Abstract
What part of the body is responsible for sound production on the cello? Is it the hand, which guides the rosined, tightened bow toward the taut string and the friction that results from their contact? Is it the arm, whose weight can increase the pressure of the bow on the string?
The answer is both, and more. The human arm does not act independently, but is rather part of a much larger network of muscles, ligaments, and tendons. Larger muscle groups are stronger than smaller ones, so it makes sense to think of using the larger parts of the body—the back and legs—to produce resonant tone on the cello. The interior parts of the body such as the respiratory system also contribute to cello playing.
To understand the need for a whole-body sense of bowing, consider two common bow-hand problems in students: (1) the “grabbing” bow-hold and (2) the raised shoulder. These inefficient techniques are potentially harmful to tone production. Frustratingly for teachers, instructions to “put your shoulder down” and “relax your hand” seldom have much effect on students, since the habits may return seconds later. Below are ideas for incorporating whole body tone production to build upon traditional pedagogy and promote healthy bowing practices.