Bad bow changes interfere with the music. Here’s what to watch out for and how to change bow direction seamlessly.
Archive for the ‘The Bow and Right Arm’ Category
While all bows, cellos and players are different, I believe that more is possible for most of us with tighter, rather than a looser bows. Here I make my case and provide hopefully convincing demonstrations.
The area of the bow three quarters of the way towards the tip is very useful for certain repertoire, combining the great playing qualities of the tip with the versatility of the middle.
The middle of the bow is where it bounces best. Learn how to take advantage of that, plus avoid the inherent weaknesses of this area.
The area of the bow near and at the tip offers special opportunities technically and musically, all of which are good to know about and take advantage of.
The area of the bow closest to the hand, referred to as “at the frog” is the strongest and most versatile part of the bow. Here are examples from the standard repertoire, and certain techniques, that are most easily played at this place in the bow.
In advance of specific talks about using each area of the bow, here’s a quick overview of the bow as a tool, and the assetts and liabilities of its three areas: frog, tip and middle.