INTRODUCTION
       
About his instrument the musician is able to detect very quickly if there is a problem that affects the sound or the playing comfort. He will instinctively talk about it with his luthier because he knows, it is part of his culture that something can be done.
In contrast, the relationship of the musician with his bow includes an irrational part which persuades him that everything results solely from his technique and that it is up to him to adapt to discomfort or difficulty in playing.
He spends some of his energy without realizing it to compensate for a problem ... which in many cases comes simply from his bow.


DESCRIPTION

This course is intended for musicians wishing to explore and understand the relationship between the characteristics of their bow and the sensations of playing, through the confrontation of impressions and intimate convictions with precise measurements and explanations.

OBJECTIVE

- Understand how the bow works in all its parts.
- Make the link between playing sensations and the technical characteristics specific to the bow being played.
- Being able to define their needs in terms of comfort, playing qualities and sound.
- Develop a vocabulary allowing the expression of these needs with bow makers and luthiers.
- Have new and valuable information to guide in choosing a bow.


INTERNSHIP PROGRESS

- Presentation of measurement tools.
- Description and analysis of all parts of the bow and exposition of the rules governing its operation through observation,
a tiny bit of mechanics, physics and acoustics, and above all a lot of logic and curiosity.
- Analysis of the direct link between technical data and playing qualities.
- Work on playing comfort.
- Demonstration of a bow adjustment *
- Questions / answers.

*With his new knowledge, the musician taking part in a bow adjustment will have the unique opportunity to feel each change made on the bow and thus validate and develop his analytical skills.



YOUR WORDS

"As a cellist, the terms camber, weight, point of balance, nervousness or flexibility of the bow were familiar to me without understanding their mechanical meanings.
The most striking, for me, was what is called the deflection, in other words the flexibility of the stick. I wrongly associated, power of sound and precision of attack with a rigid stick very resistant to pressure".
   F.R.

COURSES FOR MUSICIANS

UNDERSTANDING THE BOW IN ALL ITS STATES

J e a n   G R U N B E R G E R   
  A r c h e t i e r