I'll have to put my two cents in and say that the index finger it the main finger which is used to put weight into-specifically when you are getting closer to the tip- the bow. I find that the second finger is good for stability and allowing your weight to fall through it when close to the frog, but it doesn't really seem logical to try to put weight into the bow with your middle finger when you're at the tip. The pronation of your wrist should lead you to naturally put more weight in the index finger while moving closer to the tip, not your middle finger.
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Double Bass Not enough bow....
- Thread starter joel kelsey
- Start date
I'll have to put my two cents in and say that the index finger it the main finger which is used to put weight into-specifically when you are getting closer to the tip- the bow. I find that the second finger is good for stability and allowing your weight to fall through it when close to the frog, but it doesn't really seem logical to try to put weight into the bow with your middle finger when you're at the tip. The pronation of your wrist should lead you to naturally put more weight in the index finger while moving closer to the tip, not your middle finger.
I agree with you in a sense, what I was suggesting was a way to feel the weight of your arm in the string with out pressing. From my own french bow experiences and also those of the people I play in the orchestra with, it seems like one of the biggest problems is collapsing the right hand on the first finger. Also grabbing down with the finger is a problem. If you try to do some tough passages with out the first finger I believe you can learn to use the weight of your arm and the muscles in your shoulder more effectively. After this when you add first finger it will just give you that much more ability with the bow.
From my experiences, the reason a lot of people "collapse" their hand is becuase they place the pinky way too low on the frog. I find that when my pinky is in a good place(the tip of my pinky is just above the eye of the frog, it's just the pad that's reacting with the stick and frog) then that aligns my hand position just about perfectly-or at least the way I like it-. My bowhold is very similar to Rabbath's, btw I will still respectfully disagree with you about starting out with not using the first finger. I find that there is a relationship between the first and thumb that is very important and shouldn't be delayed.
There is a reason I feel for the corner of the silver ferrule with the end of my second finger in the French bow hold - it lines up with the end of my thumb.
Try this trick. Press your index finger against the end of your thumb and rotate your wrist in all directions. Feel the tightness and clicking in your wrist. Repeat with your pinkie pressing against the end of your thumb. Still tight and tragic. Now press anywhere along your second finger with your thumb and again rotate. Feel the freedom no matter how hard you press.
One way I guide my students into a French bow hold is to have them form a gentle fist with their right hand then open it slowly seeing how the thumb tracks to opposite the second finger. After they open their hand slightly more have them drop it over the bow stick, searching for the corner between stick and frog withe the thumb end , and the corner of the ferrule with the second fingertip. Third finger end rests near the eye on the side of the frog and last joint of the bent pinkie just hooks over the top of the stick. The hand turns in slightly on the stick and is a natural extension of the forearm ( no big wrist pronations). There is a line of power coming down your arm from your shoulder to the end of your index finger.
The index is ahead of the 2nd and thumb, not far enough to tense up the hand. The hand is cupped with bent thumb. Most finger bending is done with the second line of knuckles. Again, relate the cupped hand shape to the way your fist opens. It is important to keep the hand cupped, to relax the large thumb muscles and also relax the heel of the hand. This in turn avoids tension in the wrist which will block musical messages to and from the brain.
How far ahead your index finger is advanced ahead of your thumb is a balancing act between leverage and sensitivity needed, and avoiding tension. Too far or not far enough both result in unwanted tension, tiredness and insensitivity for the bow and string "springs"
DP
Try this trick. Press your index finger against the end of your thumb and rotate your wrist in all directions. Feel the tightness and clicking in your wrist. Repeat with your pinkie pressing against the end of your thumb. Still tight and tragic. Now press anywhere along your second finger with your thumb and again rotate. Feel the freedom no matter how hard you press.
One way I guide my students into a French bow hold is to have them form a gentle fist with their right hand then open it slowly seeing how the thumb tracks to opposite the second finger. After they open their hand slightly more have them drop it over the bow stick, searching for the corner between stick and frog withe the thumb end , and the corner of the ferrule with the second fingertip. Third finger end rests near the eye on the side of the frog and last joint of the bent pinkie just hooks over the top of the stick. The hand turns in slightly on the stick and is a natural extension of the forearm ( no big wrist pronations). There is a line of power coming down your arm from your shoulder to the end of your index finger.
The index is ahead of the 2nd and thumb, not far enough to tense up the hand. The hand is cupped with bent thumb. Most finger bending is done with the second line of knuckles. Again, relate the cupped hand shape to the way your fist opens. It is important to keep the hand cupped, to relax the large thumb muscles and also relax the heel of the hand. This in turn avoids tension in the wrist which will block musical messages to and from the brain.
How far ahead your index finger is advanced ahead of your thumb is a balancing act between leverage and sensitivity needed, and avoiding tension. Too far or not far enough both result in unwanted tension, tiredness and insensitivity for the bow and string "springs"
DP
