William Primrose's Exercises for Sound Production

[@imacelloqueen]

This is so helpful to me even though I'm a cellist. Things I took away to try: - Playing on the opposite side of the string and pushing and pulling from that side (imagining the string to be a cylinder) - "turning the doorknob" in the upper half of the bow instead of using your fingers to "pinch the sound" - hanging your arm from your opposite shoulder to feel the arm weight.

[@travismaril6523]

Glad it was helpful for you!

[@enricocarraro5024]

Great advices and great explanation. Thank you!

[@herveseignard890]

Thanks Travis... I follow your site for monthes... More now that I have to switch to viola for private reasons... Cheers

[@anna-carinofverstrom8914]

Thank you so much for taking time to share this with us. You’re instructions help a lot. I’ve been working with a too high bow arm for years and little by little it’s getting better, partly because of your videos. Anna-Carin (Sweden)

[@travismaril6523]

Wonderful, glad it was helpful!

[@herveseignard890]

Definitly, I love your instrument tone !

[@travismaril6523]

Thanks, Herve! Nice to hear from you!

[@elinorviola]

Thank you, very helpful video.

[@emmanuelvacakis4463]

That’s the basic law of string playing. It’s a fundamental concept of Starker’s organized method of string playing. You must use this law for all styles of bowing whether fast or slow.

[@layoung43]

Thank you so much

[@emmanuelvacakis4463]

I had first hand contact with Paul Rolland in the 70s. Paul Rolland and Margaret Rowell whom I studied cello with, were colleagues.

[@travismaril6523]

Very cool! Rolland has had a tremendous impact on my teaching and playing. Starker's ideas have also been helpful!

[@nellk3960]

thank you sir