Every person that was lucky enough to get him or herself interested in playing the double bass, on the very beginning is put in front of a choice. At that moment, the person itself doesn't even know how much that choice is going to affect his or hers performative, artistic, as well as personal development. The bow is the main tool of artistic expression of every double bass player and there are two main ways of holding the bow, those being french and german. There are as many sub-methods and schools of holding the bow as there are double bass teachers in this world, but that is a whole story for itself. 'Choice' is actually too heavy of a word, because it's exactly the regional division that dictates the 'choice' with beginners. This work is a product of excerpts from the available literature about double bass and it's bow on the internet and personal experiences that have been accumulated by studying, cooperating with various different musicians ranging whole spectrum, and thorough thought about the instrument and it's role in music. First of all, the work talks about the development of the bows that influenced both bow holds in their modern way of playing. Also the main similarities and differences between the german and french bow hold shall be determined and why both exist. In which way does the bow hold influence the 'color' of the sound, articulation, rhythmicality and even intonation when playing the double bass and which are their respective advantages and flaws. The regional division will be talked about as well, which is it and why does it exist.
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