Topic: KarrTalk Archives

Question 33:
In your book "Doublebass Book 1" you give detailed descriptions of the parts of the bow and how to handle it. But what I think is missing is a description about the tension we must apply to the hair with the adjusting screw. How do we know what is the right tension to produce the best sound? —Sergio Netto

GK’s Answer 33:
My thoughts about the tension of the bow hair seem radically different from the traditional approach. In my opinion, most doublebassists play with not enough tautness to the bow hair. If you do a test in a large room or auditorium with bow hair loose and with the bow hair taut, the listener will tell you immediately that the sound of the taut hair is stronger and clearer. Also, for the stick to function efficiently, there must be enough tension on the stick. Without that tension, the bow will not vibrate properly and you will have to work unnecessarily hard to make the bow connect with the string. The bow vibrates differently in the hand when it is loose or tight. I find it a lot easier to control the bow and better understand what it is doing when the hair is taut. Here's how tight I think it should be: place the bow on the string at the point where the curve of the stick comes closest to the hair, then, while keeping all the hair flat against the string, press the bow into the string. When the bow hair is tight enough, it will take a lot of force to bring the hair in contact with the stick. However if the bow is not tight enough, the hair and the stick will make too easy a contact which I do not consider desirable. I have heard many solo doublebass recordings where you can actually hear the stick rubbing against the string. Not only does it interfere with the quality of sound, but it also damages the surface of the stick.


Question 32:
Hi Mr. Karr, Just wondering exactly what type of stretches you would recommend doing before playing the bass. January 20, 2003

GK’s Answer 32:
The most important stretches that should be done both before playing and after playing ALL address the shoulder. In my experience as a performer and teacher, I have come to realize that many of our aches and pains come from an inactive, stiff shoulder. It affects the blood flow to our fingers and, used improperly, can cause problems to our elbow, wrist and finger joints. Therefore, anything you do to limber up both shoulders is a good thing. Here are a few suggestions: Bring your arm in front of you parallel with the floor, bend at the elbow and bring your hand over your shoulder. With the other hand or arm, pull the hand over the shoulder as far back as it will go and hold it there for the stretch. Another good one is to raise your arm toward the ceiling, bend the elbow and let the hand fall behind your back. With the other hand, pull your elbow back as far as it will go so that the hand can move further down the spine and hold for a good stretch. My favorite, which I do many times every day is to clasp both hands with straight arms behind the back and pull upward for a long stretch. You can also bend over (knees slightly bent) and bring the clasped hands and straight arms over your head, and hold for the stretch. I'm sure you'll find these a good start.


Question 31:
Dear Gary, I'm writing you again because I have some questions which could be interesting for other bassists (if you will translate them in decorous English language), and for a serious problem. I promise, I will not disturb you any more after this letter... for some weeks. Vlad.

Part 1: I use "French" fingering (1,3,4) but I think the "German" one is more comfortable, especially in the first positions. Do you think it's possible to alternate them according to circumstances?

GK’s Answer (1): That’s interesting, because I thought it was Italian fingering as encouraged by such greats as Billé. Yes, I think it’s not only possible, but far more efficacious to use both fingerings at the same time. Personally, I like to employ stretches, which, of course, necessitates a more flexible approach to fingering.

Part 2: I usually (and involuntarily) memorize everything I play (studies, concertos, etc); for this, (I suppose) I haven't a good first sight (I'm not very able to play at sight). What do you suggest to get it better?

GK’s Answer (2): Firstly, I must say, “good for you.” It’s a real asset to be able to memorize easily. It’s also useful for developmental purposes because it allows you to look into a mirror to observe what you’re doing. You can learn an enormous amount about technique by this visual involvement. Also, by memorizing your music, you can look out the window at tranquil vistas which can affect your playing in a calming and relaxing way. As for sight-reading, it’s an art and special technique which can only be learned through lots of experience. You have to be able to hear what’s on the page so that it’s in your head before you produce it on the bass. Also, you have to learn how to read ahead of what you’re playing. You should sight read new material every day. It’s best to learn the music away from the bass first, so that it’s firmly implanted on your brain.

Part 3: What's the distance between the first string and the end of the fingerboard of your doublebass?

GK’s Answer(3): All my basses measure approximately 42 inches or 106cm from the nut to the bridge. The distance between the bridge and the fingerboard varies, but I like the last note on the g string to be a C# or D

Part 4: Have you got some "secret"? Not only about about the technique but about your sources of inspiration which not necessarily belong to the music's world.

GK’s Answer (4): I suppose that my secret is that I sing through the bass. It’s my voice and when I play I feel the same sensation as though I were actually singing. If I could sing, I would like to sound exactly like my doublebass.


Question 30:
I was curious about your views on Rabbath's “Nouvelle Technique,” pros and cons. I recently had the joy of having him give a masterclass at my university. Your styles differ so much. Could you discuss some of the main topics of bow speed, and control and how the two of you differ and the pros and cons of that. Also, you say that you try to find the easiest way to play things, have you explored this technique with your own playing? Thanks , Pat O’Hara, December 9, 2002

GK’s Answer 30:
Sadly for me, I’ve never had the pleasure of attending any of Rabbath’s classes. I had hoped to meet him several years ago when I recorded and performed the Lalo Schifrin Concerto with his orchestra in Paris, but he sent a substitute in his place, so I never even got to meet him. I do have his books, but I can’t glean from them the reasons you think that our styles differ so much. Perhaps if you can be more specific, I could more easily address the differences. I should imagine that everyone thinks that their approach is the easiest way to play. I don’t know how you would measure this from player to player. Still, I, too, think that my way is the easiest...but, of course, I’ve never tried Rabbath’s way! I’ll have to check it out!


Question 29:
Mr. Karr - I am a teenage bassist from Tallahassee, Florida. Seeing as it is holiday time, it was time to break out the "We Wish You A Merry Christmas" CD. I am a huge fan of this CD. I noticed on the purchase part of the page you do not sell these arrangements of those songs. Is there anyway I can get a book of those arrangements or anything that would compare to it? Thanks - Gregory Bacon, December 2, 2002

GK’s Answer 29:
Hang in there, Gregory. It’s my strongest intention to publish all the music I recorded, included the selections on the Christmas CD. Thanks for your request. It’ll be toward the top of the list.