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Bowed Psaltery First Lesson Part 1



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okay what we're going to do is talk

about our proper way of playing the

phone sultry everybody has a little

different method this is the way we play

but I want to talk about the boat first

the proper way I feel to rosin a bow is

to take long strokes of the bow and go

from one into another as evenly as

possible okay after a while if you don't

pivot the rosin you will start to get a

group right down the middle that will

look like that so normally I pivot the

Roz a little bit as I rise in the bow to

try and keep them getting that group

down the middle also on our bows we use

real horsehair not synthetic hair I feel

you have a better sound with real

horsehair but the drawback of real

horsehair is this on a humid day or even

after a while playing it will stretch

over time so I put notches in the back

of the bow I don't know if you're able

to see that or not and what I tell

people to do if they're bowing and the

horsehair starts to feel a little loose

turn it upside down put a little

pressure on the bow like you're drawing

a bow grab his tail and then pop it to

the next leg or to the next notch on the

above if and when you would ever get

clear up to the last notch all these re

here to go for

or I'll just swap you out and give you a

new bow but pretty much that's it on how

to take care of the bow every time you

go to play we refer you to Roswell every

time you play when you first get a new

bow it will have no garage months so I

want you to pre rosin it though spend

supplementing get really rosin up well

after you get it rise and up every time

you go to play take it out and you can

go six eight ten pulling strokes I

prefer this for you not to do this I'd

like to see an even flow of Raza put on

on the bow hair now as far as how to

pull the bow we prefer you to hold it

slightly off-center not at the end I

always know why less when they walk up

through our booth because it grab a

clear back here they're used to holding

their bow by what they call the Frog but

we want you to slide your hand up and

hold it to slightly on center I want the

boat to float and balance out okay so

that's pretty much it with the bug now

proper bowing technique the way we play

is first of all hold the bow slightly

off-center and I ask people just to make

a long slow stroke

left you want to a salt-free to resonate

after you're done making a bowl length

stroke on there you can hear how still

resonating I'll wear in my shop metal

ceiling I don't prefer that but that's

where we're filming today so we'll take

it as is also we have rain outside

coming and going so you may hear some

rain hit to the metal ceiling as well so

when you start a song it doesn't matter

whether you pull the bow or you push the

boat sometimes with white fire flaming

it's the same song both playing melodies

equal in one direction I do the other

that makes no difference but the first

thing we ask you to do is make a long

slow stroke lift now go the opposite

direction

left always go the opposite direction

yes possible

what we don't want to see you do is or

here is this here and your boil all

speed up as you go you want to keep the

bow stroke the same consistent speed all

the way through that right here is

basically your normal bowing technique

now you're going to see me tilt my bow

forward as a bow this is how I play my

wife plays you don't have to do that you

can keep the boat straight up

most people go straight up it's just the

way that we do a we tweet or a bow

forward now one thing to look for you

want to be perpendicular or at a 90

degree angle to string with your bow

try not to angle the bow and bow like

this try and keep it as straight across

the string as much as possible not so

much at an angle like this okay now I

have short arms so for me to reach out

here it could be a bit of a stretch for

me so what I do is I tip the psaltery

to my left tip the tip of it in to the

right now it's easier for me to play so

you if you come up for a booth or

anywhere on stage you see me playing

it's going to be at an angle like this

goodness it's so much easier for me to

reach the four strings away

now the way I built my psalteries I use

a staggered pin spacing method you'll

notice as this pegs as the string gets

longer my hitch pin should get white

okay it's just the way I built them you

want to know why go to our documentary

on the front page of our website I

explain why I do that but I feel that

your best sound especially on these wire

ones for instance right here see was

this dot is right there we asked people

to slide down rubber against the G peg I

feel happy it has a better sound and if

you come up higher I just think it has a

softer tongue right here so on all the

days on the right hand side you want to

come down down down so for instance if I

were to run down

here is just how

I pledged above

you don't have to do that but I feel it

has a little softer tone there now by me

saying that when it comes time to cross

over to these wide ones over here on

your sharps of flats

don't do that because you're taking up

too much of the string away and you're

going to get a a buzz if you hear that

buzz there so since this is such a wide

gap here you want to move up so you're

not taking too much strength away

same thing here DBC on your flat you'll

get a buzz so you want to stay up you'll

get a softer sound a better sound also

if you're right-handed you're going to

hold the psaltery in your left hand bow

with your right all the notes on this

side of the common notes over here is

easier sharps and flats if you play a

piano I would tell you white cue the

piano black keys of the piano so the

main thing to do is just a long saw

stroke lift go back

most your songs

[Music]

we'll be

that style right there