"The wrist of the bow arm and how to unlock its potential"

"The wrist of the bow arm and how to unlock its potential"

Ever notice how some students will position their right hand and wrist facing straight up?




This invariably creates a "locked" wrist where only the shoulder moves to allow an up-bow and down-bow. I thought to myself, " How can I get them to unhinge their wrists so that joint too will flex? Not to make the wrist "floppy" but simply "moveable" like a shock absorber on a wheel axle.




Solution:
Try putting your wrist watch on your right wrist instead of the traditional left one. 






You'll quickly notice that in the wrong position, you actually cannot see the watch face because it is pointed upwards.  In order to actually see the watch face you must turn your wrist to the left slightly, thus creating the proper wrist position so it can move with the entire bow arm.







Its also a great way to sneak a peek at the time in case you are involved in a less than inspiring rehearsal...:)

Give it a try; it will take "no time at all."

BD

Thoughts on the bow: "Even sawing wood is quicker with less force"

Bowing tips

I thought Id share an idea about bow pressure.

The analogy I used with my student today was the following:
 "Pretend he was using a saw to cut down a tree that is about 5 inches in diameter. If you are "hard pressed" for time(sorry for the awful pun), the temptation might be to bear down with the saw into the tree trunk and try to saw it in half.  I suggest using light long and fast strokes instead and this should actually cut the trunk with much more ease and effectiveness."

The ensuing result was a free floating bow stroke that produced wonderful, full-bodied, unforced sonority.  No more engaging the shoulder muscles(use those for brick laying or rugby) just relaxed floating of the bow.  I suggest trying this the next time you perform a piece with tons of tremolo such as Bruckner 4.

More thoughts later, if they come to me...:)

BD