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8

An up-bow doesn't have to start at the tip of the bow. It often does, but to get this bar, it can be taken off momentarily, then re-applied, still as an up-bow, for the last note, which will more often be an up, so the downbeat of the next bar can be a downbow.I wonder why the first slur looks printed, while the other two look hand written.


7

You stop the bow just like you would when changing direction and continue just like if you had changed direction: this is not supposed to sound differently from a normal note (and if you made some bowing mistake on the way here, you just resynchronize with the bowing instructions at this point). The phrases here are short enough that you won't need to reset ...


4

As is often the case with questions about bow direction, it helps to think about the musical phrasing - how would you sing this? That F# at the end is an anacrusis, a pickup note that forms part of the next phrase. It makes sense that there should be a slight pause (a "breath") between the end of one phrase and the beginning of the next. To get that ...


3

I did some research on this and found some very strong indicators that the string is indeed pressed against the fingerboard. The most convincing point is offered in this book on composing for japanese instruments. The chapter on the Kokyu starts at p.112 and likens many techniqual aspects of playing to the Shamisen, where the strings do indeed touch the ...


3

They shouldn't sound any different. They're gripped differently, which causes there to be certain tendencies, but the goal is for them to sound the same. Any skilled player should be able to play both and make them sound indistinguishable.


2

Supposing that every non-legato note is being played with a different bow, then, yes you'll have to pause for a tiny bit there. At first the pause might be slightly longer than needed, but with practice you'll be able to find the 'right amount' of pause. The reason the pause needs to be there is because if it isn't, these two notes will sound like legato ...


2

This is how I do it, product of inputs from my colleagues, teachers and my own experiences: pre-note: if the bow hair does not hold the roisin, you have either very old bow hair, or have dirty bow hair. There are products to clean it, some say plain water is the best. I use hand soap (the solid one, less chemicals the best). #1 - put tension in the bow ...


2

For an actually newly haired bow (unlikely in your case), it may help "sanding" the rosin a bit with a knife. Actual sandpaper might get a bit messy but is also possible. At any rate: you'll not be doing yourself a favor by using old rosin: after a few years it dries out and gets more dusty than sticky in its qualities, leading to a scratchy tone quality. ...


2

Honestly, I don't think it makes much of a difference by itself. On cello, the standard way to mellow down the sound is to angle the bow towards yourself – but that has the opposite effect as on violin / viola, namely that only the hairs farthest away from the bridge touch the string. The important points seem to be Few hairs on the string, no ...


1

If you've got a lot of build-up, you can use an old wine bottle cork or a (not too scratchy) scouring pad to try to dislodge some of the caked-up residue. If that doesn't work, use some denatured alcohol, but carefully - don't let it drip on the varnished surfaces of the instrument. Once it's gone, remember to give the strings a firm wipe with a soft cloth ...


1

I had the same question for my bow on my double bass. I guess the simplest answer is to try it out. Put a little rosin on your bow and play. If the bow hair does not 'stick' on the strings, it needs more; otherwise it is good to play. Put some more rosin and repeat step (1). Just be careful not to put too much rosin on the bow. If you put too much, ...



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