>> So you know about the three variables
in sound production.
Bow speed, bow pressure, and sounding
So now we're going to talk about how to
change them in combinations and
when you would want to do that.
One very useful combination is to move the
bow closer to the bridge and
slower, and with more pressure.
And that would be to conserve the bow when
you still wanna produce sound.
A note like that I can hold for
quite a long time whereas if I stayed out
away from the bridge.
I'm limited by how much pressure I
can put on the string.
So by coming in, I can maintain pressure
and move the bow slower.
The variables work together that way.
So that's one great
combination to get, to get used to.
Remember that when you're doing that, the
tilt of the bow can help you.
So with the stick tilted away from you,
that naturally is going to coax the bow in
toward the bridge.
Now the combination is the exact opposite,
moving further away from the ridge, faster
bow and less pressure.
That's something you might do when you're
trying to maintain interest,
even while you're innuendoing.
So if I have a note that's getting softer,
this might sound kind of boring.
The note's getting softer
because I've decreased the pressure and
a little bit the bow speed.
But the sound quality is remaining the
same and so it's,
it's not as interesting as it could be.
if I do the exact
opposite of my first
The trick with these combinations is doing
Moving away from the bridge and at the
same time decreasing the pressure,
increasing the speed.
Now you'll know that you're mistiming it
if you hear one of two sounds.
Means that you're either too close to
the bridge, too fast a bow, or not enough
It could be any one or a combination of
A crunch or a change down in the pitch,
that sort of sickly sound.
That means that you're either too far away
from the bridge, too slow a bow, or
too much pressure.
So when you do all those three things in
then you actually get the change you're
Let's look at another combination
which is to move the bow closer to the
bridge with more pressure.
But this time instead of a slow bow to
conserve the sound.
We want to speed the bow up and
that would be useful, for example, in an
where you really want to highlight that
If you time it right,
then you'll get a great sound right
on that top note and it'll really pop out.
If you were to do that with a slower bow,
it would be a different kind of shift.
But that would be appropriate for
a different kind of passage, one where you
are not hoping
to really pop the top note out, but just
ease into it.
Let's talk about one more, where you need
to accent a note,
for example, for a forzando or a forte
But then, rather than just having the note
taper and die,
you still need to maintain a baseline of
To get the string to speak,
you need to be a certain distance from the
It doesn't work to have it right near the
[NOISE] That gives it a very harsh
even worse could be [NOISE] really
So you get the string to speak slightly
away from the bridge, and then immediately
move it closer, slower, more pressure, as
we did in the very first combination.
Remember that, when you're doing that on
the G string, you may have to start quite
away on the bridge to get that string
For example, in the Sibelius concerto.
It won't work to try and
catch the string right near the bridge,
once you've caught it, you can, then you
can move in close.
So, when you send me a video of changing
these three variables,
I'd like you to demonstrate these
One, simply a long, fairly loud note where
you're able to conserve
the bow by moving it in closer to the
bridge, slower with pressure.
Then, show me an interesting diminuendo
that you do by starting close to
the bridge then moving further away with a
I'd also like you to show me an exciting
Where you speed the bow up
with pressure into the bridge.
And then, I'd like you to show me a quick
Followed by a quieter sound,
that you can serve by quickly moving in
toward the bridge, with a slow bow.