BOW CONTACT-POINT and STRING LANES
I certainly enjoyed watching ARC, ANGLE and V working together as a well leveraged and happy trio.
Everyone now knows about the Bow-Hand, the Bow-Arm Box and String levels.
I asked BRIDGE to teach you about the bow’s contact-point and string lanes. Hi, BRIDGE! Please tell us more.
Pretty soon you will be bowing your string instrument, but first it is important to learn about the bow’s contact-point on the string.
Hello, All! Good to be back.
Much like the location of my fingerboard top hat, the contact made by the bow hair on the strings, remains parallel to the top of the bridge when bowing.
The bow is moved horizontally back and forth when performing down-bows and up-bows, and the bow hair contact on the string must be parallel to the top of the bridge.
Pictured to the left, the bow’s contact-point on the string is parallel to the top of the bridge.
Logically, the location that the bow hair makes with the string is called the Contact-Point.
Clear and resonant sounds are produced when the bow is drawn parallel to the bridge.
BOW CONTACT-POINT
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