Frames of Reference for Bow Control (continued)

24//6/2020 Frames of reference for bow control (continued)

I have already described to you the system of numbered sounding points for developing control of sound production.

Of course that is only part of what is involved in sound production on bowed string instruments. It focuses on one of four elements involving the right hand/arm that influences sound. Recall that they are:

• Sounding point
  
• Bow peed
  
• Bow weight
  
• Size of area of contact
  

These elements operate in combination. Changes in one necessarily affects changes in the others. Different combinations result in different sounds. For example, closer to the bridge requires more weight and less speed; closer to the fingerboard, less weight and more speed; and so on.

Since our attention is limited, it is useful to focus on one element at a time as a frame of reference for developing sound control. When we focus on sounding point, we play the numbered sounding point game, using the numbered locations between the bridge and the finger board as our frame of reference. To recap, the essential steps of the game are:

• start with slow, short detache strokes on a chosen sounding point
  
• gradually increase the length of the strokes while keeping the duration (note length) the same, and maintaining the chosen sounding point, resulting in faster and faster bow speed, until whole bows are used. 
  
• test for the maximum bow speed that still allows for a clean resonant sound
  
• test for the minimum bow weight that still allows for a clean resonant sound
  
• listen very attentively for clean bow changes
  
• reverse the process and start again from the beginning
  
• do it at each one of the 5 sounding points
  
• do it on different strings
  

The focus of this version of the game is primarily on sounding point and bow speed. However, it is necessary to compliment it with other versions of the game. Here are some.

Focusing on bow weight

• Choose a sounding point and maintain it precisely
  
• Play whole bows with clean, resonant sound
  
• Gradually subdivide your bow, alternating the amount of weight you use: half a bow with more weight, the other half with less weight; Then divide the bow stroke in thirds, quarters, sixths, eighths, and so on, alternating the weight between them.
  
• Test how many subdivisions you can do with alternating weight, while still maintaining clear and resonant sound.
  
• Do it on different strings, open as well as stopped notes (left hand fingers used)
  

Focusing on bow speed

• Subdivide whole bows into smaller and smaller sections, as in the previous exercise. 
  
• Alternate bow speed between slow and fast, starting with half a bow each, then a third of a bow each, then a quarter, etc.
  
• Test for how small you can subdivide the bow while maintaining clear and resonant sound
  
• Do it on different strings, open and stopped.
  

Focusing on area of contact (amount of hair touching the string)

• Subdivide whole bows into smaller and smaller sections, as in the previous exercise. 
  
• Alternate the amount of bow hair touching the string by rolling the bow between the thumb and second finger, starting with half a bow each, then a third of a bow each, then a quarter, etc.
  
• Roll between vertical (full hair touching the string) and tilted away from the bridge (few hair touching)
  
• Maintain the basic position of the wrist and the hand, while rolling the bow between the fingers. Use finger action only.
  
• Test for how small you can subdivide the bow while maintaining clear and resonant sound
  
• Do it on different strings, open and stopped.
  

Bow division

Here is another frame of reference for viewing bow control: bow division. The idea, wonderfully explicated by the great French pedagogue, Lucien Capet, in his book, Superior Bowing Technique, is of proportionality between bow length and note value. For example, if a whole bow is used for a whole note, half a bow is then used for a half note, a quarter of the bow for a quarter note, an eight of the bow for an eight note, a sixteenth for a sixteenth, etc. Various scales can be used, of course, but the principle of proportionality remains the same. The length of bow used should be proportional to the note values. The effect of this approach is great evenness of line, where notes do not stand out disproportionately, whether in lyrical or more articulated passages.

Playing different games for achieving the same phrasing goals

A fascinating game is to see to what extent one can shape a phrase of music by primarily using one element of sound production. For example, play a phrase a number of times, each time shaping it dynamically by using only one of the following:

• sounding point variations
  
• weight variations
  
• bow speed/length variations
  
• contact area (amount of hair contacting the string)
  

It forces one to maximally use any particular element. It is surprising how much can actually be achieved in such a way. At the same time it also highlights the interdepence of the different elements. Try it. It is a fun way to learn.

The purpose of these different frames of reference is to gather as much information about different elements of sound production - and their combinations - as possible. In effect, it allows one to systematically assemble a whole “library” of different bow strokes and their effects. The greater your library of bow movements and their associated sounds, the greater your potential skill in producing sound. Eventually, control of these different elements of sound production and their different possible combinations should become automatic competencies. It is then possible to apply it intuitively while making music.