What is the swift end movement of upbow
As a 2-year self-study violin beginner I have a question,
When professional violinists make bowing movements with right hand, I notice:
1. The wrist curve naturally towards the end of upbow and downbow. 2. At the end of upbow, she/he makes a swift and subtle jerk/movement upwards before beginning downbow. This is particularly obvious when the professional is playing a slow, expressive piece. I haven't seen any beginners who can actually do this.
I would like to ask, what is the function of this movement at point 2. and how long does it take to do it? For me from an artistic look it looks awesome!!!
Thanks everyone so much in advance!!!
For example this video at 0:07:
Looking at the video you cited, this up-bow is a staccato slur, a brief pause between connected notes. It is not limited to up-bows. When you see a slur connecting notes with small dots above the notes that is how it looks on the printed page.
She's using her fingers to make the bow change smoother; basically, what's happening physically is that your wrist starts making the downbow while the fingers, bending, finish out the upbow, so the transition is cushioned somewhat.
If I could make my question clearer, I referred to the swift jerk movement up near the end of the upbow (when her right hand fingers are near the bridge) before the violinist begin her downbow. Sorry it's at around 0:07 to 0:08 in this video but if you watch till the end of her up bow, you would see this movement quite clearly. Thank you very much for your replies so far.
Yeah Irene, but I wonder whether we have any professional term to call it ...
Seems to me that it's portato bowing.
Thank you George and Paul, I was referring specifically to the movement at the END of the upbow, not during the up/down bow. Does this end-of-upbow movement also belong to the portato category? It looks very artistic (like dancing with your bow hand) yet painfully difficult at the same time. P/S I see that the teacher in Paul's video also use this end-of up bow movement a lot.
With advanced players, the fingers can act like shock-absorbers to cushion the change of direction of the arm. Something like a fly-fisherman changing direction of the rod before the lure has finished completing its travel in one direction. What I thought was interesting was that she frequently took the third finger off the stick. The third finger frequently causes problems. jq
The first thing my current teacher made me do when she first started teaching me was that bow movement. I had had a very stiff bowhand so she wanted to correct that.
Then there are the great players (mainly Russian School) who do not believe in the complication of those flexi-movements of the fingers and wrist that are *supposed* to make bow changes smoother, and just bow from the shoulder in one simple unit. One excellent example being Nathan Milstein.
Thank you so much! This is exactly what I was looking for!!!
There is a story (legend?) that when Gingold was considering taking on Joshua Bell as a young student, one of his main concerns was that Bell "already knows how to change bows." So I guess you can conclude it's an important aspect of technique ... or you might conclude that it's one of the more difficult to teach, one that Gingold was hoping to avoid.
Galamian calls this "springs" in his book. I find this to be a good metaphor for describing what the fingers and wrist are doing.
That's right -- the Galamian "springs"! Some methods call it "round and soft" to describe the curved nature of the fingers and thumb, and non-tense nature of the bow hold.
Galamian's system of springs actually refers to all the joints of the arm, shoulder to fingers (+ the springs of the bow.) He was more concerned about the sound of the bow change than the action. As long as the change sounded smooth, he didn't care whether the change was generated at the shoulder or the fingers. He would only interfere if a jerky motion in the bow change caused a rough sounding change. He says smoothness of sound is produced by a slight slowing and lightening of the bow just before the change, rather than anything to do with which joints or muscles are employed.
I was so pleasantly surprised that my question has been attended to in such a cordial and enthusiastic way. Thank you all for the replies, and Viva V.com :-))
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