The FROG
The FROG is attached at the bottom of the bow.
The Frog and its mechanism enables you to adjust the tension of the horse-hair.
Why is the Frog, called a Frog?
Nobody really knows why exactly, however, there are many theories about the origins of the term Frog. In German, the bottom of a horse’s hoof is called the “frosch.” The “frog” of a horse hoof is a small area toward the rear of the hoof that acts as a shock absorber. Since a bow’s frog is located at the bottom of the bow and also acts a shock absorber, this may be the reason for its name.
Some believe that the frog looks somewhat like the profile of a frog. Another opinion comes from the last name of the modern day frog inventor, Helmut Gorf. Gorf spelled backwards is Frog. The Frog is also called the Heel, which presents a strong case for the German word origin. (Frosch = Frog)
The Frog is attached to the stick with a screw/eyelet mechanism which is located inside a carved channel inside the stick.
The screw is located at the end of the bow and is used to tighten and loosen the hair. When the bow is not in use, always loosen the hair so that the stick doesn’t warp. Never over-tighten the bow!
Horse-hair is connected to the frog with a Ferrule (a semi-circular metal band that spreads the hair into place). The horse-hair is spanned into a ribbon with a fitted wooden spacer. This ribbon acts as the bristles on your Music Paintbrush.
FERRULE
Introducing the Bow Parts of the Bow The Stick Horse-Hair The Tip The Frog The Winding How the Bow Works
Rosin Preparing to Hold the Bow Stick Training Exercises Bowing Terminology Down-Bow Up-Bow
Bow-Hand Set-Up Finger Tasks and Functions The Thumb Meet ARC Finger Segments The Index-Finger
Bow-Hand Pronation The Center-Finger and Ring-Finger Bow-Hand Fulcrum Ring-Finger Propulsion Bass Bows
Pinky Bow-Tasks ‘Casting’ the Bow-Hand Bow-Wrist Tasks Rotational Inertia Arco Clay Smile Exercise Meet ANGLE
The Bow-Arm Box The Shoulder Arc Bow Contact-Point String Lanes Bow-Segment Mastery Bowing Exercises
Finding the Bow Contact-Point “Painting With Sound” Bowing Exercises Menu Bow Taps Bowing Traditions
Perform Down-Bows Perform Up-Bows The Art of the Bow-Change Articulations Staccato Legato
Mastery Checkpoint One Building Bow Control Bow Speed and Bow-Arm Motion Bow Planning and Distribution
Slow Moving Bow Strokes Individual Bow Segments Traveling the Bow Bowing Dynamics Mastery Checkpoint Two
Advanced Techniques Slurs and Articulations Slur Training Locating the Bow’s Balance Point Ricochet and Spiccato
Exploring Ricochet Ricochet Control Spiccato Training Spiccato Control Spiccato Brush Strokes
Multiple String Crossings Virtuosic Bow Strokes Arpeggio Bowing “Flying” Staccato Mastery Checkpoint Three
SCROLL’s List of Bow Strokes
Rosin Preparing to Hold the Bow Stick Training Exercises Bowing Terminology Down-Bow Up-Bow
Bow-Hand Set-Up Finger Tasks and Functions The Thumb Meet ARC Finger Segments The Index-Finger
Bow-Hand Pronation The Center-Finger and Ring-Finger Bow-Hand Fulcrum Ring-Finger Propulsion Bass Bows
Pinky Bow-Tasks ‘Casting’ the Bow-Hand Bow-Wrist Tasks Rotational Inertia Arco Clay Smile Exercise Meet ANGLE
The Bow-Arm Box The Shoulder Arc Bow Contact-Point String Lanes Bow-Segment Mastery Bowing Exercises
Finding the Bow Contact-Point “Painting With Sound” Bowing Exercises Menu Bow Taps Bowing Traditions
Perform Down-Bows Perform Up-Bows The Art of the Bow-Change Articulations Staccato Legato
Mastery Checkpoint One Building Bow Control Bow Speed and Bow-Arm Motion Bow Planning and Distribution
Slow Moving Bow Strokes Individual Bow Segments Traveling the Bow Bowing Dynamics Mastery Checkpoint Two
Advanced Techniques Slurs and Articulations Slur Training Locating the Bow’s Balance Point Ricochet and Spiccato
Exploring Ricochet Ricochet Control Spiccato Training Spiccato Control Spiccato Brush Strokes
Multiple String Crossings Virtuosic Bow Strokes Arpeggio Bowing “Flying” Staccato Mastery Checkpoint Three
SCROLL’s List of Bow Strokes