Plays a cello labeled Bartolomeo Obici, 1686.










(brief excerpt)



three things work together for a great sound: weight, speed, and placement


Bow tightness

the proper hair tightness is determined when the bow is resting very firmly on the string and even with your “flowing” armweight coming from the shoulder, through the hand and fingers, to the bow, the wood still does not touch the hair


the distance from the hair to the bow is approximately the width of a pencil, possibly less depending on the firmness of the stick


Bow angle

the bow should always be perpendicular to the string for the finest sound, maximum vibrations, and most overtones


this is especially important for producing upper overtones because these give the string the nicest sound quality and are also the best ones for projecting the resulting sound


keep the bow straight, even though it will not look straight from your playing position and view from above


from the audience’s perspective, the bow will look perpendicular to each string as you play

the lower the string (ex. C string), the further out the bow should be pointed or angled


Bow motion

bowing is similar to swimming, golf, and tennis because they all require naturalness, strength, and athleticism along with smoothness, ease, circles, curves, and fluid motions


String thickness

each string has a different “hide” thickness


you must prepare for that particular “hide” before you play that string


for example, the A string can be thought of as a ferret’s “hide”, while the C string can be considered much thicker like an elephant’s “hide”


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