Let's Talk About Spiccato

 On bouncing the bow:

There is a shameful paucity of examples demonstrating spiccato with the underhand/german bow hold. Worse than the lack of public and free resources there is also a dearth of clear references in the common pedagogical literature. 

Perhaps in the paid version of the online resources there are masterful explanations but the pay wall prevents a barrier. 

So here are some observations and thought:

Resources: Jeff Bradetich "Double Bass: The Ultimate Challenge" ; Barry Green "Advanced Techniques of Double Bass Playing" ; Dennis Whittaker's youtube video series based on his "Incredibly Useful Exercises for Double Bass" ; Hal Robinson "Strokin' " based on the Sevcik School of Bowing Technique for Violin.

The most important considerations seem to be are SPEED, VOLUME, STYLE. 

Let's get nerdy: Spiccato describes or indicates an "off the string" or "bouncing stroke". There are two ways to initiate the stroke, either from above the string (ie. off) or from the string (ie. on) and it always is terminated off the string. 

Linguistically speaking, the word spiccato is an Italian past participle that is derived from the verb spiccare [regular transitive verb: 1 staccare una cosa da un’altra a cui è attaccata. 2 compiere un movimento brusco staccandosi da terra. 3 emettere ♦ as an intransitive verb: fare spicco, distinguersi.] 

1. to pick, pluck, or cut off something from another thing to which it is attached.
2. to jump, take off/take flight, fly off from the ground
3. to emit, give off, let out

for extra Italian points it also mean to distinguish one's self as in stand out or stick out.

The noun spicco translates as distinction, conspicuousness, stature, prominence.

It is the opposite of *appiccare* (to attach/stick on), and thus fundamentally means to detach something that has been attached; in many contexts, it is synonymous with *staccare* (to detach/remove), which is the more common term in spoken language.

Linguistic nerd moment over.

Back to bass, bows and strokes.

I love the way Bradetich describes the stroke, it is clear and insightful. "The definition of spiccato is simply 'to bounce.' The bow strikes the string coming from above the string and after getting the string to speak, releases back into the air." 

What a gift of clarity. 

He goes on to say, "The goal is to produce a lighter sound than the staccato stroke, one with a bouyant quality that crates an "up" feeling, as opposed toa "down" or pressed feeling... [it] is primarily used as a steady rhythmic underpinning to the structure of the music. The role, sound, and application of the spiccato stroke changes throughout the different style sof composers and periods of music."

The master player/educator doesn't stop there. He explains, "the 'controlled' spiccato can be broken down into many subcategories, but there are four basic stokes that have clearly identifiable differences: 1. Mozart, 2. Beethoven, 3. Brahms, 4. Strass."

Here we start getting into specifics and it useful to bring in the other resources. Barry Green does an excellent job of breaking down the mechanics of this stroke. He explains that there are two major mechanical functions, or physical vectors of energy, that take place to create spiccato. These two vectors or constituents are the horizontal motion (left right or up-bow down-bow direction) and the vertical motions (into and away from the string). 

He explains that musical passages of slower speeds, and heavy dynamics tend to use predominantly horizontal motion, which he also calls "arm spiccato." 

In musical passages of faster speeds, and lighter dynamics tend to use predominantly vertical motion, which he also calls "wrist spiccato."

Naturally, there is a vertical and horizontal component to all off-the-string strokes, and this returns us to Bradetich who explains that "In the Mozart spiccato, the direction of the bow hitting the string makes the shape of a V. The Beethoven stroke uses more horizontal motion in the right hand and arm" more of a U shape. "The Brahms stroke is broadening of the Beethoven stroke." The shape resembles a semi-circle, think concave, half-moon, arc or meniscus. He describes it as a "saucer-shape." Finally, the "Strauss spiccato is a more aggressive outgrowth of the Beethoven stroke. Its right arm and hand usage is very similar to the Beethoven stroke, but a harder attack or bite into the string and is more clearly defined on the release."

One very important mechanical observation that Bradetich discusses is "The ever-changing bow stroke length. For ALL bow strokes, the length of the stroke will be longer on the higher strings and shorter on the lower strings. The same ratios are in effect when playing all bow strokes on the same string as the left hand moves up and down the string. As the string length become shorter (notes go higher), the length of the bow strokes needs to increase and the opposite is true when descending to lower pitches on the same string."

The one element Bradetich fails to address is the speed. This is where Dennis Whittaker and Barry Green come in imperfectly handy. Green proposes that at tempos featuring 16th note subdivisions, mezzo-forte to fortissimo dynamic, with a heavy character can be played with "arm" or "horizontal" spiccato between 0-85 BPM to the quarter note. 

 He also proposes at tempos featuring 16th note subdivisions, piano to forte dynamic, with a lighter character can be played with "wrist" or "vertical" spiccato between 0-105 BPM to the quarter note.

So lemme give it a try as I am learning to play the underhand grip.

https://www.canva.com/design/DAHZZ797UEc/e2yXJ6ESH2NpYt7v9Dflqg/watch

Let's speed things up:

https://www.canva.com/design/DAHZZy4YPJU/83_IxDSPH0QgGFd02_I2wQ/watch

Just for reference, here is some overhand/french grip - after 20 years I am glad it is noticeably better/easier.

https://www.canva.com/design/DAHZZ2uFNk8/nfjzQ8bderR5lgz4Lyy6gw/watch

A Double Bass Lesson with Derek Weller

 I had a lovely time with Derek Weller, instructor of String Bass at Interlochen Arts Academy. In addition to his role at Interlochen, Weller is on faculty at Eastern Michigan University, is Principal Double Bass with the Michigan Opera Theater, performs with the Toledo Symphony Orchestra, and freelances with the Detroit Symphony Orchestra. He is also a member of the Carmel Bach Festival Orchestra, which performs in Carmel, California during the months of July and August. 

Derek and I, unbeknownst to either of us, have worked together quite a bit. During my tenure as a resident artist at the Detroit Opera, Derek was (and still is) principal bass of the orchestra. I sang in 7 productions maybe 8 with the orchestra during that time. Then in February of this year we met at the inaugural opera at the music hall series, again here in Detroit. 

Derek is a german bow player, and I am as ever on my quest to learning to play with this underhand grip.

He had a lot of useful insights, the most important of which was: the right equipment matters. The fiber glass bow that I own is one of the biggest obstacles to my learning. It would probably be appropriate for someone who has no deep interest in bowing, but wants to mess around. It is now getting in my way, alas, I do not presently have the means to acquire another bow but I will be on the look out. Derek suggested perhaps carbon fiber... 

The other major insight was the grip, of course! He uses a sort of modified "Streicher" or Viennese grip with the thumb over the top of the stick, while the index and middle fingers slightly bent with the the pads of those fingers along the stick. He developed his bow hold as an evolution from his teacher, Stuart Sankey, and the Frederick Zimmermann approach toward a Streicher/Viennese hold. 

More about the lesson later. As for now, I am going to practice. 

Not so Daily Practice - Audition Prep and Help from Friends

This past weekend showed a vacancy sign over my bass. I spent most of the days renovating our kitchen, and thwarted trips to the hardware store. The bass was neglected... until yesterday.

Yesterday, I had the sincere pleasure to spend an hour and half with my dear friend and Nashville Symphony section bassist Matt Abramo. Matt has - through-out my kaleidoscopic, quilted, desultory, sinuous career - been supportive and helpful. His fantastic technical skill and beautiful artistry has been an inspiration since we were at S.U.N.Y. Purchase studying with Tim Cobb. Matt started as a graduate student the same year I started as an undergrad. 

Matt was - pardon my rhetoric - instrumental in my development as bassist. Unlike many of my collegiate peers, contemporaries, and professional colleagues, I was not raised in a musical family. Neither of my parents are musicians, nor were my grandparents. I had not ever played in an orchestra until I entered the conservatory. I did not have years of elementary, middle school, high school or community orchestra. Truth be told, I had about 4 months of private lessons with the imminent and understated double-bass workhorse: Eric Lemons. I am grateful for Eric's instruction, but those initial lessons were not geared toward classical or orchestral futures. More on Eric another time...  

As important as Tim Cobb was, as my first proper teacher, Matt set the example of student/peer excellence. Matt was already obviously gifted, and has gone on to blossom into the real deal: New World Symphony, Louisiana Philharmonic Orchestra and Nashville Symphony to name a few of his professional credits. He continues to inspire. 

Matt also became a good friend. More important than the bass playing is the high quality human being he is. The perfect blend of witty, silly, kind, direct, trustworthy, and thoughtful. Not sure what admirable qualities this guy doesn't have. 

He patiently walked me through some excerpts, ranging from the familiar Beethoven Symphony 5 to the unfamiliar Bartok Concerto for Orchestra. My hands ached from the labor and torture of ikea furniture and hours wasted attempting to tune my own piano. I played like crap. Matt has heard me play like crap for years. He even spent some time with me this past fall preparing for the Lancing Bass Audition (I was feeling quite good about my preparation for that audition). Despite the fatigue, mental and physical, and the obvious low quality of my playing, Matt was an gentleman. I just couldn't ask for a better friend and colleague. He was funny, clear, supportive, generous, patient, and helpful. That guy!

We worked on Beethoven 5 scherzo, Bartok Concerto for orchestra movement 1, Berlioz Symphonie Fantastique, Mahler 2, Mozart 40 and touched a little on Schubert 8 (unfinished symphony), Brahms 2nd Symphony, and Britten Young Person's Guide. 

It was quite a session. 

My days since have continued to be scattered and desultory with teaching, practicing, learning and errands. 

I'll keep going for now, and we'll see what comes. Sometimes even an underdog and the long-shot comes through... fate and luck have a weird way of creating the path.

Daily Practice - Audition Prep 2026!

Happy New Year!

Yesterday, I made sure to get a little bit of bass in yesterday. I probably played the ugliest most out of tune hour of F minor scales anyone has ever witnessed in the 400 year history of the double bass. I also played through the Allemande from Bach Cello Suite I, utter crap. 

As for today... well... I couldn't let the diasterous and cacaphonous F minor scales from yesterday sit unaddressed. I repeated my work and it paid off. The F melodic and harmonic minor scales were quite lovely. Believe it or not, the natural minor in the last few variations were trash. I am struggling with getting the low thumb position on the IV string exactly in tune. Brutal and humbling practice. 

The Allemande is coming along. Good progress was made toward something like music today.

I didn't touch the excerpts, but will focus my energies on those starting tomorrow.

The Bartok Concerto for Orchestra, Britten Young Person's Guide, Beethoven, and Mahler 2 are in my fingers and in my mind. There are a lot of other excerpts that need attention, but this is an ok start.

Cheers to a successful prosperous 2026!

Daily Practice - Audition and then some

 Let me catch you up on yesterday's practice log

I played through the E melodic harmonic and natural scales in various fingerings from The School of Agility.

I played variations 21-40 in #4 Bille School of the Bow.

I worked on Bartok Concerto for Orchestra opening page excerpt.

I finished memorizing Bach Cello Suite 1 Allemande.

I played through the exposition of Vanhal Concerto.

TODAY.... 

well today I had to teach and I played cello...

em... no bass today... 

😕

Daily Practice - Auditions

Greetings,

I am taking a break from German bow for a few weeks as I prepare for some upcoming auditions.

Kalamazoo and Indianapolis are the two symphonies with-in a 200 mile radius with openings for a section player. It may seem like quite a distance, but as I've been accustomed to driving 1200 miles round trip for work in New York, 400 round trip seems like a breeze.

As for the daily practice:

Every day I take one scale and play a variety of fingerings and bowings. I've been using the Eugene Levinson "The School of Agility" as a guide. It's a book that I've had for years and didn't bother with. Today was G major, yesterday was F major, and the day before F# major. 

Playing through the various fingerings with the rhythm and bowing variations takes about an hour. Metronome click on to keep me honest, and accurate. I follow his recommended patterns: 3  quarters slurred, separate; 6 eights slurred, separate; the arpeggio; triplets slurred; sixteenths slurred; and I choose a few of the other variations depending on my mood. Two slurred/two separate (or reversed), syncopated triplets, two legato/two portato or slurred staccato.

I also like staring fresh by reading a few of the Bille art of the bow variations. 
I am playing through No. 4.
Today, I played through variations 1-22. 

Lasty, I will work on some of the excerpts for the auditions. I will focus on the least familiar and the shared repertoire. 

Meanwhile, I am also close to memorized - which I never forced myself todo - on the Allemande from the 1st Bach Cello suite.

Happy practicing!

The Right Hand: Learning to Play with the "German Bow" part 2

Here are some photos of the various underhand bow holds of master players and teachers.

Some screen captures of Joel Quarrington:

Some shots of Boguslav Furtok:

Last, but not least, Josef Semeleder,

More photos in the next post.

As for my own practice:

I have started using both the Isaia Bille School of the Bow (Part 1 Book 2) and A contemporary concept of bowing technique for the double bass by Fred Zimmermann.

I find the Bille to be very useful, traditional, direct, obvious and playable. 

Today I worked through studies numbers 1 and 2 with all of the variations at 82 beats per minute. I also started study no. 3 and played variations 1 - 21 at 112 bpm.

I have been applying the string crossing and bow direction concept from the Zimmerman book. His approach must have influenced Michael Klinghoffer. Michael was the first person to make me aware of the different "sides" of the string. 

The strings have apparent (but not real sides). This concept come from the function of the curvature of the bridge! Each string has a side because the bridge is rounded, and the bridge must be rounded for the player to be able to play one string at a time.  

Let's try to see this in action:

Look at or manifest in your mind the second string, the D string. The D string has two neighboring strings, the G and the A. From the player's perspective the G string is left and slightly lower than the D. There is a G string "side" to the D string. On the other "side" of the D string rests the A string. The A string is right and slightly lower than the D. 

The D string has a G side and an A side. We could also say far side and near side; left side and right side; top side or bottom side: whatever you wish.

The concept is that in most typical or normal bowing patterns one draws a down-bow on the far side or the left side of the string and - conversely - pushes an up-bow on the near side or bottom side.

Let's try to see THIS in action:

Start by drawing a down bow across both the G and the D strings simultaneously (a double stop). Retake the bow and play another down bow across both the G and D strings and slowly allow the bow to lift from the G string while continuing to play the D. 

At the moment the bow no longer engages the G shows the player the G side of the D string.

The same procedure can be done to observe the A side of the D string, but with the up-bow.

Start by pushing an up-bow across both the A and the D strings simultaneously (a double stop). Retake the bow and play another up-bow across both the A and D strings and slowly allow the bow to lift from the A string while continuing to play the D. 

 At the moment the bow no longer engages the A shows the player the A side of the D string.

More soon...