Répartition de l'archet

Exercises for Improving Bow Division

These exercises are naturally good for improving bow division.

Key Concepts

• Two Heavy, Light Patterns: When playing two heavy, light patterns in one bow, begin the second pattern exactly in the middle of the bow.
• Dividing the Bow:
  • For three patterns, divide the bow into three equal thirds.
  • For four patterns, divide it into four equal quarters, and so on.

Common Mistakes

When players do this exercise for the first time, many make the mistake of using too much bow at the beginning and not having enough left at the end.

It isn't common to see someone use too little bow at the beginning and then have loads left over afterward.

Starting Technique

• Start at the Heel:
  • That's right, you know, bow division.
  • So you've got four in the lower half.
  • Starting at the heel means here, it doesn't mean here.
  • Start at the heel.

Step-by-Step Instructions

1. Begin at the Heel:

   • 1, 2, 3, 4.
   • Now I'm at the middle: 5, 6, 7, 8.

2. Repeat:

   • 1, 2, 3, 4.
   • Middle: 5, 6, 7, 8.

"Is that the heel?" Thank you, that's right.

• It's just even: 1, 2, 1, 2. Very simple.
• Start at the heel. Well done.

Maintaining Sound

"I don't hear what's happening there."

• Heavy Bowing:
  • Heavy, heavy, heavy, heavy.
  • Do just that much, Solomon.

Note: If you get a scratching sound, that's not ideal.

Building Pulse

• If you base your playing on this feeling, you can maintain the same feeling as you add the pulses.
• Stay in the bridge, and here we go. Now stay there.
  • That's it. Good sound.
  • Now pulse. That's better.

Caution: You don't want the sound stopping; there should be a continuation.

Focus on Technique

• "Try just the up."
  • That's it.

May I borrow your instrument, please?

Listen to this:

• "Well, I can tell you, you need some rosin here because that's very shiny."
• I'm playing much more deeply into the string than you.

Engaging the Bow

• Observe: Heavy, heavy, heavy, heavy, heavy, heavy, heavy. Right deep into the string.
• You need to feel this, the springiness and the tension of the stability.

Remember:

• When you use a bow, it's not just the bow we're playing with.
• What we're really engaging is the force of springiness in the stick.

Analogy

It's a bit like when you receive a letter:

• You don't want the envelope; it came in an envelope, but it's not the envelope you want, it's what the envelope contains.
• Similarly, it's not the bow itself that we need to play with, but the force of springiness inside the bow.

Final Note

If you don't employ the springiness in the bow, you'll produce an inadequate sound. But if you play into the bow, the hair, and the springiness of the string, you can engage the string effectively.

Now, start lowering the bow!