Cello Intermediate 20: More Bow Distribution

In this video, we will discuss a slightly more advanced approach to bow distribution. To demonstrate these concepts, we are going to look at my piece Kite Flying from It's a Cello Thing, book 2 (which you can also listen to on all major streaming platforms).

Breaking the mathematical rules

When you first learn bow distribution, you are taught to organize the division of the bow mathematically based on the beats. For example, if a piece is in 3/4 time (three crotchet beats per bar), you might imagine playing each crotchet with exactly one-third of the bow.

However, as we become more advanced, we realize that we don't need a full bow for every single note, and mathematical divisions don't always serve the music.

Singing notes vs. returning bows

In the opening of Kite Flying, we have a crotchet followed by a dotted crotchet. The singing note: because that dotted crotchet is an important note that we want to sing out, I will actually use almost 2/3 of the bow just for that one note.

The return: the next three quavers are slurred together. Because they equal the exact same length as the dotted crotchet, we can simply use them to travel all the way back to the heel.

Avoiding the "swell" at the heel

Sometimes you will find yourself near the tip of the bow, and you only have one crotchet beat to get all the way back to the heel.

This requires a faster bow speed. However, if you keep 100% of your arm weight in the string while moving the bow that fast, you will create a massive, ugly "swell" in the sound. To fix this, you must do a faster, lighter bow. Imagine reducing your weight to 50%, and physically lift up your weight as you come into the heel so the note stays even.

Alternatively, if that previous note isn't actually that important, you can simply slow your bow speed down so you don't travel as far out, meaning you don't have to do a massive, fast movement to get back!

Slurring an entire bar

When you have to fit an entire bar (three crotchets) under one slur, your distribution has to change completely. You cannot use a fast, singing bow. You must consciously slow the bow down and move your contact point closer to the bridge to sustain the sound without running out of room.

As you practice, remember that bow distribution is about making conscious choices. We are thinking about colour, the sound of the note, and the direction we are going in the phrase. You might need to save bow for a quiet passage, or use a lot of bow to push through a crescendo. It is not always the same speed anymore!