Double Bass Wrist Development for the French Bow and other stuff

[bass4art]

Hi

guys, it has been a while since I posted on here.

I was wondering what would be some good ways to develop ones wrists on the french bow.

I use the open string practice routine that Vito Lazzaro had put up on his website to specifically concentrate on my bowing with out worry positions.

And for my position work, as well as intonation work I uses parts 1 and 2 of the Sanky Simandl, and the etudes to work on my other skills as a bassist.

My own personal preference, I prefer the Sanky of the Drew Simandle, and once in a blue moon, I do work out of Nanny Books, but like my 91 year old bass instructor and other bass instructor I had said, the simandle books is all once need, it has everything.

And why I am working on teh french bow compared to my days of playing the Butler Bow, I am finding for me it is not as clumsy for me to handle.

But I would like to know some exercise away from the bow and bass I can do, that I can do to strengthen my wrist so I can do my accents and attacks much more focuses and precise.

Thanks, chat with you all later.

Kirk

 

[Andy Mopley]

From an earlier post...(not mine!)

......Running your RH fingertips along a straight line (the edge of a desk, table or kitchen bench) as though you are bowing will demonstrate a natural blend of upper and lower arm movements required to avoid bowing in circles like a big pendulum. If your fingers are relaxed they will drag behind the arm movement and change direction last. You can also see and feel this if you draw the stick through your LH fingertips that can provide some light drag (resistance) to work against. Next place the bow on the string with the weight of your relaxed arm so that the hair bends over the string gently and grips it. Without allowing the string to be released pull the bow gently in each direction to test the flexibility and degree of movement of your fingers, thumb and wrist against the flexibility of the string. See how much movement there can be before the bow hold distorts too much and/ or the string is released and jumps into life.

The follow through of the fingers and wrist at each end of bow strokes enables the upper and lower arm to change direction in the most logical sequence. The slowest longest bow strokes involve the whole arm. As notes become shorter and faster so will the arm movements shorten and contract towards the fastest muscles, the combination of biceps/triceps twitch of the elbow with assistance from movement in the wrist and fingers. The upper arm acts as a counter balance that moves but stays relaxed. Bowing "from the shoulder" is too slow, stiff and cumbersome.

Overdoing the flourish at each change of bow direction will lose control of the string, also of timing and coordination with the other hand. It can cause unwanted extra sounds, and swells in sound during bow changes. Look down at the way the string moves during bow changes and let that guide your degree of wrist and finger movement.

Lots of experimenting on your bass with your strings, rosin and bow!!

DP David Potts