Violin Bow Hold: No holds barred

Traditionally, Carl Flesch’s classification of three main bow holds in his book The Art of Violin Playing has dominated discussions about the ideal position of the right hand. I believe that these classifications focus on matters of relatively minor significance. Instead, here I will look at the element of bow hold I consider the most important: the position of the fingers in relation to that of the thumb.

Consider the thumb, fixed at the end of the frog, as the centre of all bow holds. Then, the crucial aspect to examine is the variation in the distance of the four fingers from this centre in the technique of different players. Without moving the thumb, the rest of the hand can glide up or down the stick, towards or away from the point of the bow. Every tiny change in the distance of the fingers from the thumb influences the entire technique of the right hand and can change the quality of the tone produced. It is therefore worth investigating the different ways in which this aspect of bow hold has been approached by various artists, and which techniques have been recommended by different teachers. Looking at the possibilities and the players who used them can help us reach a better understanding of the options and their varied effects.