#17759 Reply

Dianne Adkins

So Jill, if you re-watch all these vids, especially the bow, just take note of the shape you draw with the bow. Right now I see the bow tip moving outside the ‘path’ – sometimes at the tip, the tip of the bow is toward the scroll slightly. This can have a big effect on tone as I’m sure you know. Then when the bow is closer to the frog, the tip moves toward your head a little. Ideally the tip should be in line with the hand at all times, in all parts of the bow.

If you imagine the bow path as being between two panes of glass, one on either side of the bow, then you can get an idea of staying aware of the location of the tip of the bow at all times. As you move up bow, the bow wrist has to give a little to let the tip stay in line. As you move down toward the tip, the wrist gives again to keep the bottom of the bow in line. Sometimes, pulling back at the extreme end of the down bow (at the tip) needs to be fixed by pushing the hand out a little. As you expand use of the bow on both ends, make sure you are flexible in the bow wrist and keeping an eye on the tip.

Also you move very close to the bridge sometimes, especially on down bows, although the sounds isn’t suffering much as it would normally. I don’t know if the Damiano is just very forgiving or if the melody on the recording is giving your tone a ringy boost that covers tonal flaws. Overall, very nice performance. Keep ’em coming!