That was helpful. Maintaining straight bowing when string crossing is my biggest practice at the moment, especially the D to G where it's a down bow on D followed by an up bow on G. Not sure why that specific movement is harder than the rest.
Not to bore anyone..... but I just discovered something interesting when doing the 'flex finger' on the up and down bow which I've been trying to master for a while. First I set the metronome to 50 to avoid 'running away' tempo-wise, then I use my web cam and computer screen as I always do when practicing straight bowing, much better than a mirror and allows recording of technique. And now I notice that the straight bowing is more accurate and 'intuitive' when flexing the fingers compared to when I don't flex them. Especially the G to D crossing on both bow directions. I devised a practice routine for the flex fingers with string crossings. G to D for 2 min. D to A for 2, etc. etc. and watching for straight bowing in all combos which is more critical for me than just clean crossings. So thanks Lauren that was an unexpected benefit.
At 8:52, as I was scrutinizing your bow hand, I noticed that actually you seem to be using more wrist flex than the previously demonstrated finger flex. There's a bit of finger, but not as much as you showed? Regardless, this exercise is VERY helpful.
I am more interested in playing classical (easy stuff,anyway) but that finger movement when going to up bow looks helpful. is it applicable to both fiddle and classical or other genres? thanks for the lessons.
That was helpful. Maintaining straight bowing when string crossing is my biggest practice at the moment, especially the D to G where it's a down bow on D followed by an up bow on G. Not sure why that specific movement is harder than the rest.
Not to bore anyone..... but I just discovered something interesting when doing the 'flex finger' on the up and down bow which I've been trying to master for a while. First I set the metronome to 50 to avoid 'running away' tempo-wise, then
I use my web cam and computer screen as I always do when practicing straight bowing, much better than a mirror and allows recording of technique. And now I notice that the straight bowing is more accurate and 'intuitive' when flexing the fingers compared to when I don't flex them. Especially the G to D crossing on both bow directions. I devised a practice routine for the flex fingers with string crossings. G to D for 2 min. D to A for 2, etc. etc. and watching for straight bowing in all combos which is more critical for me than just clean crossings. So thanks Lauren that was an unexpected benefit.
Excelente, gracias por compartir valiosa información ☺️ 👍🏻
At 8:52, as I was scrutinizing your bow hand, I noticed that actually you seem to be using more wrist flex than the previously demonstrated finger flex. There's a bit of finger, but not as much as you showed? Regardless, this exercise is VERY helpful.
I am more interested in playing classical (easy stuff,anyway) but that finger movement when going to up bow looks helpful. is it applicable to both fiddle and classical or other genres? thanks for the lessons.
Hi there! The tips I give here are applicable to both fiddle & classical styles.
Does the same finger extending rule apply for string crossing from G to D as it does from D to A strings?
Yes, it does. The difference is you will need to raise your right elbow in order to access those lower strings.