Improve this question. You have asked several good questions about violin playing, but I still urge you to get a teacher or at least have an experienced violinist talk with you.
The relationship between bow speed, bow pressure, bow angle, and position on the string is quite complicated.
CarlWitthoft thanks for the suggestion. I look into it. Add a comment. Active Oldest Votes. Improve this answer. Todd Wilcox Todd Wilcox These are: Bow speed - how fast or slowly the bow is moving Bow pressure - how much downward pressure it exerts on the string. This depends not only on how much you press down with the bow but also whereabouts on the bow it contacts the string.
Unless you actively do something to counteract this there will be much more pressure at the frog than the tip Sound point - whereabouts on the string the bow is in contact, closer to the bridge or closer to the fingerboard.
Brian Towers Brian Towers 4, 3 3 gold badges 12 12 silver badges 38 38 bronze badges. Sign up or log in Sign up using Google. Sign up using Facebook. The two basic dynamic indications are piano and forte. Within piano and forte, you will find more subtle degrees of volume.
One way to produce louder notes on the violin is to increase the pressure on the strings or the weight of the bow.
To achieve this, the index finger of the bowing hand can be used to add the pressure. When controlling dynamics by adding pressure, remember that the bow does not weigh equally on each end. That is, the tip is much lighter than the frog. When you are required to produce an even dynamic, you need to create uneven pressure to factor in the weight difference.
At the tip, you need to use flatter bow hair to allow more contact with the string. You also need to shift the additional weight into the first and second fingers from the middle and fourth fingers.
In the middle, the weight originates from the arm into the middle fingers and thumb. This means there should be no excessive tension your shoulder and your upper arm must be free. At the frog, the volume originates from the weight of the arm going towards the thumb and the third as well as fourth middle fingers. The position of the bow on the string is called the sounding point.
It is a point between the bridge and the fingerboard. To maintain a consistent, though softer, sound through less pressure, decrease your bow speed—use less bow. Using more bow for a phrase transmits more energy into the string and therefore, assuming your pressure remains constant, creates a louder dynamic. The reverse is also true: using less bow vibrates the string less intensely and will create a softer dynamic. Because the act of applying more pressure through the bow often leads to tension in the bow hand, using bow speed to create contrasting dynamics is often a better choice.
For crescendos, use gradually more bow through a passage. The answer is to move the bow faster and nearer the bridge. Some fiddles can handle a lot more pressure than others with surprisingly little bow, particulalrly nearer the bridge. Rostropovitch once told a concert master he played beautifully but with such a "little tone". To make his point he took the violin and blew everyone away playing fortissimo very near the bridge. Others tried but couldn't get the same effect.
That's why I always use the term "pressure! You also need to know how combining them in different ways gets different sound effects. Ultimately in the end they are your tools in a toolbox to create the desired effect.
I don't think that's true. If you listen to artists like Hakan Hardenberger, Maurice Andre, and Sergei Nakariakov, and Doc Severinsen there are many others of course, but just four that I personally enjoy listening to , you'll find that the trumpet is quite capable of a huge range of expression equal to that of any other instrument. My violin is one of my most reliable teacher. You'll probably never learn how to play sensitively if you have a sensitive instrument to begin with.
I'm probably going to tape that to my music stand so I can remember it. So I would look for a book or Fischer's video on tone production. Much of the violin's range comes not necessarily from decibels but from the different tonal qualities I think Buri said 'energy levels' or such that we can reach with the violin.
There are good ways you can make the most of dynamics. One way is to think carefully about the difference between crescendo and diminuendo as they relate to upbow or downbow and vice versa. Aaron Rosand likened the upbow and downbow to human breathing. You can explore this concept very effectively on open strings or VERY slow scales if open strings are too unbearably boring for you.
Also remember the wisdom of Hans van Bulow, who said "Crescendo means P. It is like you can't play piano if you can't play forte
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