Course Syllabus
Introduction: A Musician's Journey to Dounis
In this lesson, Daniel Philips introduces us to Dounis's ideas, beginning with how to move the bow in an arc rather than a straight line.
A Different Way of Thinking of the Bow Hold
The bow should not hinder our ability to express ourselves. This is the aim of a good bow hold, and Phillips shows us a simple way to find one.
Power from Pronation
Phillips urges us not to confuse pronation with raising the arm or shoulder. He goes on to illustrate a simple way to find a natural movement of the bow from frog to tip.
The Brush Stroke
It is easy to assume that a fuller tone requires power from the fingers, but Phillips explains in this lesson how the opposite is more accurate. He also describes the difference between active and passive strokes.
Arm Levels and Bow Weight
When we play a drum, the arm is suspended above the contact point. For this lesson, Phillips explains how this concept translates to the violin, and why bowing levels are important.
(More Principles Coming Soon)
For his upcoming series on the left hand, Phillips discusses the joints the fingers should actually move from, how to find a comfortable hand setup, and how to just about guarantee proper intonation on a wide shift, among much more.
Click here to download the course workbook PDF and see the full syllabus →