Hiya!

I've been playing the violin and viola for *years*, but I'm still dissatisfied with my basic tone. I suspect that it's mainly in my bowing... does anyone know what I might be doing wrong?

I have the Sevcik bowing exercises for the viola, but as I don't have a teacher and I don't know what's wrong in the first place, I don't really know what to do with them....

It's not excruciatingly horrible, but it's not especially nice either, and though I can make it sound a bit better with a bit of vibrato, I'd like my basic straight tone to be better...

Help?!

When you find the answer...let me know

Lots of long slow bows on open strings??

AmandaL has a great exercise of circular bowing, but I can't really describe it. It has to be demonstrated.

Is the problem definitely with you and not with your instrument?

Jane: you can show me next time I see you, OK?

I should have a serious go at lots of long bows... maybe I will set myself the task of 10 minutes long open bows on both of them each day and see if that helps....

Meercat: as certain as I can be! Both my instruments are lovely. My fiddle is about 100 years old, and while not exactly a world-beating super-violin, is a lovely instrument. It could do with a more forgiving E string, but that's it. My viola is a Gliga Gama and is just scrummy! My tone isn't awful awful on either, and better on the viola (more confidence for one thing!) but I'm certain my basic tone before vibrato, trying to play tunes etc is just not "there", or not nearly as much as I would like. (there's a recording of me playing the viola on the Forum Recordings Site - I'd like more of my notes to sound like th best sounds on there, and I'd like the best sounds to be better!)

"When you find the answer...let me know"

You know, we need to ask the VFV!

The VFV??

Sarah, one thing that can help is to make absolutely sure you're hitting the resonant spots when you play certain notes (the ones that resonate the most) like G on the D string, D on the A string, A on the D string etc. The violin has so much of its own resonance and we somehow have to find it and make it come alive.

Arm weight is another factor - as opposed to pressing down with your right first finger (or with your arm for that matter), which increases volume but doesn't actually produce a better tone.

The advice about long slow bows is very good; play very long bows producing the most beautiful sound possible - as slow as you can. It's hard! But if you can produce a nice sound at a very slow speed, you can reproduce the same at faster speeds.

Try varying where you put the bow - near the bridge for a louder, often harsher tone, nearer the fingerboard for a softer tone. Experiment till you find the best places for various passages.

Examine your bow hold: is your thumb bent, making contact with the bow with the top right hand corner of your thumb nail? Is your little finger always curved? Is there flexibility in your fingers? Does the bow feel like an extension of your hand? Do you ever get a feeling that the bow is flying? I do think you're right about it being virtually all about bowing. Vibrato can certainly enhance tone but in the end you also need to be able to get a warm, rich tone without any vibrato at all.

Just keep going, and imagine (sing) in your head the sound you want to create, as you play. Experiment with different bow pressures, with the changes coming from the weight (but not the pressure) of your arm.

Also remember that it's not a one-size fits all tone you're after, but the ability to express on the violin all the different nuances the music requires - which to reiterate, comes down to hearing in your head how you want the music to sound, and then using variations of bow speed, arm weight, and sounding points (distance from the bridge) as well exploring as the violin's natural resonance - to achieve the tone(s) you're after. It's a lifelong journey!

Violinia

Very Famous Violinist... Jane's buddy!

Thanks so much Violinia! Loads to think about there!


Yes, exactly. When I was a teenager I think I always had the vague thought that I would sound OK when I could do vibrato! But Being older and wiser (!) I now realise that vibrato is something to add to good tone, not the thing that makes the tone good.

Thanks all for the suggestions... I can see lots of open string practice is going to happen....

Can your viola teacher, using your viola and bow, and playing without undue effort, produce a really excellent sound?

If so, then it's down to you and your technique. If not, do spend some time looking at technical solutions, for example, different strings, soundpost adjustment, different bow.

I had a tonal problem with viola, it was due to not pressing the bow down hard enough...

Bar the workshop with Violinia, I haven't had a viola teacher for about 9 years! So I couldn't tell you. From the nicest of the sounds I can produce, I think it's highly unlikely it's a problem with my instruments, and from what I can recall Violinia had no problem playing on either of them. I'm as certain as I can be, under the circumstances, that it's me not them

Was it you who recorded the telemann on the viola, or was that someone else? Anyway, at the risk of upsetting you, it isn't the viola - I know because I play them all before I ever send them out.

It has to be your bowing. Sorry

Liz

Yes, the Telemann was me (played not-very-expertly! ). And I agree, Liz, so don't worry! As I said higher up, I was certain that it wasn't the viola's fault! but thanks for the independent witness to that ... so folks, don't worry about telling me to check my viola's set up OK *grin*

I need to work on my bowing! Any more ideas for things to work on will be appreciated, though having said that I think Violinia'll keep me going for a while with all those brilliant suggestions!

Actually, i thought it wasn't at all bad for the stage you are at.

Liz

OK, we have a date for Egham!

Already did, his advice is as follows...

"Study well! TRy hArder"
(VFV's own enigmatic capitalisation)

Hmmm...can't really argue can you

hey thanks


Cool!


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