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by Fintan Murphy

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Pulsing During Sustained Bow

Violin Bow Technique Tone Production Resonance in Whole Bows

Practise letting the bowhair sink into the string in all parts of the bow.

This will improve your tone production in slow melodic passages.

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  • 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

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