#1
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How high is your bass?
I'm not talking about substance abuse here. I was watching a video where a guy said that, when standing, the 'nut' (where the strings meet wood at the scroll end) on your bass should be roughly the same height as the space between your eyebrow and hair line. I play with my bass higher than this and have been experimenting with it lower. When a bit lower, the bass balances more easily, but I keep going back to having it higher. Does anyone have one of those golden rules regarding bass height? Gary Karr's bass always seems very high.
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#2
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humm..
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Depending on the neck length and broadness of the shoulders (and I play some biggies) I like my first finger, (F on the e-string in half position) to be even with my eye or around there somewheres.. I am most comfortable with that. I do not like raising my hand above my eyes at all. I do that only on the C-extension. Mostly though in Orchestras these days the players sit on a stool and the Bass is at a steeper angle than when standing. Even with sitting thiught the relation from hand to eye stays about there same player to player. I've played next to one guy for about 3 years that only stood up while playing and he has played in a local orchestra here for 45 years. He can reach across or slightly down and comb his own hair. Talk about having the bass high! When ever we would have parts that went into the upper positions he would have trouble getting over the shoulders of his Bass and they were slightly sloped. A Czech factory bass made fairly recently (10-20 years old). I told him a few times politely "if you lower your bass to about your eye level, it will be easier to get over the shoulders". About a few months or so later (maybe less) he sets up next to me on the right (I'm Principal for that Orchestra ) and tells me he lowered his bass and getting used to it, he finds it's so much easier to play now. It took him 45 years to find this out!! |
#3
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I was thinking about the balance thing too. The difference I have been experimenting with is probably less than two inches (yankee measurement), but seems to make a huge difference. I agree with your not liking the half position too high. This was the reason why I started experimenting again; I have EPs on and my strings are a little high at the nut - which doesn't feel ideal when walking (jazz). One disadvantage of having it too low is the need to bend more in the high positions - at my age my back needs to be looked after. A young guy like you, Ken, wouldn't have that problem!
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#4
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I came up in the Karr school -- I started studies with Leland Tolo, "the other guy" at Hartt when Gary was there and Gary & Tolo were kind enough to let me hang around some master-classes even though I was a rank beginner. I'm sure Gary would chuckle to see my posture now.
Gary's approach to bass-height is part of a deeply worked-out ergonomically-based postural system which is all about maximizing the available musical palette, maximizing muscular efficiency and minimizing risk of injury. I was taught to play low-F with the first finger pointing at my eye. Different basses would be adjusted to different heights in order to achieve that result. Consequently, any pictures of Gary with the bass "looking high" are a better reflection of the size of bass than of any desire to "make it high" to project or otherwise. There are no doubt many others who can speak with real authority about Gary's physical approach to the instrument. I'm just a dubber as we all know and may well have it wrong. All errors are mine; please don't blame Gary, Tolo, Ken Smith or anybody else. Last edited by Sam Sherry; 02-06-2009 at 06:21 PM. Reason: E-grammar |
#5
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One question though - when the finger is pointing at the eye (on low F), can this be achieved by the bass being on an angle (sloping towards the player)? |
#6
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Ciao |
#7
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A basic component of Gary's system is the notion that if the bass is standing by itself the player does not need to use muscular energy (or mental attention) to keep the bass standing. Using Gary's system begins with standing the bass up straight and stepping up to the bass. Again, all errors are mine. Play on! |
#8
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#9
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#10
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#11
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Why thank you!
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#12
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I wanna take you higher
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#13
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Well, I come back to the balance thing. I've now got the bass a little lower and the balance feels good. Time will tell.
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#14
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Bow arm.
As a teacher, I am more concerned with set up from the bow arm. I have students that stand face the bass. The bridge should touch their second knuckles on their bow hand. I don't want them reaching down too much as this causes shoulder problems. I don't worry too much about the eyebrow as long as the bow hand is taken care of. (It usually works out about the same way...)
Sitting is a different pin height, and varies greatly from player to player. Body type, arm length, etc... Even then, I get the bow in the proper place comfortably and the left hand will be just about where it needs to be. The bow is the true art of playing classically. I focus on it first. BG |
#15
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I like your idea there, Brian. The day I switched focus from left to right hand, well, it was a revelation. No more eyebrows down at the nose tip or head and body turned towards the left hand to see that it was all where it should. I sounded better, too.
I am also brought up in the F -> eye school. Or F# at your ear, actually, but I'm a sitter. And as such, there is no other way than to keep the end pin as retracted as possible; otherwise I won't get around my bass. I could actually use a somewhat smaller bass, methinks... |
#16
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There is no standardized way to play. The appropriate height of the instrument will allow you to play through its entire range without having to have your arm reaching too high to play in half position, or conversely forcing you to bend over to play closer to the bridge. There's always that unfortunate trade off when playing such a large instrument.
My best advice in finding the correct height involves the player to stand and use a mirror, a teacher helps of course. The ideal "standard" spot is being able to have your bow arm hang and play halfway between the end of the fingerboard and the bridge. If you're playing in the higher register I push my rear out a bit and let the bass fall into me, or I "hunch" over the shoulders. This of course is subjective as it relates directly to your height. What's the point in saying, "the F in half pos. should be at your ear..." What happens if you're 6'0" tall?? or conversely 5'3" ??? Karr has the bass so high because he bows directly over the bridge...this "technique" simply does not work for playing in an orchestra. Rule of thumb...Make the bass as high/low as it needs to be so your bow arm isn't over the fingerboard, or conversely on the bridge. Once you find that sweet spot you can fine tune the height with the relationship to left hand. I don't know where this entire "your knuckle should hang over the bridge" business came from. When playing the bass there really are no "it has to be's". If your instrument is too high for you you're going to develop a ton of problem for your bow arm and back. Have any of you seen Tom Martin play?? He's about 5'5" and his bow arm is virtually straight in that it just hangs and plays beautifully into the string...There's no silly "knuckle over the bridge" business. What works for a man/woman of 6'2" is not going to be the same as someone of 5'5"...You also have to take into consideration: The type of music they're playing, the size and shape of their body, and finally the size and shape of their instrument. What's the point of creating rules? The great players always adapt to what works best for their body. The biggest factor, I think in helping you play the bass is arm length. You can have tiny hands and still find a way to play but having long arms is a BIG help. I'm 5'6" and my upper body is the length of someone of about 5'10" whereas my legs have a 28" inseem...Odd sight, I know! I may be short but I have ridiculous monkey arms which helps a ton. Moral is...You need to find what you bring the table PHYSICALLY, and then use that to your advantage. So many times you see massive guys with long arms that don't use the muscles they have to their advantage. (This is particularly apparent when you see a guy in an orchestra with the end-pin incredibly far out, yet he/she is still bowing over the fingerboard. Find your physical strongpoints and utilize them. Last edited by Calvin Marks; 02-16-2009 at 12:24 PM. |
#17
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Again, Gary's system is a technical effort to meet physiological and musical goals. As you note, there are many such systems. If you don't like one don't use it. Beyond that, perhaps an open mind is in order (to say nothing of an open ear). Gary's bass is high enough so that he can reach the bridge. Gary doesn't bow at the bridge all day and night. Anybody who can't bow at their bridge in ergonomic comfort lacks access to the full palette of bass tones. Gary has had hundreds of students. It's safe to say that a) All of them play or played in orchestras; b) Not all of them play using the strictest iteration of Gary's system; and c) Not all of them ignore Gary's methods utterly. Find your weaknesses and improve them. Find the techniques that will allow you play in good health in the long-term and utilize them. Find the love in your music and let everybody see it. Over & out. Last edited by Sam Sherry; 02-17-2009 at 03:52 PM. Reason: As promised |
#18
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Look, I've studied with Karr, so I fully understand what he's trying to achieve with his technique and posture. I've also had very detailed discussions with him and he's told me outright that he almost always bows incredibly close to the bridge because he feels that's where the clearest and most projecting tone is for solo playing. He also mentioned that his technique needs to be adapted to different settings, such as playing in an orchestra where always playing with the bass completely vertical and with the end-pin out doesn't make very much sense for playing Bruckner 9, which is true.
If you actually talk to Gary, or study with him, you'll see that he's his own biggest critic...He's also an incredibly nice man and he knows that one method is not the answer. I also went to your website, great looking bass by the way! It seems that you gently rock the instrument inwards...Not exactly what Gary preaches, nevertheless it seems to work for you, correct? |
#19
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I like the idea of different approaches and school.
Take bow grip for an example. There are dozens of schools available, try them out and pick your fave. Have no schools, or so-called 'rules', and you are also more clueless. I've done that; having teachers that didn't care so much about posture or had other things to teach me first, and I ended up with a physiotherapist and rubber bands when I was 18. |
#20
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Rules are good when it comes to pretty much anything but posture. Sure, there are some guidelines that you should follow but you have to play in a way where you aren't in pain.
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