We have thousands of human-written stories, discussions, interviews and reviews from today through the past 20+ years. Find them here:
Printer-friendly version

Toilet Training?

October 22, 2008 at 11:32 PM

Greetings,
Because of the way I organize my library I tend to associate different areas of study with different parts of the house. Since my literature my literature on Bhuddism is stacked in the lavatory it will forever be associated with the porcelain and early morning ablutions. Once the mind moves in a certain vein then if you open any book at random related information will almost always pop up. Thus today I opened one of these tomes this morning and it was discussing our over attachment to things and the need to –lighten up- on just about everything because it really doesn’t matter that much.
Well lightening up has been on my mind for a while. One of the many faults of my playing over the years has been using the bow too heavily. A truly beautiful violin sound comes fromm drawing the sound out of the instrument rather than pressing the strings. Whereas in my case this is a technical deficiency I think there has actually been an overall trend towards `heavy` playing with adequate contrast over the years which often makes it a relief to turn to players such as Oistrakh and Milstein (or Julia Fischer for that matter....) and just take a breather.
On a technical note, I find it invaluable to spend at least thirty minutes every day on exercises that isolate sound points and use as much bow as possible. One of my favorite exercises is the pulsing exercise. The importance of working on this relates very strongly to the idea of drawing rather than pressing. One can do a pulsing exercise by adding weight on each impulse or try to avoid this and really focus on increasing speed and keeping the necessary weight increase to an absolute minimum. It is this small but crucial difference that makes the difference between moderately useful bowing work and really learning to lighten up and make the violin ring as much as possible. After doing this kind of work one starts to become conscious of how perhaps one is using primarily an increase in weight to provide musical expressiveness.
The use of variety of bow speed may actually be missing from one’s palette. That is in essence, half a bow arm.
Cheers,
Buri

This entry has been archived and is no longer accepting comments.

Facebook YouTube Instagram RSS feed Email

Violinist.com is made possible by...

Shar Music
Shar Music

International Violin Competition of Indianapolis
International Violin Competition of Indianapolis

Violinist.com Shopping Guide
Violinist.com Shopping Guide

Violinist.com Holiday Gift Guide
Violinist.com Shopping Guide

Larsen Strings
Larsen Strings

Peter Infeld Strings
Peter Infeld Strings

JR Judd Violins
JR Judd Violins

Dimitri Musafia, Master Maker of Violin and Viola Cases
Dimitri Musafia, Master Maker of Violin and Viola Cases

Pirastro Strings
Pirastro Strings

Thomastik-Infeld

LA Phil

Bobelock Cases

FiddlerShop

Fiddlerman.com

Metzler Violin Shop

Bay Fine Strings Violin Shop

Violin Lab

Barenreiter

LA Violin Shop

Johnson String Instrument/Carriage House Violins

Corilon Violins

Nazareth Gevorkian Violins

Subscribe

Laurie's Books

Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.

Violinist.com Interviews Volume 1
Violinist.com Interviews Volume 1, with introduction by Hilary Hahn

Violinist.com Interviews Volume 2
Violinist.com Interviews Volume 2, with introduction by Rachel Barton Pine