 HOW TO CHOOSE A BOW
Every bow sounds different on the same instrument. Choosing a bow that allows you to play better and sounds better requires knowledge and judgment. This article is meant as a guide for you to choose the right bow for yourself.
- Performance setting Different bows may be suitable for orchestral playing, chamber music, practicing (lighter in weight to conserve energy), recitals or performing concerti with orchestra. - Music style Baroque music is more easily played with a baroque type of bow which has lack of curve, making vigorous detaché bowing easier. For early classical (e.g. Mozart, Schubert, Beethoven), older modern type bows are lighter and has less curve at the head allow you to perform with greater ease and grace. Bows from modern makers such Voirin and Sartory are capable of flying staccato and other brilliant effects, typical of Paganini or Wieniawski-type music. - Investment Fine bows by renowned bowmakers are excellent investments. For example, fine old French bows have outpaced the stock market and risen in price faster than violins. The sound of the bow is determined by the acoustical properties of the wood. Your ideal bow should resonate to produce overtones which enhance the sound of your particular instrument. You should also feel comfortable with the bow when performing all the required bowings and be able to artistically shape the sound with it. The bow must respond well throughout its entire length. In particular, three things determine the feel of a bow: weight, balance and strength or resistance of the stick. Normal balance is from 6.5 inches to 7.5 inches from the front of the frog when the frog is all the way forward (16.5 to 19 cm). As the balance moves out toward the head, the bow will feel heavier, and vice versa. You should not depart too far from what you are accustomed to using. If you have been using a medium weight bow with normal balance, you will probable be uncomfortable with a heavier bow, or one that is top-heavy in balance. A top-heavy bow may be easier for certain bowings, especially bouncing ones such as sautille, but will be tiring after some time. The sound is not essentially determined by the weight of the bow. A strong stick is one that produces a large sound with little effort and is not necessarily stiff. Weight and balance can be manipulated by adding weight to the head or the frog, such as replacing the ivory tip with silver or gold. Strength of the stick can be adjusted only if it is not curved fully down to the hair, by adding that curve; or if it is warped to the wrong side, by straightening it. A stick that feels like a “club” should not be considered. When trying out bows, these are the recommended guidelines: - Play short passages It will be difficult to tell the differences between the sounds of the trial bows when we get accustomed to the sound of any particular bow. Concentration should be on the quality of the bow. Pick very simple short passages and also try open strings. - Try different tone gradations A bow should be capable of all shades from pianissimo to fortissimo. - Try only two to three bows at a time This will prevent confusion and lets you narrow your choice to one or two bows quickly. Modern bows are bows made by living or recently deceased makers. They are priced according to the reputation of the maker, which comes from the success his/her bows have had with players. This does not imply that every bow will play equally well, but does indicate a certain level of workmanship and the materials used. Pernambuco is the wood of choice of fine makers, and brazilwood is an inferior substitute. Frogs are typically made of ebony with silver mountings. Those made of ivory or tortoiseshell with gold mountings are usually doubly expensive, as the wood used are usually also the finest. Fancy inlay or jewels only add their own value to a bow, though they may appeal to collectors. Antique Bows Antique bows are those made one hundred years ago or more by known makers, and have considerable value. Their value is many times more expensive than modern bows, which does not necessarily indicate better performance, but as a work of art. Bows do improve and mellow with age and use. However, new bows made with old wood, or even some with new wood, can sometimes produce a sound equal or better than some old bows. Since the acoustical properties of a bow cannot be altered, a bad bow will always remain bad. But a good bow with a great sound will develop to its full potential rather quickly if played regularly, probably within ten years or less. French bows are legendary, represented by makers such as Tourte, Peccatte and Voirin, whose models are by which all bows are judged. They are the most expensive, being much sought after. A French bow always costs more than a German or English bow of equivalent quality. Hence, getting a German or English bow will give the most playing value for money. Bow Trading Finally, the price of a bow is determined by supply and demand in the market. Bow trading is very active, with an increasing demand meeting a diminishing supply. Furthermore, bows are fragile and the rate of attrition is high. An authentic bow of established value can be traded in for a bow of equal or greater value, minus any necessary repairs. Without comprehensive knowledge, the only way to buy a bow is from a reputable maker, dealer or expert. Article is adapted from William Salchow. |
