The art of bowing.

[Mark Mazurek]

WHOA, WHOA, WHOA, WHOA!!!







...deep breath...









You know how women think?

I've bowed for a long time (longer than I've understood verbs or how women think) and probably...

[Mark Mazurek]

I'm new to bowing. So I can't contribute to the discussion, so I will try to entertain between the helpful posts.

(Although as a 'new guy', I enjoy black hair on my bow.)


I would be afraid to bow near the bridge as I'd be worried about something like this happening...



I mean, what if I couldn't swim?

[Richard Prowse]

Thanks for the bass gang clip Johnny.
I've watched them before, they're fantastic!
I noted how he bowed the B section but I will have to watch it a few more times.

Mark, bow near the bridge and feel the sizzle! I think you need to spend less time thinking about women and more time practising with your bow... or is it the other way round? Women always get me a bit confused.

[Ken Smith]

I have seen most DB customers on the higher end purchase range test the Bass by Bowing down by the Bridge. Back in the early-mis '70s when I studied with Lew Norton (NY Phil) he had me get this Book called 'Gradus Ad Parrnassium Book II written by Simandl and edited by Zimmermann (Fred?).

The exercise he assigned to me was #21 on page 14 to be played at 60bpm, 1 note per click (Lew's handwritten instructions still in my book) with 8 notes (2 groups of 16ths) per Bow. His written instructions also say 'play as close to the Bridge as possible'.

Also, he assigned me to play #23 with the exact same instructions (2 Bows per bar as this one is in 6/8) with the exception 'play as close to the Bridge as comfortable'.

I don't know if he meant the same thing between possible and comfortable but those of you that have this book, chime in with your war stories!

I don't know where Lew got his interpretation from on this exercise but his teacher was Keith Robinson in Texas who is the father of Hal Robinson, current Principal Bass of the Philly Orch and former Prin. of the National Symp. as well. Maybe if I call Lew up and ask him he might remember. He is about 70ish I think by now and retired only 9 months ago from the Philharmonic.

Now, if the title of this thread is about the Art of Bowing and not just how to play Take 5, then maybe some of you 'warriors' would like some serious material to shed with. Here I have just giving you an inside lesson that is not written in any method book. Buying a book is one thing but knowing a few tricks about using it can almost draw blood from a stone!

Try doing this exercise or anything similar and see how much better your tone improves.

[Charles Federle]

My thought for bow placement is mostly determined by the tone color I want for the music. In orchestra I usually need a warmer and rounder sound so I play closer to the fingerboard, this is also because my bass is a bit on the bright side. For solo work I tend to play much closer to the bridge since I want a more focused and projecting sound. As for practice I tend to work with my technical work (scales and such) close to the bridge since it is harder to play and I need to practice the hard stuff

[David Powell]

OK, so this is one of those "how close" is close to the bridge and "how close" is close to the fingerboard questions? I've put it on the calendar (the only way I can stay on track) to get that book, Ken, and I certainly appreciate a helpful passed on tutorial, but just how close is close? Is this like horseshoes (closer than the rest) or calculus (approaches but never gets there);- how close is as close as possible (calculus?) and how close is as close as comfortable (college roommates)? Reasonable estimates accepted in fractions of distance between FB and bridge, inches, or centimeters .....

[Nick Hart]

Playing close to the bridge and close to the fingerboard has its purposes. It also plays into styles of playing. For example, Boston has a fantastic hall that is very resonant, so they often play shorter than most other sections. When it comes to playing close to the bridge or fingerboard, it all has the do with the instrument, so I prefer Paul Ellison's outlook on this. Do what sounds best. If you get the sound you need playing close to the bridge, do it, if not try something else. Of course, as far as exercises, we should always practice bowing sul tasto, sul ponticello, and in various parts of the string so that we can be flexible musicians. This will also help to learn the different tone colors you can produce in different places on the string and for anybody pursuing orchestral careers. Flexibility with the bow is the top of bow technique. The best players can produce any sound they are told to produce on the spot, with very little fussing around to find it.

[Ken Smith]

Originally Posted by David Powell

OK, so this is one of those "how close" is close to the bridge and "how close" is close to the fingerboard questions? I've put it on the calendar (the only way I can stay on track) to get that book, Ken, and I certainly appreciate a helpful passed on tutorial, but just how close is close? Is this like horseshoes (closer than the rest) or calculus (approaches but never gets there);- how close is as close as possible (calculus?) and how close is as close as comfortable (college roommates)? Reasonable estimates accepted in fractions of distance between FB and bridge, inches, or centimeters .....

About an Inch or less with the lower part of the hair almost touching the bridge area. This is meant only as an exercise and not a style of playing. true, sometimes you play at the bridge but the lesson/drill I showed about is a Lesson, not a Style.