BOWING WORLDS8

Default 1
Range of Motion Exercises
Range of Motion is the term for the total distance that something can move.
While playing your instrument, independent segments of your arms and hands move through various ranges of motion, enabling you to create your sound.  Please remember that describing the physical sensations of playing motions is quite challenging, in the sense that you are the only one who can develop your own  “feel of playing.”
Your foot has a very limited range of motion, but your leg has a much larger one – right?
On your quest to find your best playing mechanics, focusing your attention on the individual, specific, motions of your fingers and on the specific locations that each finger segment chooses while in contact with the bow, is an important process of discovery.
Professional string players consistently focus their attention on improving the flexibility and control of their bowing arms. The successful development of a highly skilled bowing arm is an element that is essential to what turns good string players into great string players.
The bow is held with the right hand, and called the Bow-Hand. The right arm is called the Bow-Arm.
The next several chapters guide you through bow-hand and bow-arm physical-location details and flexibility training exercises. In sports, players must learn how to operate equipment with fluidity and precision. Baseball players focus on improving their swing and golfers work endlessly on the mastery of different strokes. String players are “musical athletes” who also must achieve mastery of an assortment of strokes, in this case bow strokes.
Proper bowing skills begin with learning how to hold the bow. Range of motion exercises help to give you increased flexibility and the control you need. The exercises prepare you for a proper and comfortable bow hold.
Relax your bow-hand, and get ready for some Stick Training!
Default 12
Default 13
Introducing the Bow     Parts of the Bow     The Stick     Horse-Hair     The Tip     The Frog     The Winding     How the Bow Works 
 
 Rosin     Preparing to Hold the Bow     Stick Training Exercises     Bowing Terminology     Down-Bow     Up-Bow     

Bow-Hand Set-Up    Finger Tasks and Functions     The Thumb     Meet ARC     Finger Segments     The Index-Finger   
 
Bow-Hand Pronation      The Center-Finger and Ring-Finger     Bow-Hand Fulcrum     Ring-Finger Propulsion     Bass Bows 
 
 Pinky Bow-Tasks     ‘Casting’ the Bow-Hand    Bow-Wrist Tasks    Rotational Inertia    Arco    Clay Smile Exercise    Meet ANGLE 

The Bow-Arm Box     The Shoulder Arc     Bow Contact-Point     String Lanes     Bow-Segment Mastery     Bowing Exercises 

Finding the Bow Contact-Point     “Painting With Sound”     Bowing Exercises Menu     Bow Taps     Bowing Traditions 

Perform Down-Bows     Perform Up-Bows     The Art of the Bow-Change     Articulations     Staccato     Legato 

Mastery Checkpoint One     Building Bow Control     Bow Speed and Bow-Arm Motion     Bow Planning and Distribution

Slow Moving Bow Strokes     Individual Bow Segments     Traveling the Bow     Bowing Dynamics     Mastery Checkpoint Two 

Advanced Techniques     Slurs and Articulations     Slur Training     Locating the Bow’s Balance Point     Ricochet and Spiccato 

Exploring Ricochet     Ricochet Control     Spiccato Training     Spiccato Control     Spiccato Brush Strokes 

Multiple String Crossings     Virtuosic Bow Strokes     Arpeggio Bowing     “Flying” Staccato     Mastery Checkpoint Three 

SCROLL’s List of Bow Strokes
Show Buttons
Hide Buttons