How to practice violin slamming

Continuous bowing: playing two or more notes with one bow.

Split: one note per bow.

Wave bowing: A little expansion at the beginning, followed by a gradual reduction of the sound, like a wave bow. It relies on carefully adding a little pressure and speed at the beginning of each note, but doesn't really create an accent. There may or may not be a break between notes, but even when this bowing is played continuously, it gives the impression that there is a break between notes.

Wave bowing: A bowing style that uses one bow to play a number of wave-like divisions.

Split bowing: Short, fast strokes, characterized by a very fast start to the stroke and a slowing down at the end. Generally speaking, there is a clear break between notes, which can also be continuous in a fast string. The beginning of the tone is neither an accent nor a swell. This type of bowing can be compared to a stroke without a distinct beginning. Split bows can be used alone in phrases that require short bowing with little pitch change.

Draw bowing: Draw bowing is derived from split bowing with accents. Here the accent is made by lifting the bow from the string very quickly and striking it down suddenly and hard. It is usually played with the upper half of the bow, and most of them start with the upper bow. The first thing to do is to practice this type of bowing from the upper bow, and of course to master the type from the lower bow.

Punching: This is the most basic of all the bowings, and the benefits of this bowing for right hand technique greatly outweigh the benefits of this bowing itself. A good punch is especially helpful for split bows, and the Khorai bowing is good for both the Khorai bowing and the Lianton bowing.

The impulse bow is undoubtedly a percussive type of bowing, with a sharp accent in the nature of a sub-note at the beginning of each note, and always with a pause between bows. The accents in this type of bowing require prior pressure to prepare the bow to "bite" the string prior to the stroke, and the pressure used to "bite" the string is greater than the pressure required for the stroke itself. This pressure is applied for as long as it takes to produce the beginning accent of the sound, and then immediately reduced to the desired level. If this prior pressure is relaxed too early, there will be no accent; if it is released too late, there will be a squeaking sound. Thus the main problem in playing this bowing correctly is timing and coordination.

Khorai: The bow is placed on the string from the air, and the moment it touches the string, it gently and sharply hooks the string, while at the same time pulling out the sound clearly, and at the same time as it makes the sound it is lifted from the string ready to play the next bow. The hooking of the string is very similar to the starting of a stroke, except that the preparation time is minimized. It is like making a pizzicato motion with the bow, but instead of producing a pizzicato sound. This stroke is played using the lower half of the bow, and the length of the stroke can range from very short to relatively long. One should first practice with the shortest bow near the root of the bow and then with the rest of the bow, or even with the upper half of the bow for practicing purposes. In playing a bow as short as Khorai, only the fingers are active.

Jumping bow: In this type of bowing, the bow is dropped from the air, and after articulation the bow leaves the string again. It forms an arc of motion, and the bow and string contact is at or near the bottom of this arc. This action is composed of both horizontal and vertical motions. If the horizontal motion is emphasized more than the vertical motion, the arc is flatter, and the sound produced in this way is solid, rounder, softer, and more vowel-like in character. If the vertical action is more emphasized, the arc is narrower and deeper, and the result is a sharper, more percussive sound. The quality and strength of the sound is affected by the height at which the bow is lifted; the higher it is lifted, the louder and generally the sharper the sound.

In terms of bow length, bow-hopping can range from using a very short bow to a very wide bow. Usually the lower two-thirds are used primarily, closer to the lower part of the bow when playing slow and wide jump bows, and closer to the middle when playing fast and short jump bows, sometimes even a little above the center bow. There is a very characteristic short sharp recurve that is played entirely at the root of the bow using an almost entirely vertical motion. It is also possible to play a recurve at or near the tip of the bow, but only a vertical one. This type of bowing should only be used when this particular acoustic effect is desired. It is most often used in left-hand pizzicato phrases to play notes that cannot be pizzicato.

The general characteristic of the skipping bow is that the bow is thrown from above onto the string for each note played, and then lifted again (at least for longer runs). In short, fast jump bows. The bow is jumped up from the string by rebound, at which point the lifting action may or may not be needed anymore. In the case of the action of throwing the bow onto the string, each note requires the use of a separate power source. Thus, there is a limit to the speed beyond which it will not work. Since the bow is played from the air, the bow is known to be supported. This requires the arm and wrist to be raised a little higher (that is, the elbow is raised a little further away from the body, but care is taken not to shrug the shoulders).

The momentum of the movement comes primarily from the arm, but the fingers and hand are semi-active and semi-passive participants in the movement, and work in tandem with the vertical and horizontal movements of the hand and the vertical movements of the fingers. When needed. In order to make the bow parallel to the horse, certain adjusting movements of the fingers can be included. The faster the speed, the more the center of the movement moves from the arms to the hands and fingers.

When playing jump bow string changes, care must be taken to use an equal number of bow hairs and strings to maintain contact with the instrument, otherwise the jump bow becomes uneven. It is important to keep the bow close to the strings during the string change, because the higher the bow jumps before the string change, the greater the chance of losing control. String crossing is mainly done with the whole arm, plus the rotation of the lower forearm, with the hand and fingers taking part in the action a little.

Quick jumps: The difference between a quick jump and a normal jump is that you don't need to raise and lower the bow at each note. The jumping action relies mainly on the elasticity of the stick. It is best played near the middle of the bow, and if you want it to be slower and louder, go towards the root of the bow***. For faster and softer, go toward the tip of the bow***. Different bows have different elasticity, and different parts of the bow are chosen.

Continuous bow: Usually people call this bow method "solid bow" to distinguish it from the flying bow. This bow is a bow pull a series of short. It is a very clear tone that is sub-tonal in nature. The bow hair is always in contact with the string. In most cases it is practiced as a series of small, continuous strokes in the same direction as the bow. This can be an up bow or a down bow. Pull each bow very firmly. After each tone is drawn, relax the pressure. However, practice in this way. It is very limited in speed, as is the case when playing a punch bow. However, when experimenting with legato bowing in music you can go faster than with the punch bow, and usually you have to go faster. The legato is an individual bowing technique, and each person's approach may be different from the others.

The Flying Bow and the Flying Jumping Bow: These two bowing methods are very similar, but each has its own characteristics. From the name, it can be seen that the former is derived from the Lenton bow. The movements used are the same as in the continuous bow, except that after each tone, the pressure should be reduced. The bow is prompted to leave the string. However, the lifting action should be very slight, and the action should still be essentially horizontal, not interfering with the continued forward flow of the bow. This type of bowing is usually played with an up bow.

Flying bowing is playing a series of skipped notes with one bow. It can be played with the up bow or the down bow. However, when played with the down bow, fewer notes are played and there are fewer opportunities to use them. This type of bowing requires the bow to be lifted a little higher from the string than a freton, and because of its skipping nature, each note is played by actively throwing the bow onto the string. It is for this reason that its playing speed is very limited compared to that of the fretted bow.

The vertical movement of the fingers and the vertical movement of the hand are the two main factors in playing this style of bowing, with only a very small amount of horizontal movement mixed in. The smaller the movement, the more the movement is centered in the fingers; the larger each bow, the more the hand and even the arm are involved.

Flying bows can also be very effective at staying at one point in the bow for continuous recovery. Staying in place for continuous recovery has two advantages; it can be used to play very long phrases without interruption, and it maintains the same sounding nature throughout a bow.

When playing a flying bow, the bow can even go backwards. So much so that the bow actually goes to the tip when playing a series of up-bow hops. It's good practice to have the bow go backwards, because sometimes it's necessary to move the bow up to the higher part of the bow in actual playing as well.

Throwing: This type of bowing is based entirely on the natural elasticity of the bow. Several notes are played on the same bow, either up or down, but there is only one driving force, which is to throw the bow onto the string on the first note, and after this first driving force on the first note, to make the bow bounce on its own, in the same way as a soccer ball bounces. From this point of view, the bow throw can be called "uncontrolled" bowing, compared to the flying bow, which also utilizes the elasticity of the bow to move the bow off the string, but actually adds a separate momentum to each note through the motion of the bow itself. The bigger difference when comparing it to the Fitton bow is that when playing the Fitton bow, there is a separate action of throwing the bow onto the string for each note played.

The speed of the bow throw can be adjusted, otherwise it would have little practical value. The adjustment is achieved using different parts of the bow, and also by controlling the height at which the bow bounces. The best part to use when playing is the upper two-thirds of the bow, the closer to the tip of the bow the faster it jumps, and the farther away from the tip of the bow, the slower it jumps. The higher you jump, the slower you jump, and the lower you jump, the faster you jump. The height of the jump can be adjusted by the first power, or by an extremely slight and delicate pressure of the forefinger, which causes the bow to rebound to a certain height, thus accelerating its speed. To obtain the best elasticity, the shaft of the bow should be perfectly upright on the hairs of the bow, and not tilted.