The art of bowing.

[Nick Hart]

Playing close to the bridge and close to the fingerboard has its purposes. It also plays into styles of playing. For example, Boston has a fantastic hall that is very resonant, so they often play shorter than most other sections. When it comes to playing close to the bridge or fingerboard, it all has the do with the instrument, so I prefer Paul Ellison's outlook on this. Do what sounds best. If you get the sound you need playing close to the bridge, do it, if not try something else. Of course, as far as exercises, we should always practice bowing sul tasto, sul ponticello, and in various parts of the string so that we can be flexible musicians. This will also help to learn the different tone colors you can produce in different places on the string and for anybody pursuing orchestral careers. Flexibility with the bow is the top of bow technique. The best players can produce any sound they are told to produce on the spot, with very little fussing around to find it.