Exploring various soundpoints with relatively fast bow strokes - using Rode’s Caprice no. 6 as a vessel!
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The bow hand I feel needs to undergo consistence maintenance, especially as it is easy for the bow hand to succumb and play along the line of least resistance (sliding towards the fingerboard as the string is sloped downwards in the direction towards the top nut). Hence, here is a bit of maintenance work.
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Besides monitoring the bow’s course of direction, I’m trying to kinesthetically attune myself to the specific needs of each string and each soundpoint: each string has a favorite soundpoint for a characteristic sound with good quality, and each soundpoint has an ideal ratio between bow weight and bow speed (and therefore bow length). Generally, putting in efforts to play with full hair has large benefits as well. Like intonation, tone production is explorative work (for the most part).
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This particular caprice helps with intonation as well. With each particular scale, giving relatively more focus on the tonic, mediant, subdominant, dominant, and subtonic (leading tone) helps center one’s attention on the inherent beauty of a simple scale.
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