bowing – Page 3
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FocusHow to play a chop groove with Casey Driessen
Fiddle player Casey Driessen offers exercises and audio examples on chop grooves to accompany his Technique article in the December 2021 issue
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Premium ❘ FeatureSpiccato and sautillé - two important bow strokes which are often confused
Making the bow come off the string is a delicate art. Rok Klopčič looks at various approaches in this investigation from May 2004
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Premium ❘ FeatureBow hold: Gripping times
From the awkward grips of the past to the relaxed approach of today, the bow hold has come a long way. Globalisation has a lot to do with it, argues John Krakenberger in this feature from February 2003
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Focus‘There’s nothing like a good bass-line!’- the role of a continuo player in Baroque music
Cellist of the CBSO Baroque Ensemble Jackie Tyler MBE shares her insights on the role of a continuo player, as well as how working with wind players and her Baroque cello set-up inform her playing
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FocusBow holds of the great violinists
How does the positioning of fingers on the bow affect sound and flexibility? Rok Klopčič examines the bow holds of leading violinists and pedagogues in this extract from October 2007
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Premium ❘ FeatureViolin Bow Hold: No holds barred
The position of the fingers on the bow can make all the difference to dynamics and tone production. Rok Klopčič examines the bow holds of leading violinists and pedagogues, in this feature from October 2007
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Premium ❘ FeatureBaroque cello playing: Going for baroque
You don’t need years of study to play Baroque cello with style and panache, argues Daniel Yeadon in this article from June 2000 - just a willingness to think differently
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FocusWalter Reiter’s exercises to improve Baroque playing
The violinist offers tips on how narrate emotions through the bow when playing Baroque music
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FocusThe rhetorical nature of Baroque music: learning to speak with the bow
Walter Reiter discusses how the rhetorical narrative in Baroque music must be reflected in how players use the bow, illustrating the parallels between spoken word and string playing
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FocusAsk the Experts: what to look for in a Baroque bow
In this article from the June 2016 issue, Strad readers submit their problems and queries about string playing, teaching or making to a panel of experts
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Focus7 bow hold insights from historical string players
The way of holding a bow is a topic of endless discussion. Here is what seven influential string players of the past had to say about it
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Focus‘A complete workout for the bow’ - violist Patricia Pollett’s study of choice
In this extract from 2012, viola professor at the University of Queensland Patricia Pollett shares why Ševčík’s op.2 no.5 allows players to focus on a variety of bowstrokes, and why it’s more difficult than it looks
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Focus‘The best medicine for string-crossing, spiccato and the right arm’ - Felix Andrievsky’s etude of choice
In this extract from September 2012, violin professor Felix Andrievsky shares how Paganini’s Caprice no.2 is an excellent tool to develop your right arm technique
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Focus5 tips from Max Grosch for improving jazz rhythm
The jazz musician shares his wisdom on ways to improve our jazz rhythm and internal sense of pulse
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ArticleMasterclass: Rock string technique
Emmy award-winning composer and electric violinist, Mark Wood, outlines some exercises to ease classically trained players into rock technique, and explains how experimenting with alternative styles can benefit your playing Taken from the July 2008 issue
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FocusHow can I play jazz bowings on the violin?
Do you sound uninspired when you try alternative styles? How should you interpret the printed notes? Julie Lyonn Lieberman reads between the lines to bring life to your right hand
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FeatureMasterclass: Jazz style and technique for violinists
Taking time to explore a tune from all angles helps the player to perform it. Jazz violinist Chris Garrick takes bebop favourite Donna Lee and works from the bottom up. Taken from the September 2007 issue
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FeatureMasterclass: Jazz bowings on the violin
Do you sound uninspired when you try alternative styles? How should you interpret the printed notes? Julie Lyonn Lieberman reads between the lines to bring life to your right hand Taken from the April 2005 issue
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FocusHow to play cantabile on the cello
Ahead of her new album release, the French-Swiss cellist Ophélie Gaillard explains how she simulates the vocal expressiveness of a melodic line on the cello