Skip to content

Violin Bow Technique + Violin Bow Technique +

by Fintan Murphy

Search Login Register

Finger Interchange Closeup

Violin Bow Technique Bowing Fundamentals Actions in Hand & Fingers

As the weight of the bow changes from the light upper half to the heavier lower half there needs to be a subtle realignment of finger pressure on the ...

  • New members register here for VBT+

  • Current members please Login

 
 
Forgot Password
  • Violin Bow Technique
    • Bowhold
      • Introduction to Bowhold
        • Introduction to Bowhold
      • Finding a Bowhold
        • A Way to Find Bowhold
        • Another Way to Find Bowhold
        • Pencil Bowhold
      • Bowhold Stability
        • Test Your Bowhold
        • Keep a Stable Bowhold
      • Bowhold Flexibility
        • Clock Positions
        • Blow on Bow
    • Bowing Fundamentals
      • Introduction to Fundamentals
        • Introduction to Fundamentals
      • Straight Bow
        • Ellipse
        • In and out bowing action
        • Exaggerated Finger Flex
      • Square Position
        • Example A
        • Example B
        • Example C
      • Bowhold at Heel & Point
        • Bowhold at Heel
        • Bowhold at Point
      • Introduction to Change of Bow
        • Introduction to Change of Bow
      • Change of Bow 1
        • Bow-change Action on Bow
        • Bowchange at Frog
        • First-Finger Release
      • Change of Bow 2
        • Bowchange in Middle, Heel & Point
        • Bowchange from Point to Heel
      • Down-Bow Retakes
        • Large Bow Circles with Elbow Circling
        • Circle & Pluck
        • Tap Finger & Bow
      • Actions in Hand & Fingers
        • Pick Up Pencil
        • Finger Interchange on Bow
        • Finger Interchange Closeup
        • Hand & Finger Action at Frog
    • Détaché
      • Introduction to Détaché
        • Introduction to Détaché
      • Détaché in Middle
        • Open String
        • Kreutzer No.2
        • Use Less Bow to Play Fast
      • Détaché in Upper Half
        • Kreutzer No.2
        • Open String
      • Détaché in Lower Half
        • Open String
        • Kreutzer No. 2
      • Whole-Bow Stroke
        • Whole-Bow Stroke
    • Slurred Bowings
      • Introduction to Slurred Bowings
        • Introduction to Slurred Bowings
      • Two-Note Slurs
        • Smooth Slurs
        • Staccato Slurs
        • Slurs in Tree Swing
      • Smooth String Crossing
        • Round Bow in Rigaudon
      • Left-Hand Articulation
        • Silent Left-Hand Practice
      • Pulsing Within the Slur
        • Pulsing in Rigaudon
      • Introduction to Combined Bowings
        • Introduction to Combined Bowings
      • Combining Slurs & Détaché
        • Two of Each
        • Combined Bowings with Practice Breaks
        • Equal Amount of Bow
      • Combining Articulations
        • Legato and Staccato
    • Martelé, Collé, Hookstroke & Upbow staccato
      • Intro to Martelé, Collé, Hookstroke, Upbow staccato
        • Intro to Martelé, Collé, Hookstroke, Upbow staccato
      • Introduction to Martelé
        • Introduction to Martelé
        • Example from Ab Major Scale
      • Martelé Development
        • Insect Bites
        • Thumb Underneath for Beginning Martelé
      • Bow-Hand Pronation
        • Pronation Action with Pencil
        • Pronation Action with the Bow
      • Thumb & Fingers
        • Thumb and Finger Power
      • Martelé as a Useful Practice Technique
        • Martelé with Whole-Arm String Cross
        • Pizzicato and Martelé
      • Introduction to Hook Stroke
        • Introduction to Hook Stroke
      • The Rebound
        • Tap Your Knee
      • Two-Note Unit
        • Contact with the String
        • Close-Up of Bowhair and String
      • Hook Stroke Practice
        • Two-Note Unit with Rhythm Sounds
        • Left Hand Ready
      • Introduction to Collé
        • Introduction to Collé
        • Example from Kreutzer No.7
      • Collé Development 1
        • Collé with Pencil
        • Preparatory Rebounds for Collé
        • Collé with 1st-Finger Release
      • Collé Development 2
        • All Down-Bows
        • Collé at Nut & Point
      • Collé in Other Bowings
        • Collé as Part of Martelé
        • Chord Playing with Collé
      • Upbow Staccato
        • Three Approaches to Upbow Staccato
        • Practice Break before String Cross
        • Lead with the Left Hand
    • Spiccato, Sautillé & Ricochet
      • Introduction to Spiccato, Sautillé, Ricochet
        • Introduction to Bouncing Bowings
      • Introduction to Spiccato
        • Introduction to Spiccato
      • Spiccato Development 1
        • From Vertical Bounce to Bananas
        • Forearm Spiccato Towards Nut
      • Spiccato Development 2
        • Smooth String Crossing
        • Start on E-String
        • Start Up-Bow
      • Standing Spiccato
        • Repeated Up-Bows
      • Lifting the Bow at Heel
        • Excerpt from Sevcik Variation No 12
        • Gigue-Style Bowing
      • Introduction to Reflex Bowings
        • Introduction to Reflex Bowings
      • Introduction to Sautillé
        • Introduction to Sautillé
      • Develop the Vertical Action 1
        • Compare Sautillé with Détaché
        • Develop the Vertical Action
      • Develop the Vertical Action 2
        • Help a Friend
        • Hit Your Leg
      • Sautillé – Forearm or Hand
        • Bowchange Action and Sautillé
        • Forearm Sautillé on Paganini
        • Hand Sautillé
      • Common Challenges in Sautillé
        • Important Points
      • Introduction to Ricochet
        • Introduction to Ricochet
      • Bounce the Bow
        • Let the Bow Bounce – Lift Off 2nd, 3rd, 4th Finger
        • Let the Bow Bounce – Lift Off 4th Finger
      • Endless Bouncing
        • Endless Bouncing
      • Ricochet – Add Bowstroke
        • With Bowstroke
        • With Rhythm
      • Ricochet – Add String Crossing
        • With Practice Breaks
        • With Added Notes
        • And Return
      • Re-Energize Ricochet
        • Re-Energize Ricochet
      • Common Challenges in Ricochet
        • Important Points
    • String Crossing
      • Introduction to String Crossing
        • Introduction to String Crossing
      • Whole-Arm – Development
        • Slurred Across All Strings
        • Roll Bow over Bridge
        • Bridge Rollover – Close-Up
      • Whole-Arm with Bowstroke
        • Two-Octave Dominant Seventh Slurred
        • Separate Bows On All Strings
      • Pivot String Crossing 1
        • Start from Two Strings Together
        • Support Your Upper Arm
      • Pivot String Crossing 2
        • Pivoting Action
        • Example from Seitz Concerto
      • Example from Bach Partita
        • Bach Partita Excerpt
      • Practice Points for Bach 1
        • Double Stops then Single Notes
        • Path of the Bow Screw
        • Finger Action on Bow
      • Practice Points for Bach 2
        • Slurred Groups
        • String Crossing on Each Pair of Strings
    • Tone Production
      • Introduction to Tone Production
        • Introduction to Tone Production
      • Balance & Weight
        • Find the Balance Point
        • The Unmodified Bow
      • Bow Speed
        • Slow Down-Bow, Fast Up-Bows
        • Changing Bow Speed in Triple Time
      • Resonance in Whole Bows
        • Staccato & Pulsing Through the Whole Bow
        • Pulsing During Sustained Bow
      • Resonance in Détaché
        • Bow Friction for Fast Détaché
        • Keep the Friction in String Crossing
        • Close-Up of Hair
      • Point of Contact (Sounding Point)
        • Five Lanes
        • Bowing Variables in Lanes 1,3,5
        • Meditation
        • Point of Contact Changes from G to E Strings
        • Example of Stable Point of Contact
      • Bowhair Inclination
        • Play Softly with Side of Hair
        • Whole-Bow Strokes
      • Son Filé
        • Extend the Number of Beats
    • Chords
      • Introduction to Chords
        • Introduction to Chords
      • String Levels
        • Play Two Open Strings
      • Planning in Four-Note Chords
        • 2 + 2 Chord Bowing
        • Lead with the Hand
      • Point of Contact
        • Stable Point of Contact for Intonation
      • Simultaneous Three-Note Chords
        • Aim for Middle String
      • Finger Action
        • Chord Playing with Collé
        • Three-Note Chords Starting from String
    • Planning & Practice
      • Introduction to Planning & Practice
        • Introduction to Planning & Practice
      • Mixed Rhythms
        • Dotted Rhythms and Groups of Four
      • Practice Breaks
        • Combined Bowings with Practice Breaks
        • Practice Breaks in Bach Partita
        • Collé in Bach E Major Prelude
      • Three Bows Per Note
        • Martelé on Kreutzer No.7
        • Spiccato with Three Bows per Note
      • Rhythm Subdivision
        • Bow Out the Rhythm of Long Notes
      • Open Strings
        • Legato & Staccato
      • Pulsing
        • Pulsing during Sustained Bow
        • Pulsing in Kreutzer No 5
      • Heel, Middle & Point
        • Wandering Through the Bow in Kreutzer No.5
        • Lift & Place at Heel & Point
        • Lift & Place at Heel, Middle & Point
      • Planning Bow Division
        • Introduction to Bow Planning
        • Bow Planning in Bach A Minor Concerto
      • Lifting the Bow at Heel
        • Excerpt from Ševčík Variation No 12
        • Gigue-Style Bowing
    • Integration
      • Introduction to Integration
        • Introduction to Integration
      • Warm-Ups
        • Relaxation
        • Upper-Arm Warm-Ups
      • Expressive Playing
        • Romanze – Bow Division
    • Starting a New Piece
      • Musical Intent
        • Look at the Score
        • Doing the Ironing
      • Musical Character – Sicilienne
        • Is it a Sicilienne?
      • Musical Character – Gigue
        • Is it a Gigue?
      • Rhythm – Mozart Sonatas
        • Mozart Sonatas
  • Violin Left Hand
    • The Violin & Your Body
      • Introduction
        • Introduction to The Violin & Your Body
      • Holding the Violin
        • Holding the Violin
        • Angle of Bow in Relation to Violin 1
        • Angle of Bow in Relation to Violin 2
      • Shoulder Rests
        • How to Put on a Shoulder Rest
        • Example 3
        • Example 1
        • Example 2
      • Why Use a Shoulder Rest?
        • Playing without a Shoulder Rest
        • Playing with a Shoulder Rest
      • Shifting without a Shoulder Rest
        • 3rd to 5th Position
      • Chin Rests
        • Example 1
        • Play without Head on Chin Rest
        • Example 2
      • Introduction to Warm Ups
        • Introduction to Warm Ups
      • Warm Up the Whole Body
        • Relaxation
      • Warm Up the Left Hand
        • Lizard Tongue
        • Finger Pattern – Doubling the Tempo
        • Sirens – An Exercise in Harmonics
    • Left-Hand Fundamentals
      • Introduction
        • Introduction to Left-Hand Fundamentals
      • Bring the Violin to You
        • Support Violin with Right Hand
      • Left-Thumb Placement
        • Correct Left-Thumb Placement
        • Incorrect Left-Thumb Placement
      • Arm Steering & 4th Finger Pizzicato
        • Left Wrist in Line
        • View from Scroll
        • 4th Finger Pizzicato – Single Notes
      • Arm Steering & Pre-Shifting
        • Shuttle Between High & Low
        • Shuttle without Right-Hand Support
      • Set Up Left Hand from 3rd Finger
        • Set Up Left Hand from 3rd Finger
        • A Major Scale
      • Set Up Left Hand from 4th Finger
        • Start in 4th Position
        • Start in 1st Position
      • Left-Hand Frame Exercises
        • 4th Finger Pizzicato – Add Other Fingers
        • Left-Hand Frame Exercise
      • Finger Before Bow
        • Martelé & Pizzicato
        • Finger Before Bow – Schradieck
      • Holding Fingers Down
        • A Major Scale
        • Lifting Fingers, Piano Style
      • Curved Fingers & Flatter Fingers
        • Curved Fingers and Flatter Fingers
      • Finger Patterns
        • Finger Patterns Demonstration
      • Finger Pattern Diagrams
        • Basic Finger Patterns
        • Harmonic Minor Scale Patterns
    • Finger Action
      • Introduction
        • Introduction to Finger Action
      • Base-Knuckle Action
        • Base-Knuckle Action
        • One Movement
      • Lizard Tongue
        • Preparation for Lizard Tongue
        • Lizard Tongue
      • Height of Finger Lift
        • Height of Finger Lift
        • High Lift – Open Hand
      • Balance The Hand
        • Balance The Hand
      • Horizontal Finger Action
        • Horizontal Finger Action
      • Harmonics
        • Natural Harmonics
        • Artificial Harmonics
      • Release the Pressure
        • Release Fingers to Harmonic Touch
        • Release Left Thumb
      • Trills
        • Trill Exercise
        • Demonstration of Trills
      • Trills & Turns
        • Stop Trill Early Kreutzer 22
        • Trills Followed by Turns
        • Stop Trill Early – Beethoven Romanze
      • Trills & Vibrato
        • Distinguish Trills from Vibrato
      • Left-Hand Pizzicato
        • Left-Hand Pizzicato
    • Finger Independence
      • Introduction
        • Introduction to Finger Independence
      • Table-Top Finger Exercises
        • Table-Top Finger Exercises
      • Independence Exercises
        • Independence Exercise 1
        • Independence Exercise 2
      • Tap Fingers While Bowing
        • Tap Fingers while Bowing
      • Harmonics Develop Control
        • Finger Taps with Harmonic Touch
      • Exercise After Gerle
        • Exercise after Gerle – 1st Position
        • Exercise after Gerle – 4th Position
    • Facility
      • Introduction
        • Introduction to Facility
      • Finger Patterns
        • Finger Patterns
        • Finger Patterns – Doubling the Tempo
      • Mixed Rhythms
        • Mixed Rhythms
      • Mixed Bowings
        • Mixed Bowings for Coordination
      • Use Sautillé to Develop Facility
        • Finger Patterns with Slurs & Sautillé
        • Sitt Study – Sautillé 1
        • Sitt Study – Sautillé 2
      • Finger Action at Varying Tempos
        • Holding Fingers Down
        • Lifting Fingers, Piano Style
      • Check Your Fundamentals
        • Prepare String Cross with Arm Steering
        • Finger Before Bow – Schradieck
    • Shifting
      • Introduction
        • Introduction to Shifting
      • Pre-Shifting
        • Sirens
        • Matching Harmonics – Close Up
        • Matching Harmonics – Wide
        • Take Out the Slide
      • Basic Shifting Actions with Broomstick
        • Basic Actions with Broomstick
      • 1st to 3rd Position Shifting
        • 1st to 3rd Position Shifting
        • View of Left Side
      • Release Pressure
        • Release Finger Pressure – Chromatic Scale Shifting
        • One-Finger Arpeggio
        • Thumb Under Violin Neck
        • Close Up View of Thumb Under
      • Developing the Aural Map
        • Same Note Game
        • One-String Sequence Based on Do
        • Wide Interval Leaps
      • Guide Fingers
        • Guide Fingers in Key
        • Guide Fingers in One-String Arpeggio
        • One-String Arpeggio – Close Up
      • Guide Fingers – Kreutzer Study 11
        • Shift on Old Bow Kreutzer 11
        • Guide Fingers Less Audible
      • Introduction to High-Position Shifting
        • Shifting from Low to High
        • Shift to Whole-Hand Frame
        • Turn the Corner
        • Octave Leap & Left-Arm Position
      • Thumb as Pivot; Stretches & Contractions
        • Pivot on Thumb when Descending
        • Contract the Hand up High
        • Stretch Shifting
      • Shrinking Spaces between Fingers
        • Fingers Close Together in High Positions
        • Finger Interchange
      • Diatonic Sequences
        • Octave Slides & Diatonic Sequence
        • Two-Finger Shifting Drill
      • Flesch One-String Sequence
        • Flesch One-String Sequence
        • Guide Fingers in One-String Arpeggio
        • One-String Arpeggio – Close Up
      • Yost Shifting
        • Yost Shifting with Guide Fingers
        • Yost Shifting Playthrough
      • Chromatic Sequences
        • One Finger – Chromatic Ascending
        • One Finger – Chromatic Descending
        • Two Fingers – Ascending & Descending
      • Practice Points
        • High-Position Shifts with Landing Points
        • Landing Points – Close Up
        • Use Vibrato as a Practice Technique
        • Add in Open Strings for Finger Release
    • Scales & Arpeggios
      • Introduction
        • Introduction to Scales & Arpeggios
      • One-Octave Scales
        • D Major
        • D Melodic Minor
        • D Harmonic Minor
      • Two-Octave Scales
        • G Major
        • B Melodic Minor
        • Bb Harmonic Minor
      • Three-Octave Scales
        • Bb Major
        • E Melodic Minor
        • F Melodic Minor – Sautillé
        • Ab Harmonic Minor
        • C# Harmonic Minor – Spiccato
      • 3-8ve Scale Sequence
        • 3-8ve Scale Sequence
      • Top Scale Octave
        • Top-Octave Sequence
      • Rhythm Patterns in 3-8ve Scales
        • Rhythm Patterns in 3-8ve Scales
      • Two-Octave Arpeggios
        • G Major Arpeggio
        • G Minor Arpeggio
      • Three-Octave Arpeggios
        • Three Octaves Martelé
        • 3-8ve Arpeggio Sequence
      • One-String Scales & Arpeggios
        • Flesch One-String Sequence
      • Scales in One Position
        • Building Scales in One Position
        • Scales in One Position
      • Scales in One Position – Practice 1
        • Left Hand Pizzicato
        • All the 1-4s
        • Changes in Hand Frame
      • Scales in One Position – Practice 2
        • Fingers Ready – Arm Steering
        • Changing Finger Patterns
        • Martelé & Pizzicato
      • Chromatic Scales
        • One Octave
        • Two Octaves Starting on B
        • Three Octaves Starting on C
      • How to Practise Chromatic Scales
        • Repeat the Starting Note
        • Diminished 7th for Top Octave
      • Dominant & Diminished Sevenths
        • Dominant 7th Starting on C#
        • Diminished 7th Starting on D
      • Practise Scales Descending
        • Play Scales Descending
    • Chords & Double Stops
      • Introduction
        • Introduction to Chords & Double Stops
      • Tuning Double Stops
        • Three-Way Check
        • Combination Tone
      • Shifting in Double Stops
        • 3rds in C Major – Guide fingers
        • 3rds in C Major
      • Practice for 3rds, 6ths, 8ves – 1
        • 1st & 3rd Fingers Only
        • 2nd & 4th Fingers Only
      • Practice Technique – 2
        • Bottom-Top-Top Practice on 8ves
        • Bowing variation for 3rds in G Major
      • Practice Technique – 3
        • All the Major Chords – 1 8ve
        • All the Major Chords – 2 8ves
      • Flat or Curved Fingers
        • Curved Fingers & Flatter Fingers
        • Flat or Curved Fingers
      • Thirds
        • 3rds in Bb Major
      • Fifths
        • Playing and Tuning 5ths
      • Sixths
        • Placing Fingers in 6ths
        • 6ths in Ab Major
      • Octaves
        • 8ves in C Major
      • Fingered Octaves
        • Backward Stretch
      • Tenths
        • Limited Stretch of the 4th Finger
        • Backward Stretch for 10ths
        • Broken Chord Preparation for 10ths
    • Intonation
      • Introduction
        • Introduction to Intonation
      • Tuning Notes to Open Strings
        • 3rd Finger makes Octave with Open String
        • Tuning A Major Scale to Open Strings
        • Tuning to Open Strings in Repertoire
      • Resonance
        • Resonance at Different Tempos
      • Slow Intonation Practice
        • Octave Underneath
      • Developing the Feel
        • Developing the Feel
        • Same Note Game
      • Find Double Stops in Passages
        • Find Double Stops in Passages
      • Find Central Notes
        • Core Notes & Peripheral Notes
      • Pitch in Context
        • Pitch in Context
    • Vibrato
      • Introduction
        • Introduction to Vibrato
      • Pre-Vibrato – Loosen the Body
        • Free the Upper Arm
        • Four-Way Release
      • Pre-Vibrato – Knock the Peg
        • Knock E-String Peg
        • View from Scroll
        • Knock Peg Double Stop
      • Check Vibrato Direction
        • From 4th to 1st Position
        • View from Scroll
      • Vibrate on Wood
        • Vibrate on Hand & Wood
        • Vibrate on Wood & Octaves
      • Improving Your Vibrato Action
        • Limit Upward Direction
        • Check Nail Joint
      • Developing Flexibility
        • Flexible Nail Joint
        • Harmonic Touch
      • Width & Speed
        • Changes in Width & Speed
        • Narrow & Wide – Left Hand View
        • Narrow & Wide – Bow View
      • Continuous Vibrato
        • Fingers on Two Strings
        • Baton Change
      • Impulse Vibrato
        • Impulse Vibrato
      • Support of Another Finger
        • Support 4th Finger with 3rd
      • Arm Vibrato
        • From 4th to 1st Position
        • Flexible Nail Joint
        • Free the Upper Arm
        • Arm & Hand Vibrato Combined
      • Hand Vibrato
        • Polish Violin
        • Hand Vibrato with Bow
        • Thumb Under for Hand Vibrato
    • Coordination & Practice
      • Introduction to Coordination
        • Introduction to Coordination
      • Left/Right Independence
        • Divide & Conquer
      • Finger Before Bow
        • 3-Octave Arpeggio
      • Crossing Strings
        • Ysaye Study
        • Left-Hand Strumming for Accolay
      • Place Fingers Together for Speed
        • Place Four Fingers Descending
        • Close Up View
      • Introduction to Practice
        • Introduction to Practice
      • Think Ahead for Left-Hand Clarity
        • Think One Note Ahead
        • Kreutzer 5 Playthrough
        • Kreutzer 5 with Slurs
      • Different Finger Patterns on One String
        • Major & Minor 3rds for Dominant 7th
        • Practise Complex Patterns on One String
      • Mixed Rhythms & Bowings
        • Mixed Rhythms
        • Mixed Bowings
  • Scores & Diagrams
  • Bibliography
  • Repertoire
  • Glossary

© 2023. All rights reserved Twofold Media & Fintan Murphy