The art of bowing.

[Richard Prowse]

Originally Posted by Ken Smith

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.

Alright already! (That's what yankees always say on TV)
Ken, if I find a copy of Gradus Ad Parrnassium Book II, will it contain articulation exercises as well as bowing control exercises. I'd really like to do some work on bowing patterns. I hope that makes sense, I'm doing school work as I write and my mind is on two things - hard for any man!

[Charles Federle]

Originally Posted by Richard Prowse

Alright already! (That's what yankees always say on TV)
Ken, if I find a copy of Gradus Ad Parrnassium Book II, will it contain articulation exercises as well as bowing control exercises. I'd really like to do some work on bowing patterns. I hope that makes sense, I'm doing school work as I write and my mind is on two things - hard for any man!

One of the nice things about practicing bowing patterns is that you don't really need a book, just alot of imagination. Though I have gotten a few handouts that have inspired me and helped out. http://www.box.net/public/static/1ukqpfuhg3.pdf has a copy of the Simandl, at least part of it, along with alot of great technique. http://www.box.net/public/static/icmmgjiz3g.pdf seems to have quite a bit for the bow as well.

As for the how close to the bridge and fingerboard, I agree with Nick. For practice push yourself to the limits, and always try to expand them. In performance though use what sounds best (on my bass about an inch or two for normal orchestra work). Whenever I find myself having played a big work either solo or in an orchestra I can tell that the bow has been all since most of the time you need a wide palate to choose from.

[Richard Prowse]

Charles, that stuff looks good.
Thanks.

[Richard Prowse]

Originally Posted by Charles Federle

One of the nice things about practicing bowing patterns is that you don't really need a book, just alot of imagination.

Very true. I think that this is the way I will go with my articulation practice.

[Richard Prowse]

Following on from Charles' "imagination" idea:
Last night, while fooling with different bowing patterns, I decided to start the B section of Take Five on an up bow. (Ages ago on a bass site in another galaxy, someone had suggested that I try swung eigth notes starting on an up bow but I never actually got round to working on it.)
Instant gratification followed! It seemed to put all the accents in the right places! I still need to go through and change some of my original bowings but I think this could be the answer. Think "week strong week strong"...
Life is looking good,

[David Powell]

I never realized how little attention I was paying to where I bow. Not that I'm all over the place, but it seems I have developed a subconscious preference depending on what I'm doing. I don't tend to get too close to the bridge unless I'm in thumb position on the D and G strings. It seems the lower the notes, the closer the the FB I play and the higher, the closer to the bridge up to about an inch. I'm trying to pay more attention to it now, but really I think if I am getting the tone I want to hear that this is more important than where the bow is. I do understand the exercise part of the discussion and am working out some of that. Thanks for the tips.

[Richard Prowse]

I'm playing in a gypsy jazz band which is turning out to be quite a bit of fun. When I get to solo, one guitarist continues to play "la pompe". I like playing over this, but sometimes he gets a little loud for my pizz. I normally (not always) play arco solos. When I play in the top half of my range, people in the audience often say that it sounds like a violin (okay, they're probably not thinking too much and mean 'something similar to a cello or violin'). This is a fun way to play and is quite liberating! It's like having two instruments! The double bass certainly is the king of instruments!

[Richard Prowse]

I know that this is probably a silly (or well worn) topic but I'd really be interested on how people bow this 1st prelude. I learnt it 8 notes to the bow (I'm talking about the first half really for this bowing) and know that 'slur two 6 single' is probably popular. I tend to work a bit in isolation on these things and wondered if there was a sort of 'standard way' of bowing the prelude that lots of players use.