wrist

The Joy of Feuillard – A Sequential Approach to Teaching Bow Technique (Part 11 – Feuillard No. 32 – Variations #27-30)

Part 11 -  Feuillard No. 32 - Variations #27-30 Today's blog will focus on circular motions, ballistics, and strokes at the frog that combine the upper arm and wrist.   Variation #27:   For this variation, I ask the students to use the full bow at a fairly fast tempo, rather than just playing at the frog as indicated. I am interested in seeing whether they can play with the bow remaining parallel to the bridge at a relatively fast bow speed, while using left/right motion.  This is similar to the very first variation, although it is with all down-bows and a much faster bow speed. If the bow skits up or down the string, then the bow angle is not correct. I also use this variation to introduce the vital [...]

THINKING IN A NEW WAY—Overcoming Habits (Part 4 of 6): The Arm Becomes the Bow — by Selma Gokcen

The whole organism is responsible for specific trouble. Proof of this is that we eradicate specific defects in process. —F.M. Alexander To a mind that is still, the whole universe surrenders. —Lao Tzu We now come to the bow, the most challenging aspect of cello playing by far. There are so many fantasies and fallacies surrounding the technique of the bow, as well as profound differences of opinion regarding sound production and articulation. Rather than address these directly, I would like to introduce another way of thinking about the bow: as an 'instrument' whose function exists in relationship to the whole body. By starting from the general (the whole of ourselves) and eventually arriving at the specific (the 'bowing instrument'), we might view the process in the right perspective, rather [...]