My main problem right now is that I am too tense. My bow changes suffer, and I cannot transfer my weight into the bow, so I am not getting core sound. Does anyone have any techniques or excercises that could help me?
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Double Bass Trouble with tension?
- Thread starter Blacksheep
- Start date
+1 to above...
The main thing is to relax. And as far as not liking your sound, I like to just pick a note (or maybe two on separate strings... say the A on the D string and D on the G string) and slowly (but with metronome) just play that note or two repeatedly over and over and try everything from different weight in your arm to amount of bow to distance from the bridge or fingerboard. The next step would be to take a piece your playing and really take it slow concentrating on sound and intonation. One bad note and i tend to start over (I'm a perfectionist this way though). I try to get every note even so I can change with accents later. After about an hour of this you start turning your metronome up very slowly (one click per run through of your piece at least) and still just concentrating on sound and intonation. The repetition will get your left hand doing everything automatically and you can just concentrate on your bowing.
I discovered this and only did it a couple times so far with one piece (marcello sonata 2) and My sound has grown a ton in everything I'm playing lately. I think it's helped my bowing become automatic so I can just worry about my left hand.
To tie this in to the topic, I find that when at least my tone is good I really loosen up. Even when My intonation still sucks...
of course this is all IMO, IME, etc, etc
The main thing is to relax. And as far as not liking your sound, I like to just pick a note (or maybe two on separate strings... say the A on the D string and D on the G string) and slowly (but with metronome) just play that note or two repeatedly over and over and try everything from different weight in your arm to amount of bow to distance from the bridge or fingerboard. The next step would be to take a piece your playing and really take it slow concentrating on sound and intonation. One bad note and i tend to start over (I'm a perfectionist this way though). I try to get every note even so I can change with accents later. After about an hour of this you start turning your metronome up very slowly (one click per run through of your piece at least) and still just concentrating on sound and intonation. The repetition will get your left hand doing everything automatically and you can just concentrate on your bowing.
I discovered this and only did it a couple times so far with one piece (marcello sonata 2) and My sound has grown a ton in everything I'm playing lately. I think it's helped my bowing become automatic so I can just worry about my left hand.
To tie this in to the topic, I find that when at least my tone is good I really loosen up. Even when My intonation still sucks...
of course this is all IMO, IME, etc, etc
My teacher suggested a book: The Inner Game of Music by Barry Green. who is a bass player and apparently spent thousands of hours reviewing the literature before even writing this book. My teacher found it helpful and read when he was a university student.
Unfortunately, I do my worst playing at lessons, and juries are coming up very soon.
I just got the book in the mail for next to nothing from Amazon and I better start working on the ideas in this book. Its not real long and it offers many practical ideas about improving concentration, reducing tension.
There's also a lot of other good books listed at Amazon and other places on this topic. Check them out, read the reader reviews and see if something resonates with you.
Unfortunately, I do my worst playing at lessons, and juries are coming up very soon.
I just got the book in the mail for next to nothing from Amazon and I better start working on the ideas in this book. Its not real long and it offers many practical ideas about improving concentration, reducing tension.
There's also a lot of other good books listed at Amazon and other places on this topic. Check them out, read the reader reviews and see if something resonates with you.
If you know what you are doing than you can do what ever you want.
Being aware of tension in it self can be . The "trick" is noticing it before it becomes "tension".
Chances are the tension is starting not in the place you feel it. The place you notice the tension is most likely the place where there is either no movement through the joint OR the weakest, most sensitive part of the mvt chain.
This may sound confusing. forget it then and just kisten to your breathing when ever you feel this tension. I bet you you are holding your breath often. This becomes habitual and we lose sense of it.
When you hold your breath, you overstabilize the rib-cage. Now as you realize your arms are somewhat connected to the ribcage through the collar bone. Lots of people with arm pain don't breath in this part of their ribcage.
Check it out.
Being aware of tension in it self can be . The "trick" is noticing it before it becomes "tension".
Chances are the tension is starting not in the place you feel it. The place you notice the tension is most likely the place where there is either no movement through the joint OR the weakest, most sensitive part of the mvt chain.
This may sound confusing. forget it then and just kisten to your breathing when ever you feel this tension. I bet you you are holding your breath often. This becomes habitual and we lose sense of it.
When you hold your breath, you overstabilize the rib-cage. Now as you realize your arms are somewhat connected to the ribcage through the collar bone. Lots of people with arm pain don't breath in this part of their ribcage.
Check it out.
aside from these psychological suggestions, which may or may not be the answers you're looking for, I would suggest looking carefully at how you use your bow. I would start simply- 1 rest the bow on the string, 2 relax the arm supporting the weight in your bow hold - this step is preparation of the sound, 3 move the bow horizontally. Start with detached strokes with a rest between each to prepare the next- the rest and preparation should take away any anxiety and tension. Then start working on the changes... up to down, down to up. the key is to keep the weight constant while you make the change (this is harder than is sounds). Do this while looking in the mirror - the really skillful bow technique I've seen is incredibly effortless looking, while being precise. Work on relaxing the arm and trying to keep the bow on the path you want (straight or otherwise)
set aside 5-10 mins. a day with this really simple practice and in time your sound and control of the bow has to improve- I can't see how it couldn't.
set aside 5-10 mins. a day with this really simple practice and in time your sound and control of the bow has to improve- I can't see how it couldn't.
There is some good advice above. Perhaps try this too. It should help you relax.
I believe there was a violin teacher, the Abbe Son File, a long time ago. My version of what he advocated is as follows –
In the normal bow hold place, hold the bow stick right out on your fingertips (don’t hang your fingers over the stick onto the frog). With slack relaxed fingers, wrist, arm and shoulder hang the bow down lightly onto a string (say D or A) and draw it as slowly as you can sideways, just making a faint sound that is even. There can be a little bit of “Morse Code” at first until you get used to this. Breathe normally (I used to hold my breathe then gasp like I’d been swimming under water!!). With a little bit of practice you can make one bow stroke last 45 seconds or more (there was a violinint who claimed 2 1/2 minutes per bow?).
Do this for several up and down bows on different strings before dropping back into your normal bow hold. You’ll find that you can’t bow as slowly or softly but you can be very relaxed as you draw a smooth endless-quality sound with long bows.
I do this to relax before starting my practice. It sort of “tunes me in.” I also use it to have “slow bow races” with my young students – the longest time wins !!
Perhaps look too at my comments in the recent BOW ARM WEIGHT (goodgig)
Cheers…..
David Potts.
I believe there was a violin teacher, the Abbe Son File, a long time ago. My version of what he advocated is as follows –
In the normal bow hold place, hold the bow stick right out on your fingertips (don’t hang your fingers over the stick onto the frog). With slack relaxed fingers, wrist, arm and shoulder hang the bow down lightly onto a string (say D or A) and draw it as slowly as you can sideways, just making a faint sound that is even. There can be a little bit of “Morse Code” at first until you get used to this. Breathe normally (I used to hold my breathe then gasp like I’d been swimming under water!!). With a little bit of practice you can make one bow stroke last 45 seconds or more (there was a violinint who claimed 2 1/2 minutes per bow?).
Do this for several up and down bows on different strings before dropping back into your normal bow hold. You’ll find that you can’t bow as slowly or softly but you can be very relaxed as you draw a smooth endless-quality sound with long bows.
I do this to relax before starting my practice. It sort of “tunes me in.” I also use it to have “slow bow races” with my young students – the longest time wins !!
Perhaps look too at my comments in the recent BOW ARM WEIGHT (goodgig)
Cheers…..
David Potts.
Hi I totally don't get this . Could you please try to explain it to me ( I''m a little slow I guess).
I didn't get what you meant by "hang the bow down " and to "draw sideways".
do you mean to just hold the bow with my finger tips and draw in a normal manner ?
Thanks for the help.
Glenn
I didn't get what you meant by "hang the bow down " and to "draw sideways".
do you mean to just hold the bow with my finger tips and draw in a normal manner ?
Thanks for the help.
Glenn
Hi Glen
Yes, in the usual place on the stick and string and in the usual directions, but held lightly in the fingertips. If the wrist is slightly bent the bow hangs down from above the string and rests very lightly on it. No usual technique needed for this.
DP
Yes, in the usual place on the stick and string and in the usual directions, but held lightly in the fingertips. If the wrist is slightly bent the bow hangs down from above the string and rests very lightly on it. No usual technique needed for this.
DP
