Why I Think ‘Horizontal’

A few days ago I referred to the importance of thinking about moving the bow horizontally – as opposed to vertically when playing strong chords. And I had a gal write in asking for a little clarification on the matter.

So here goes.

By ‘horizontal’ I’m really speaking of the outward and inward movement of the bow. Some players have a tendency to ‘crunch’ triple and quadruple stops because they either hit the strings vertically from above or put too much pressure on the strings prior to beginning the outward stroke.

And, as I said in the last newsletter, this is often accompanied by totally unconscious up and down body movements that amplify the crunching effect.

Yet my horizontal thinking does not stop with chords.

Let’s say you’re alternating between two strings using separate bows – very common in music of the baroque. Now, there is a tendency for players to want to make circular movements with bow in these kinds of passages. One half of the circle is on the down-bow, and the other half on the up-bow.

It would seem to make sense.

I myself, however, do not EVER think that way. I think only of the horizontal movement of the bow; out on one note, in on the other. I want the shape made by the bow passing through space to be as flat as possible as it alternates between the strings.

If anything, the result will be an elongated oval.

The specific reason for my thinking this way is tone, though I also feel there is a benefit to one’s control as well.

Tone is ALWAYS about moving the bow horizontally – well, almost always. There are those rare situations where you really do want a percussive effect, and in that case a vertical strike may indeed be called for. Yet this is the exception that proves the rule, in my opinion.

Once you are clear on this simple concept your playing becomes cleaner and more focused, your sound more ringing.

Now, if you’d like a couple great pieces of repertoire to explore this in detail, you need go no further than my ‘Bach and Kreisler for Violin Artistry’ course.

In the instructional DVDs I take you bar by bar through both pieces, providing ample opportunity to watch me do exactly what I’m preaching, both slowly and at tempo.

All the best, Clayton Haslop

P.S. I also find Kreutzer #30 a great, great study for understanding the importance of horizontal thinking. It is in volume 3 of my Kreutzer for Violin Mastery course, and is a natural companion to ‘Bach and