, as sometimes I appreciate people working stuff out for me, sparing me the time to find that out myself.

 

[neilG]

I tend to keep things simple, so I would usually set the bowings up to get a down bow on notes that need accent (down beat or the ones marked.) To do that I have to take some double ups (which, in fact, came from the cello section.). Just lately a guy that plays the German bow complained that it is awkward. That was my main concern.
I was not so tied up with the geocentricism, as sometimes I appreciate people working stuff out for me, sparing me the time to find that out myself.

Why do accents or downbeats need to be on a down bow? That's holding you back from using bowings that are comfortable with all the players. IMO.

 

[Andrew McGregor]

Double-up bows might be less comfortable on German because you tend to use less bow, and so have a harder time making room. But that's not really a big deal.

German bows are also better at making big up-bow accents, so you might find it works well just bowing it out.

 

[eerbrev]

what is the skill level of the section in general? I am a player who has recently switched from french bow to german bow, and while some things are easier and some things are more difficult, often when someone complains it means that they really just need to practice (myself included ). That being said, you can make accommodation if someone comes up with a better bowing, or one that you find equally good to your own, but if you like your bowing and you're principal, stand your ground.

that's my $0.02 anyways,

eerbrev

 

[hsu912174]

Once in a lyric section of Barber's Summer in Knoxville a "legacy" player (legacy as in "legacy software" - go figure) tried to make me play three measures in one bow. We had a pretty heated time there.

The reason why I like to put down bow on downbeats and accents is that it sets up a simple system so that we don't have to mark our music too much. In the event of any one of us getting lost in the middle, at least we have a rallying point to look for.

 

[hsu912174]

what is the skill level of the section in general? I am a player who has recently switched from french bow to german bow, and while some things are easier and some things are more difficult, often when someone complains it means that they really just need to practice (myself included ). That being said, you can make accommodation if someone comes up with a better bowing, or one that you find equally good to your own, but if you like your bowing and you're principal, stand your ground.

that's my $0.02 anyways,

eerbrev

I have a bachelor in bass, another guy has been there since WWII, and there are a bunch of other guys who are enthusiasts, who know how to negotiate neck register but haven't ventured into upper block much.

 

[neilG]

The reason why I like to put down bow on downbeats and accents is that it sets up a simple system so that we don't have to mark our music too much. In the event of any one of us getting lost in the middle, at least we have a rallying point to look for.

In general, that's a good way to go, but don't let it hinder ease of playing. I know players who just can't fathom the idea of accents on upbows and it gets in the way.

 

[fergus currie]

Terry was always down to earth about bowings. When I first came to the BBC I asked if there was any particular bow stroke he preferred for Mozart (which we were playing that week). His reply - 'Side to side!'