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Simandl #6

Discussion in 'Orchestral Technique [DB]' started by Garagiste, May 2, 2021.


  1. Garagiste

    Garagiste

    Feb 16, 2013
    Brooklyn, NY
  2. Bar Star

    Bar Star

    Nov 4, 2018
    That was cool thanks for sharing it!

    As someone who is waiting for post-pandemic, in-person teaching to clean up my bowing technique (I am on page 13 of Simandl and haven’t cracked the études yet), I admire the economy of motion in your bow.
     
    Garagiste likes this.
  3. Garagiste

    Garagiste

    Feb 16, 2013
    Brooklyn, NY
    Thanks! To your point about waiting to clean up your bow technique, there is a lot of good video content out there. I wouldn’t worry too much about “having to unlearn mistakes”. For me, it’s a slow process of learning what the bow should feel and sound like. It’s very subtle. What kind of bow do you use?
     
  4. eerbrev

    eerbrev

    Dec 6, 2009
    Ottawa, ON, CAN
    First of all, great work. You're handling the string crossings (which are one of the primary points of the etude) like a champ!

    I think you can add more weight into the beginning of your bow strokes to get a better start to the note. Some people will suggest rosin, and it does help, but your fundamental sound is fine so I don't think rosin is the issue. Try relaxing your forearm and elbow a bit and see if that helps.
     
    Selim and Garagiste like this.
  5. Garagiste

    Garagiste

    Feb 16, 2013
    Brooklyn, NY
    Thanks so much!
     
    eerbrev likes this.
  6. Bar Star

    Bar Star

    Nov 4, 2018
    I have a Glasser Braided Carbon German bow and a no-name Brazilwood German Bow. The Glasser gets a better sound out of my bass but the Brazilwood one is a bit shorter and is sometimes easier to maneuver in busier sections.

    As far as video content goes I am working slowly through David Allen Moore’s German Bow course at Discover Double Bass to inform my technique.
     
  7. Garagiste

    Garagiste

    Feb 16, 2013
    Brooklyn, NY
    Yes I purchased that course as well. He’s great.
     
  8. Dogfightgiggle

    Dogfightgiggle

    Mar 4, 2020
    My bow arm used to look very much like yours, with the elbow sort of raised. When you perform string crossings with this kind of approach you need to lead the motion by lifting the elbow, which I see you doing here. I think of it as chicken winging. I see some good players playing like this so I don’t really want to knock it.

    But fairly recently I changed my approach so that the elbow is more just hanging low at the side, very loose with the weight of the arm sort of pooling up in it. If you try playing like this you may find some benefits in overall fluidity, but your string crossings can then just be a very natural pushing out of the hand/letting it come back to you.
     
    Garagiste likes this.
  9. Garagiste

    Garagiste

    Feb 16, 2013
    Brooklyn, NY
    Thank you. I totally see that as well. Elbow looks sort of unnaturally raised and it’s clear how that could compromise using the dead weight of the arm for bowing rather than downward pressure. It’s such a subtle dance, this bowing business. But it does feel like it’s evolving for me. Thanks again.
     
    Selim, AGCurry and Dogfightgiggle like this.
  10. Lots of good things happening. IMO the most important is that you played to the musical sound that you want, perhaps more than how you are making it. To me that is the final judge of success. You are instinctively working in the same area of the bow hair by using a combination of echo in the bass body, release at the ends of longer notes as you save bow length and care with following shorter notes to avoid them blurting out. While you carefully made a nice musical room-size sound the bow contact point was a long way from the bridge where there is more (possibly too much?) string flexibility and it was easy to "squish" the sound by crushing, not supporting the string vibrations, by using short strokes (especially on the G string).The body of the bass was not worked hard enough to project a full voice.

    You could try physically taking more risks by experimenting with relaxing the right hand/ arm and shoulder for with more weight variation and bigger bow movements generally, bowing closer to the bridge (try about 6 inches when in lower positions), fine tuning hair tension for a clean bite into note starts and no skidding (too tight), and trying other rosins than Pops(my personal dislike) to keep you honest. Trust your ears (from your video they are serving you well already) as you look down at how the strings react to your bow use. Practising in front of a mirror will also help.

    I began as a timid student, unable to make a bold sound. Now .........
     
    AGCurry and Garagiste like this.
  11. Garagiste

    Garagiste

    Feb 16, 2013
    Brooklyn, NY
    Thanks David! Always great feedback. I’ll have another take up soon. It’s already improving.
     
  12. Primary

    Primary TB Assistant

    Here are some related products that TB members are talking about. Clicking on a product will take you to TB’s partner, Primary, where you can find links to TB discussions about these products.

     
    May 9, 2021

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