Get a Grip, German style
As a youngster, I was always curious about the different ways that bassists hold the bow. If I witnessed a good performance I would make a point of analyzing the player's bow grip. If I acquired a good recording I would always study the performer's right hand (and left) on the LP cover. As I'm sure all serious bassists do, I still automatically observe a player's hold on the bow in order to sense how it aids or hinders their performance.
The German bow looks weird to a lot of people, and understandably so. No other string instrument in the modern orchestra uses an underhand bow grip. A lot of beginners probably wish that the German bow would come with instructions from the factory - like all of the appliances we buy!
I have observed many different methods of holding the German bow in my 31 years of bass playing. I've experimented with all of them along the way and probably will continue to do so. I'm still evolving (as is everyone else with a beating heart), but I've been quite happy with my bow grip in the last ten years or so. It hasn't changed...
Below are photos of eleven different manners 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 that subject. What counts, after all, is that the bow is gripped in a way that serves the player's musical purposes, be it jazz, classical, orchestral, or solo. I give some commentary on each as to how effective it feels to me. My conclusions are totally subjective and not intended as the final word. No doubt, there are more grips out there…
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 finger. Good in conjunction with the two finger grip when less bow pressure is needed.
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 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 ability.
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 to bend slightly.
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. I put it here because one of the world's most revered bass players talked me into adopting it when I was a teenager. Fortunately, my own teacher set me straight before too much harm was done.
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 hand, 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. This is my favorite and what I have adopted. When learning this, my thumb
would slide off the stick occasionally. After a few days, a callous developed on the left side of my thumb which resolved that problem.
