• TalkBass has been independent since 1998. Add your voice.
    Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
    Join free Log in
    Want zero display ads or expanded classifieds tools? Compare plans.

Double Bass Tips for a nice Staccato w/German grip?

damonsmith

damonsmith

May 10, 2006
10,335
9,048
53
Saint Louis, MO
www.balancepointacoustics.com
#1
I decided to work on getting some traditional bass rep. under my fingers and opened up my Complete Bottesini for double bass and piano Vol. 1 and started reading through the Bolero.

My new years resolution quickly became getting nice, legit staccato with the German gip! With French it comes more natural and seems fine, but German in the high register is just not there - especially with up bows.
Any good tips?
 
#7
Jeff Bonny said:
Stoll is very inspiring. Thanks for posting this csrund. Something he confirms for me is that to articulate short notes clearly the bow needs to be very well rosined which I'd not been doing causing unnecessary frustration.
Click to expand...

Jeff,

I agree. The way he can pop out those very clearly articulated notes, even in a pianissimo you can barely hear, indicates to me that his bow hair has a lot of bite. That bass he is playing also has a lot of cello-like brightness and projection, which also helps.

Chris
 
#9
Don Kasper said:
damon,
Do you think the Spirocores might be a factor in the upper register? On my bass, (on some days), they can be temperamental in the upper register, especially.
Thanks.
Click to expand...

Could be, my G is an older spiro solo, so it is pretty mellow. I am sure it is way easier on a dedicated arco string. My bass has the brightness to make the off string staccato notes pop similar to Stoll (but not as good!).
I still want to overcome the issue - I've made progress today focusing on using the thumb to articulate.
 
#10
damonsmith said:
Could be, my G is an older spiro solo, so it is pretty mellow. I am sure it is way easier on a dedicated arco string. My bass has the brightness to make the off string staccato notes pop similar to Stoll (but not as good!).
I still want to overcome the issue - I've made progress today focusing on using the thumb to articulate.
Click to expand...

It might also have to do with bow placement. If you're up in thumb position and haven't brought your sound point down low enough it would squeak, especially out near the tip.

Just a thought. you might be totally fine.
 
#11
csrund said:
Check out this YouTube series with Klauss Stoll:

I can't recall which installment, but in one of them, he gives very good insight about articulating staccato notes with the thumb, rather than the arm. Every time I watch video of Stoll playing, I'm blown away by his bow technique.

Indeed...what fascinates me about Klauss is also the way in which he seems to have put all the 'traditional" bass techniques to one side - for instance the way he plays close to the fingerboard rather than halfway between it and the bridge (as it is recommended in most methods) - or at least that seems to be the case in this video.

Click to expand...
 
#12
eerbrev said:
It might also have to do with bow placement. If you're up in thumb position and haven't brought your sound point down low enough it would squeak, especially out near the tip.

Just a thought. you might be totally fine.
Click to expand...

Yeah, that is a super important consideration - it was one of the things I had to correct. I am getting the sound I want now but with lots of effort and focus. It is times like this we remember that the bass is difficult!
 
#13

Andy,

When you observe that Stoll has "put 'traditional' bass techniques to one side," what you may be seeing in his technique is the difference in European vs. western playing styles. North American players tend to use less bow and play slightly more into the string, which produces a more pointed, focused sound. European players, as I understand it, typically play less into the string, but use much more of the bow--a 'bigger draw,' you might say--which produces a bigger, rounder sound, but one with less focus. (Anyone else have any observation on this?)

For example, compare Stoll's spiccato with this clip of Joseph Conyers. Notice how compact Conyers' arm motion and stroke is compared with Stoll's. (Although Conyers is also playing close to the fingerboard.)

 
#14
csrund

thanks for the video - what is interesting for me, apart from your insights, is the fact that had Joseph Conyers being an unknown DB player and posted a video here, there would have been quite a few eyebrows raised looking at his technique. Somewhat unorthodox, IMHO.

Moral of the story - be aware of the fundamentals but in the end it is whatever works for you and your instrument!

Great playing, though! - and seemed to be thoroughly enjoying it!!
 
#15
I've made significant progress with this - specifically a nice on-string staccato in the upper register. What I found:
1. it is all guided by the thumb (as in the above advice) - paying attention to this helped my basic bow changes as well
2. Keep close to the bridge
3. It is a bit easier with the bow cocked toward the finger board. I switched to flat hair after working spiccato and sautille and watching the art of the bow but it can still be useful to have the torque of the cocked bow- especially when the object is for the bow NOT to bounce.
4. It takes a lot of work and it doesn't sound pretty!
 

Latest posts

Top Bottom
Back