Today's message should be very helpful to you if you are like many a violinist, and can always use an insight or two to keep your right arm technique sharp.
You see, most players have four main challenges where it comes to their bow-arm; keeping it straight, keeping it horizontal, achieving clean, non-disruptive string crossings, and coordinating changes of string and direction with the left hand.
Now, you may think of disagreeing with me. You may be thinking, 'my biggest problem is with spiccato, I can do all those other things.'
If that's the case, I'd say, you'd be wise to pay attention - your spiccato challenges may have more to do with these things than you may realize.
Actually today I'm just going to discuss the first two elements - keeping the bow straight and keeping it horizontal. For most of us 'straight' is pretty well understood to mean parallel to the bridge. What is less understood, in my experience, is the need to conceive of all the elements of the bow arm - hand, forearm, and upper arm - as inhabiting one two-dimensional plane of movement.
And for these to happen there are exactly 3 joints you have that must ALLOW them to happen - the wrist, the elbow and the shoulder.
Take the wrist - one of the most common mistakes I see is a raising of the wrist at the frog. Raising the wrist immediately takes one component of your bow-arm out of the horizontal plane of movement that is so necessary to an efficient, seamless bow.
So how should the wrist flex? The wrist must flex forward and remain within the 'plane of motion' the bow arm inhabits, while also maintaining the bow in a position parallel to the bridge.
This idea of staying in the plane of motion extends to the elbow as well. I see a lot of players introducing unnecessary complications to their bow-arm by elevating and lowering the elbow in the course of drawing a full bow; and then they wonder why the bow 'chatters' on the string, or they have difficulty with quick string crossings and such.
And then they wonder why the bow 'chatters' on the string, or why they have difficulty with quick string crossings and such. Well, there's just too much going on, and all that contrary energy is getting fed right into the bow stick.
And last, there's the shoulder. Oh yea, the shoulder. How fresh is the memory of my father standing next to me tapping my shoulder to get it to relax during my early years of practice.
Though relaxed, the muscles in the shoulder must nonetheless control critical movements of the upper arm that comes into play at the lower part of the bow and during string crossings.
I'll talk more about string crossings soon, yet for now it's important to understand that, although the shoulder is bearing the weight of the arm and bow, it must be relaxed, as it plays a critical role in moving the bow straight and horizontally at the frog.
This is to say that you can't confuse the vertical movements involved in string crossings with the lateral movements of the upper arm involved in bowing.
This morning I again made a worthwhile investment into my practice by playing Kreutzer Etude #2 at the extreme frog. You might be interested to know that for me to accomplish it, at tempo, from top to bottom with a really smooth detach bowing, I 'belly breathed' like a stallion in heat. You've got to keep the upper body absolutely relaxed to do this, and belly-breathing is a secret every violinist should know to facilitate this.
You see, most players have four main challenges where it comes to their bow-arm; keeping it straight, keeping it horizontal, achieving clean, non-disruptive string crossings, and coordinating changes of string and direction with the left hand.
Now, you may think of disagreeing with me. You may be thinking, 'my biggest problem is with spiccato, I can do all those other things.'
If that's the case, I'd say, you'd be wise to pay attention - your spiccato challenges may have more to do with these things than you may realize.
Actually today I'm just going to discuss the first two elements - keeping the bow straight and keeping it horizontal. For most of us 'straight' is pretty well understood to mean parallel to the bridge. What is less understood, in my experience, is the need to conceive of all the elements of the bow arm - hand, forearm, and upper arm - as inhabiting one two-dimensional plane of movement.
And for these to happen there are exactly 3 joints you have that must ALLOW them to happen - the wrist, the elbow and the shoulder.
Take the wrist - one of the most common mistakes I see is a raising of the wrist at the frog. Raising the wrist immediately takes one component of your bow-arm out of the horizontal plane of movement that is so necessary to an efficient, seamless bow.
So how should the wrist flex? The wrist must flex forward and remain within the 'plane of motion' the bow arm inhabits, while also maintaining the bow in a position parallel to the bridge.
This idea of staying in the plane of motion extends to the elbow as well. I see a lot of players introducing unnecessary complications to their bow-arm by elevating and lowering the elbow in the course of drawing a full bow; and then they wonder why the bow 'chatters' on the string, or they have difficulty with quick string crossings and such.
And then they wonder why the bow 'chatters' on the string, or why they have difficulty with quick string crossings and such. Well, there's just too much going on, and all that contrary energy is getting fed right into the bow stick.
And last, there's the shoulder. Oh yea, the shoulder. How fresh is the memory of my father standing next to me tapping my shoulder to get it to relax during my early years of practice.
Though relaxed, the muscles in the shoulder must nonetheless control critical movements of the upper arm that comes into play at the lower part of the bow and during string crossings.
I'll talk more about string crossings soon, yet for now it's important to understand that, although the shoulder is bearing the weight of the arm and bow, it must be relaxed, as it plays a critical role in moving the bow straight and horizontally at the frog.
This is to say that you can't confuse the vertical movements involved in string crossings with the lateral movements of the upper arm involved in bowing.
This morning I again made a worthwhile investment into my practice by playing Kreutzer Etude #2 at the extreme frog. You might be interested to know that for me to accomplish it, at tempo, from top to bottom with a really smooth detach bowing, I 'belly breathed' like a stallion in heat. You've got to keep the upper body absolutely relaxed to do this, and belly-breathing is a secret every violinist should know to facilitate this.
About the Author:
Clayton Haslop is Concertmaster (leader) on hundreds of movie soundtracks, including The Matrix movies, Titanic, Avatar, Ratatouille, The Incredibles, Star Trek, Up, Jurassic Park, Apollo 13 and The Perfect Storm. Haslop creates bestselling Instructional DVD courses used by beginning to professional violinists worldwide.
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