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(2 votes) 
As far as I can hear, keep up the pressure. One thing, your grip, if you can get use to a more conventional grip it's easier to increade pressure on the bow. The bow will be right up against your second knuckle on your index finger and just a slight turn of the wrist increases pressure on the hairs.
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Great analysis Barry.
I definitely hear the difference. I also noticed that you become kind of stiff when you apply more pressure. It sounds more solid and into the string so to speak but I worry that you will develop problems.
Now that you are beginning to apply more pressure you might as well learn to do it while staying relaxed at the same time.
To achieve the pressure turn your hand counter clockwise into the strings while staying relaxed in your hand if possible. The pressure should come from the thumb and first finger on your right hand.
This is a good discovery for you. Will make your playing more interesting.
Try playing the same piece with a crescendo on the first bar diminuendo on the second (can give an accent on the 2nd bar F#) then crescendo on the 3rd more this time and dim on the 4rth. I think you'll feel it once you try it. Your idea of phrasing might be slightly different from mine but the idea is that you can make it more interesting by phrasing up and down at the appropriate places. Exaggerate dynamics for a greater effect and for practice.
You're sounding great, thanks for the post.
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what is that called your playing? i want to learn it.
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VERY stinkin cool Barry!
As an untrained viewer I could attest to seeing the same thing FM points out; a bit more rigid bowing when you apply more pressure, but it sounds a little fuller for some reason.
Is that the "Swallowtail Jig" you showed us all a couple of months ago?
Very nice fiddlin!
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Quick question. Could the wispiness be due to the rosin not grabbing the string because it's not being grippy enough for his light-handed bowing style? I know before I would theoretically go towards using a bow stroke that may cause me to tense up, I might investigate a grippier rosin, and see if the added tack allowed it to pull the string better, without compromising the smoothness of other strokes.
I noticed that when I went from cheap rosin to Magic Rosin, my bow pressure decreased noticeably and my bowing smoothed out a great deal. I didn't fight the bow so much as work with it. It took very little effort to get into the string, which was nice because instead of grinding in a passage that was supposed to be more fluid, it was indeed more fluid. Well, as fluid as I could play it anyway.
The bowhair is something else to consider as well, as the hair on less expensive bows isn't as good a grade of hair as the hair might be on a more expensive bow. Some hair just holds the rosin more evenly, and may work with your stroke better. I know a lot of violinists will try a lot of bows to find the one that works best not only with them, but also with their instrument. And some have a several bows for an individual violin for different styles of music.
Just my (un)educated observations. If you feel more fluid in your style without having to attack the string, and you have a good dynamic control with your style of playing, maybe experimenting with the type of tools you're using could be in order.
Your thoughts Pierre?
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