In Praise of Violin and Double Bass E Strings:
Defining Orchestral Sound and Bowing Technique
by James Kjelland
It seems that the violin and double bass E strings are often neglected and even shunned in early string class instruction and most materials. One practical reason for this is the fact that they are not included in the traditional D major approach used in most heterogeneous methods. One other factor relates to the perceived difficulty of producing a good characteristic tone on these strings. One of the purposes of this article is to celebrate the uniqueness of the acoustical properties of these E strings and their contribution to the sound of the orchestra. The other is to explore and suggest some bowing principles and teaching tips based on their relatively extreme physical properties.
The violin and double bass E strings represent polar opposites in many more ways than pitch. An understanding of these opposites offers opportunity to understand and teach much of what bow control is about, not only one instrument, but from one instrument to the next. The most immediate difference of course is the four-octave range between the two open strings. (The four octaves includes the octave transposition of the double bass.) Naturally associated with the respective pitches generated from these strings are the physical properties of each. Although the differences are fairly obvious, they bear repeating for the sake of later discussion. The violin and double bass E strings are (respectively):
a) the thinnest and thickest strings
b) the lightest and heaviest in weight
c) the fastest and slowest in “air speed”, i.e., physical travel speed through the air
d) the widest average amplitude (width) of vibration
e) the lowest and highest amount of resistance to vibrational movement
f) the shortest and longest vibrating length (from bridge to nut)
g) the shortest and longest residual vibration (“ring”) after plucking or bowing
h) the brightest and darkest tone color potential
i) and finally, the shortest-and longest-lasting in terms of breakage potential and time span for going false
The acoustical properties of the E strings define the orchestral sound in many respects. First of all, the total pitch range they represent, along with their potential db output in the extremes of that range, exceeds that of any other acoustical instrumental or vocal ensemble. We owe much of the dramatic power of the orchestra to this range potential, assuming the expansion of the violin E string range through playing in high positions. If we consider an average of 16-30 violin E strings in a given orchestra, the potential tutti carrying power of the sections is tremendous, accounting for much of the orchestra’s truly hair-raising intensity and excitement. This high-energy high-frequency sound can cut through a hall like a laser. A comparable effect in a band might require a similar number of flutes and/or piccolos. The double bass E on the other hand furnishes a different kind of dramatic power. An average of 6-12 tutti bass E strings can fill a large hall with the kind of sound that we feel somewhere in the region of the solar plexus virtually before we perceive the pitch. It also is understood that the pitches in that range give the orchestra a subsonic foundation which “tunes” the rest of the orchestra by furnishing the reference pitch and overtone reinforcement for the other instruments
As indicated above, the violin and double bass E strings couldn’t be more different in their physical attributes. Inherent in these extremes lie clues to bow control principles which are common to all bowed instruments–allowing for effective bowing adjustment for individual strings as well. One way to visually express these differences to students is to point out the physical properties of the violin bow vs. the double bass bow: longer, thinner, and lighter; vs. shorter, thicker and heavier.
Each of the following bowing adjustments should be considered in relative terms, i.e., relative to other strings which are thicker and slower than the violin E, or thinner and faster than the double bass E. In addition, each component (speed, pressure/weight, and sounding point) can be implemented or manipulated in various subtle combinations with others. Nevertheless, it is helpful to understand that each bowing component can be manipulated independently and that any tone quality problem on any string can be solved by changing any one of the three components.
Bowing violin E closer to the bridge ("sounding point") helps deal with the relatively low resistance in the string due to its thinness and lighter weight, especially when using more/faster bow is not an option. The area closer to the bridge on any string can support relatively more bow weight/pressure and is handy for situations when strong sound is needed in a slow-bow context. Conversely, since the double bass E possesses such high resistance and weight, bowing it farther from the bridge helps it respond more easily. This is particularly helpful for tremolo or rapid bow-change situations and spiccato bowing.
With regard to a bow speed adjustment, since the violin E is moving very fast through the air due to its frequency and lighter weight, a faster bow speed ("more bow") can be helpful when the rhythmic context of the music permits. This works because the bow speed and the string (travel/air) speed must be proportionate to each other to produce a good tone. Using this same principle, the bow would be drawn far more slowly for the double bass E string. Ironically, this can help produce a much bigger sound since the string would be fully energized if the bow speed and string speed match. One of the typical beginner sounds on the double bass is caused by the bow skimming over the surface of the string. This is sometimes a difficult concept for the upper string players to grasp at first since they are accustomed to the idea that more bow always equals more sound. This is true but only to the extent that string and bow speed are kept relatively the same.
Bow weight/pressure is also a common factor to be manipulated, but again in opposite directions: the violin E requiring less weight/pressure because of its lighter weight and resistance, and the double bass E requiring relatively more. A proper bow hold is critically important, of course, for all four instruments. But for both French and German double bass bows, there must be a relationship between thumb and fingers which promotes maximum leverage to apply this weight yet maintains maximum flexibility, preventing stiffness in the fingers and wrist.
Before closing, it should be brought out that some left-hand factors can be very important for good sound on the E strings as well. One of the more important is the difference in vibrato speed and width. The necessity for slower and wider vibrato for the double bass is not only a reflection of the pitch of the string, but also a function of the swing length or vibrating length of the string as well (and vice versa for the violin E). Also, when playing pizzicato, both E strings require relatively extra finger weight to stop the string enough to produce a clear tone. Furthermore, when bowing, due to the differences in thickness and resistance in each E string, it is easy to have too much finger weight on the violin E and not enough on the double bass E. The former can result in sluggish finger movement and difficulty in vibrato and shifting. The latter can account for much of the buzzing or rattling heard from the back of the orchestra.
Given the importance of the E strings to the overall tone quality, range and expressiveness of the orchestral sound, it seems logical that there would be or could be more careful and focused attention paid to them in early phases of string instruction. It is my perspective that there is no reason to put off the introduction and experience of these "odd" strings since the principles of bowing and left hand technique differ only in degree from the more familiar middle strings.
In closing, this discussion is in no way intended to slight or ignore the cello and viola C strings which have their own unique qualities; however their effect on the overall sound of the orchestra is not quite as extreme in terms of range and timbre. Nevertheless, much of what is said here about playing the double bass E string can be related to the C strings as well. Rather than shun the E string, my preference is for the early introduction and experience of these all-important "instruments within instruments". Now is a pretty good time to begin!
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