The Bowing Thread.

[Richard Prowse]

Slow bow, near the bridge, at a varying distance as your left hand moves... on it goes.
Here's my question:
What should one practise to really improve one's bowing? I know it's a very big question, but I'd love to hear your views.

[Ken Smith]

Slow bow, near the bridge, at a varying distance as your left hand moves... on it goes.
Here's my question:
What should one practise to really improve one's bowing? I know it's a very big question, but I'd love to hear your views.

What type of bowing exactly are you looking to improve as far as technique goes?

Gradus Ad Parnassum (https://www.metzlerviolins.com/p-208518-simandlzimmerman24-studies-gradus-ad-parnassum-vol2.aspx) by Zimmerman is the best I can think of for bow control as well as the Zimmerman book on bowing. These require careful and slow study. Years ago (actually decades ago) my teacher Lew Norton (NY Phil, now retired) picked out a couple of pages and marked where to start and finish. Then pencils in to play one beat per click at 60/bpm with 8 notes tied in one bow playing it as close to the bridge as possible.

I was playing then on my old Italian bass over 42" SL, barely a D-neck and with some big shoulders. I was using Spirocore Reds then as well, with the bow. The Bow was a Sartory so that helped some.

It sounded horrible but, made me sound and play better in normal conditions. People today always (usually actually) compliment my bow arm but I don't know why exactly. Maybe from lessons like that as well as the earlier ones with Bill Blosson (NY Phil) when we worked mostly on just Bow technique and the Bow Grip.

It doesn't sound so good when working on special techniques but when you put it to work, that's when the hard work starts to pay off.

[Richard Prowse]

Thanks for that Ken.
Let's talk slow melodies. Slow bow? probably. Firm left hand to avoid squeaks!
More forward and backwards control, rather than downwards pressure.
Relaxed right hand. Smooth bow changes.
How does this sound for a singing tone?

[Ken Smith]

Thanks for that Ken.
Let's talk slow melodies. Slow bow? probably. Firm left hand to avoid squeaks!
More forward and backwards control, rather than downwards pressure.
Relaxed right hand. Smooth bow changes.
How does this sound for a singing tone?

Go back to my post and do as I suggested. There is no substitute for good training. You can apply your newly gained skills (when you get them) to anything you want to play. This is for the Bow. You will also have to train the left hand to match so you don't have a conflict between them.

[Richard Prowse]

Thanks Ken.

[Joel Larsson]

I can only further stress what Ken has said; my bow arm kind of sucks though, so I am not qualified to give any real advice, but... practising the extremes, and practising only one particular thing at a time rather than a whole bunch of things - even if it's as simple a thing as just concentrating on using your arm weight instead of pressure - will make your 'normal' playing sound better, regardless of the dubious musical qualities of your sound during the exercises. Also, if you are already blessed with good habits in the left hand, it will still do what you want it to, even when you are concentrating fully on the bow (arm).

I remember playing Findeisen's method helped some; there are many exercises for bow disposal there. There is probably good bowing etudes in every decent method.

[Abe Gumroyan]

I am definetly with Ken on this one ... The contemporary bowing concepts book by Fred Zimmerman is wonderful. Another concept worth checking are the sevcik books for violin. Hal Robinson uses these sevcik bowings with all his students at Curtis...... I use these bowings as well ... Hal must be doing something right with these bowings if all students are winning major jobs around the country

[Eric Swanson]

Another thought (I got from a former teacher, Terry Plumeri) is practicing open strings a bit every day. As near the bridge as possible, as many metronome beats per bow as possible. After that, practice some open string crossings (every combination) with just the RH, focusing on clarity of tone and an even sound. Similar idea to the Zimmerman bowing book, only on open strings. Different bowings, different speeds. Then, when I practice scales/arps, I do them with different bowings (slurs, hooked, etc.). Luckily for all of us, none of these are original ideas of mine.

Using a mirror helps to make sure that things look right. Having a teacher who can provide a model for an effective bow arm is priceless. I still remember how Lew Norton's and Robert Brennand's bow arms looked in action. What sounds they got.

While I have never matched their formidable skills, and never will, at least I know what the moves should look and sound like...