Get A Grip - German Style
As a youngster, I was always observant of the subtle differences in the way that bassists hold the bow. If I was impressed with a performer in a concert, I would note the player's grip and try it at home. And on the covers of LPs from the '70s, I would pick apart the bow hold of people like Ludwig Streicher or Gary Karr. I still automatically observe every string player's bow hold to sense how naturally it enables them to "speak" through their instrument.
A lot of beginners probably wish that the German bow would come with instructions from the factory, like all of the appliances we buy. It looks so different, and no other string instrument in the modern orchestra uses an underhanded approach. I have observed many different methods of holding the German bow in my 38 years of bass playing. Experimenting with all of them along the way has helped me settle on a grip that suits me well.
Below are photos of eleven different methods of holding the German bow that I have observed. I know there are certain "schools" associated with some of them (e.g., Viennese, Czech.) but I'm purposely avoiding the legacy issue. What matters is that the bow grip serves the player's needs, whether one's specialty is classical, jazz, orchestral, or solo. I comment on each grip as to how effective it feels to me.
1. Two fingers on top, free thumb: A sense of the arm weight hanging on the two fingers, along with full bow weight. Wrist is relaxed. Works well. It's only as strong as the two fingers, however.
2. Like the previous, but only the first finger applies the weight: A lot to ask of that one finger. Good in conjunction with the two finger grip when less bow pressure is needed (even less when using only the third finger). With a small frog, the third finger will rest against the lower inside near the ferrule and may be able to assist in applying weight to the string.
3. Two fingers on top, assisted by the thumb on the stick: The added thumb stabilizes and increases hold on the stick, improving the ability to manipulate it in off-the-string (spiccato) playing. Not necessarily stronger than two fingers only, because the thumb robs some power from the two fingers while not applying much itself. There's more of a sense of whole-hand weight.
4. One finger on top and thumb on top: The thumb applies most of the pressure while the first finger stabilizes. The second finger on the side of the stick adds sensory perception.
5. Fingers on top, thumb buried under first finger: Produces a strong, heavy spiccato at the frog. This is because the fingers are further back toward the frog, moving the balance point in that direction, and the hold on the stick is very good. Most of the arm weight is applied by the fingers, while the thumb is pretty much sandwiched against the stick. The drawback seems to be not enough feel of the stick and not enough power over the length of the stick.
6. Side of the thumb on top along stick, fingers on side (or tip of first finger on top): Good transfer of weight to whole stick. Heavy spiccato is a little weak. Thumb feels a little strained.
7. Similar to (6), but the thumb is less on its side, more on its tip: The hand feels more relaxed than (6), with good overall stick feel. Not real powerful.
8. Thumb on top along stick, frog deep in hand: Good heavy spiccato. Overall, it feels weak and strained because the wrist is forced into bending.
9. Thumb along stick, frog very deep in hand, wrist very bent: Very on-the-string feeling, because the arm and wrist are totally tense. I can't recommend this.
10. Straight thumb, bow further out in fingers and thumb: Bow arm is longer. Good direct transfer of arm weight to stick through thumb. However, it seems weak for two reasons: it's held further out in the fingers, and there seems to be little ability to apply leverage through pronation.
11. Thumb wraps over stick at about 45 degree angle, stick not completely deep in the hand. This provides strong and direct weight transfer from arm to thumb, along with good pronation power and a mostly straight wrist. Good hold of stick enables excellent manipulation for spiccato strokes. A callous should develop where the stick presses against the side of the first knuckle. This is my favorite and what I have adopted.
