Rotate the hand slightly (like turning a knob) so that more weight comes through the index at the tip of the bow, and then so that more weight comes through the pinky at the frog. This is needed to impart more force at the tip and keep a solid sound, and it's needed to lighten the force at the frog so that the sound doesn't break from being over-pressed.
Can you do so with the hold you are contemplating? Can you keep an even sound? Can you do it without losing grip of the bow? I would think not if you don't have a certain amount of leverage with the index, but then again, Spivakovsky was able to make his highly unorthodox hold work.
** My cello teacher was a retired professional who had played in the Minneapolis, Chicago, Philadelphia and Atlanta Symphonies so I don't think he can be faulted for that.
Tossy Spivakosky
https://www.britishpathe.com/video/a-concert-album-version-1-reel-2
That's all I got. I have no knowledge of how to get such a bowhold to work, or even if it's what you have proposed.
Of course that should read first joint as it's the beginning of the first phalange.
THERE ARE 4 ROADS THAT LEAD TO ROME!
If you’re playing with a FB or Russian thumb and pinky placement with the bow on the first knuckle, finger flexibility to manage the bow seems like it would be tough. Can you do true sautille with it?
How is the efficiency of your bow strokes? Are you relaxed and able to bow quickly easily, or is it a lot of hard work?
Anyone interested you can download Yost's book here: https://pdfcoffee.com/spivakovsky-way-of-bowing-pdf-free.html
Edit: yes, as I get toward the tip a distinct aw sound now appears.
Dare I conclude Spivakovsky has freed the upper part of my bow to sing? Maybe the upper part is more the soul of the instrument?
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