WILL'S BOW part 6, adjusting the stick.

The stick is within a few tenths of a millimeter from its final taper. Now we go back to the bow’s curve or camber and make little adjustments here and there. We are allowing the stick to flex evenly down its length, bending fluidly according to the concept we’ve built in our discussions and musings. The curve we choose will allow for a good contact at the head and as well as at the frog, giving an evenness from head to tip. But no single curve will be right for everyone or for every instrument. The camber, density and resistance of the stick must also match the instrument’s response if the instrument’s potential is to be reached. For a really fine bow there is no limit to the time and care that should be put into this stage, it is amply repaid in the bows performance.

Although the fact is obvious, its important to understand how we are playing the violin with a band of hair, not a stick. The stick supports the hair and the relationship between the two creates a complex dynamic. Each player is most comfortable playing with the hair at a certain height and at a certain tension. But there is also the range of hair tension they will want to be able to access or work with. It’s important that the player be able to access a certain tonality or play a certain repertoire with a relaxed hair band that does not bottom out on the stick. Equally, a powerful attack and great dynamic range may be called for. The bow should be able to respond to these extremes with a turn of the button and this is possible when plenty of the stick’s power is placed in reserve. A ballet dancer exemplifies our ideal of flexibility supported by strength and resilience. As certain people are born with the gift and calling to dance, certain sticks have the gift to make an exceptional bow.