REVERB!  ...everything sounds better with reverb. 😂  

Seriously, I LOVE IT!  I can tell you've been working on this & really shows! 🤗

I can't say much, except my personal philosophy when I think sad/mournful 🤔... one place where I want to focus on expression is in the bowing of those longest notes.  The stroke can be exaggerated, lengthened by borrowing a tiny amount time either before or after.  I can try to put some m...O...A...n into it!  It's the best place I have time to consider everything possible from the beginning of that note's bow stroke, how it can change in the middle & how I want it to feel at the end.  

I know I think about things too much, but where dance music needs to be LOUD & have a driving rhythm, a lament is like the opposite to me - most are slow airs (and YOU did not play this too loud, or driving 🥰).  There's many times I don't want the full bow weight on a string.  AND, if I'm sad, or longing/reminiscing, I'm probably not moving more than a slow walk - if too slow I might as well sit down, so I think of that in terms of tempo.  Swells of emotion seem to go hand-in-hand with anything sad.  There's a reason slow airs are played with rubato - we aren't marching or dancing anywhere.  Sadness thru music.  

I'm really glad you posted this here... I'm so grateful we can talk about bowing!  NO one plays the same (NO one teaches the same) & I always learn something from this - plus 'I' have NO WHERE ELSE to discuss this candidly with folks that have different experiences & views, from different styles of playing!  

I was feeling bad we were discussing bowing in your 'share' thread.  I didn't want to take anything away from the fact you shared your playing of 'Get Up Early'.  I did learn that tune (thank you), hope others will, too - and, btw... I have no idea why the EXACT SAME TUNE, only in Ador, is called 'The Rakes of Kildare'!!!  

It's mind-blowing how many things we have to figure out for playing the fiddle!   

I am learning, just like you! 

ABitRusty mentioned (in the 'Get Up Early' thread) seeing great Fiddlers playing mostly in the upper half of the bow - and YES, I have seen them too.  Thought about it a lot - we DO have to play in a way that's comfortable for each of us.  Think there are many variables, including: what each of us wants to sound like, size of Fiddler, length of one's arm/position it feels relaxed, how responsive/loud a fiddle is, weight/balance point & responsiveness of a bow... maybe more.  

IMHO, for rhythmic bowing used in ITM (also for dynamics & expressive, but natural articulation), there should be EQUAL (if not more) spotlight on practicing slurs & slurred string crossings.  

I'm sure many folks don't have to think about the ergonomics of bowing, but I do (maybe more prone to aches & pains, fatigue) - it can make a big difference.  String crossings at the tip takes more bow arm movement than nearer the frog... but probably only matters when playing fast. 

<a style="color: #0000ff" href="