Cómo hacer el cambio de arco perfecto

Simon Fischer
Simon Fischer

Lesson time: (7min 3sec)

Lesson transcript:

Mastering Bow Changes in String Playing

One of the most important parts of bowing is being able to change bow seamlessly from:

  • Up bow to down bow
  • Down bow to up bow

This is essential at both the heel and the point of the bow.

The Illusion of Complexity

In other parts of the bow, it's easy to fall into the trap of thinking that there must be some complicated technique involved to change the direction of the bow perfectly, so that:

  • The change is unnoticeable
  • The sound appears to be continuous.

In fact, like everything else in string playing, it's actually very simple.

Key Technique for Bow Changes

The only essential thing is that at the very last moment, in the last tiny amount of bow, you need to:

  • Slow down slightly
  • Lighten the bow even more.

Apart from that, there's no special technique needed at all. You can prove it by changing bow perfectly while holding the bow tightly in your fist.

The Importance of Desire

So how much technique do you need to change the bow perfectly? Obviously, not much. The most important thing is the desire for a particular quality of sound, though it certainly helps if you know to slow down at the last moment.

Holding the Bow

Of course, it's even easier if you hold the bow normally, allowing a feeling of give in the hand and fingers. However, any movement in the fingers mustn't distract from the essential action:

Slow down before you turn the corner.

Avoiding Bad Habits

Slowing down at the heel is crucial to avoid a sort of flick with the fingers, since this has the opposite effect, speeding the bow up just when you want to slow down.

You can do an obvious finger movement if you like, but it has to be controlled, not thrown.

Practice Suggestions

  • From here to here, be careful.
  • Make that transition really smooth and continue.

Can you just practice:

  • Up to down with the heel?

Each time, notice the big break. Try a different bow; it might give you a different feeling. However, aim for continuity.

The Concept of Bow Changes

Do you know all you have to do to make a smooth bow change is:

Slow down before you change direction.

It's reminiscent of turning a corner. You need to:

  • Slow down
  • Turn the corner
  • Speed up again.

So here, focus on this sequence:

  • Slow
  • Faster
  • Slow
  • Slow, but sustain.

See if you can feel that gap.

Bravo, bravo!

Now hold those with a deeper intention at the end of the up bow, go deeper into the string.

Transitioning from Down to Up

To change bow smoothly from down to up, it's not only about slowing down in the last half centimeter but also about lightening the bow a fraction at specific points:

  • Here
  • There
  • Here

Try to make it continuous now. Go deeper in the string, maintain more speed, and vibrate.

Keep it steady!

Cause and Effect

Yes, but everything is cause and effect.

  • Every action the bow performs on the string is a cause.
  • Every sound that comes out of the instrument is an effect.

If you keep making the same cause, you will continue to get the same effect. There must be a cause for the click that you hear at the change:

  • Bow speed needs to slow down
  • Weight needs to lighten.

That was excellent! Now, focus on slowing down even more when you get to that point:

  • Sustain in the slow bit.
  • Now deepen the bow.

The Circular Feeling

Everything at the bow change wants to have a circular feeling.

  • You don't want the feeling of hitting a wall and then going the other way.

Instead, go around the string without accelerating.

That was amazing!

You still want to maintain that flow:

  • Slow there.

Because now you're playing around the string again. From this angle, I can see so clearly your fingers making a little give, which is great!

We don't want to be stiff and inflexible.

However, in that moment of give, the bow accelerates just when you want it to slow down:

Slow.

That's what you want.

Now, try to:

  • Slow
  • Slow
  • Go even slower.

Take a risk and see what will happen:

  • Slow almost to stationary and then change direction.
  • Repeat: Slow almost to stationary and...

About the instructor

Simon Fischer
Simon Fischer

Simon Fischer disfruta de una distinguida y polifacética carrera como intérprete, pedagogo y artista de grabación. Ha actuado por todo el mundo como recitalista y ha grabado tres Sonatas de Brahms, una grabación que recibió grandes elogios en la revista Gramophone. Simon está reconocido como uno de los profesores de élite del mundo. Es profesor en la Guildhall School of Music y ha ocupado cargos en la Yehudi Menuhin School, la Wells Cathedral School y la Purcell School, y durante 15 años fue profesor visitante en la Royal Scottish Academy of Music. Tras estudiar en Londres con Yfrah Neaman y en Nueva York con Dorothy DeLay, el enfoque de Fischer une los mejores elementos de las tradiciones violinísticas francesa, rusa y estadounidense. La obra publicada de Fischer ejerce una gran influencia en la enseñanza del violín. Autor de artículos para la revista The Strad desde 1991, sus columnas mensuales han atraído seguidores en todo el mundo. Publicados por Edition Peters, sus libros de técnica Basics and Practice (traducido al coreano, italiano y alemán), Scales y The Violin Lesson, así como el DVD The Secrets of Tone Production (ahora disponible en streaming a través de MusicGurus), se han convertido en referencias en muchos continentes. Su libro y DVD Warming Up fue descrito por la revista The Strad como "23 páginas de oro técnico puro". En 2014, Simon Fischer recibió el premio de la European String Teachers Association "en reconocimiento a toda una vida de contribución a la enseñanza de instrumentos de cuerda". En su curso de cuatro partes Secrets of Tone Production, Simon te guía para que conozcas tu instrumento y luego trabajes sus ejercicios fundamentales de sonido paso a paso, de modo que puedas producir un sonido más rico, más controlado y más hermoso con el violín. read more

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