JAVS Spring 2011

Once you get this maximum movement, start to slow the speed of the bow without losing the amount of string vibration. Challenge yourself to get as slow as possible while maintaining maximum string vibration. You should feel in the slowest speeds that you are “massaging” the string. Notice the open ring of your string. It should sound full and rich, with pure pitch and lots of overtones. Make sure that you are keep ing a healthy bow arm as described above. This is your healthy sound! Notice that you are not “press ing.” Aim to make this your default sound. Final Thoughts Learning to produce a healthy sound in a natural way takes time. In order for students to reach the end goal (big sound with minimal physical effort), it is neces sary to approach the physical aspects first, while mak ing sure that the student understands what the desired sound outcome will be throughout the process. Without proper guidance, students will find their own methods to produce a big sound that are usually not

sustainable in the long term. These bad habits become more difficult to correct the longer they are left unad dressed. The elements described in this article will help ensure that the physical aspects of tone production are done in a healthy manner. With patience, attention to the way our bodies work, and an understanding of the desired sound, an acoustically and physically healthy bow arm is available to every violist.

Notes

1 David D. Boyden et al., The New Grove Violin Family (New York: W. W. Norton, 1989), 137–38.

Thanks to Alicia Keener and Louis Diez for serving as models in the photos and videos.

Hillary Herndon is the Assistant Professor of Viola at the University of Tennessee and is the founder of the annual UT Viola Celebration. She is also on the facul ties of the Round Top Festival Institute and the Sewanee Summer Music Festival.

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