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Contact Point Choices: Fingerboard-to-Bridge Placement for Tone and Response

Capítulo 4

Estimated reading time: 8 minutes

Why Contact Point Matters: Tone, Response, and “Bow Resistance”

The contact point is where the bow hair touches the string between the fingerboard and the bridge. Moving that point changes how the string vibrates, which changes tone color, volume potential, and how much the string “pushes back” against the bow (often felt as resistance). Think of contact point as choosing a lane on a three-lane road: each lane has a different feel and sound, even if your bow speed and weight stay the same.

(1) Mapping the Sounding Points: Three Lanes

Lane A: Near the Fingerboard (Flute Lane)

Sound: softer, rounder, more diffuse; can become airy if too far over the fingerboard.
Response: speaks easily at light dynamics, but may lack core at louder dynamics.
Feel (resistance): lower resistance; the string feels “slipperier,” as if it offers less grip.
Best uses: gentle pianissimo, warm color, blending, reducing edge.

Lane B: Middle Lane (Balanced Lane)

Sound: clear, centered, reliable; good mix of warmth and focus.
Response: consistent start to the note with a wide dynamic range.
Feel (resistance): moderate resistance; predictable grip without feeling stuck.
Best uses: most everyday playing, learning consistent tone, many string crossings.

Lane C: Near the Bridge (Core/Projection Lane)

Sound: focused, bright, projecting; can become harsh or scratchy if overdone.
Response: powerful when coordinated well; demands more precision.
Feel (resistance): higher resistance; the string feels “stiffer,” and the bow must manage that grip.
Best uses: forte, accents, brilliance, carrying sound in a hall.

Key idea: As you move toward the bridge, the string generally offers more resistance and can support a more concentrated, projecting sound. As you move toward the fingerboard, resistance decreases and the sound tends to soften and spread.

Guided Experiment A: “One Variable” Contact-Point Scan (Open Strings)

This experiment builds awareness by changing only contact point while keeping bow speed and weight as consistent as possible.

Choose one string (start with D or A).
Set a steady bow speed: use a slow, even stroke (about 4 seconds per bow) in the middle of the bow.
Use a moderate, comfortable weight (not pressed, not feather-light).
Start in Lane B (middle lane). Play one full down-bow and one full up-bow.
Move the contact point a small increment (about 2–3 mm) toward the fingerboard. Repeat two bows.
Continue moving in small increments until you are clearly in Lane A. Notice when the sound starts to lose core or become airy.
Return to Lane B, then repeat the scan in small increments toward the bridge into Lane C. Notice when the sound becomes edgy or the bow feels “stuck.”

What to listen/feel for:

Where does the note start most cleanly?
Where does the sound feel most “centered” (clear pitch, steady ring)?
Where does the bow feel easiest to pull? Where does it feel like it grabs?

(2) Selecting a Default Contact Point for Beginners

A practical default is Lane B: the middle lane, usually around the space between the end of the fingerboard and the bridge, not too close to either. This location tends to give:

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Reliable speaking (clean starts without special effort)
Stable tone across different strings
Forgiveness during string crossings and bow-direction changes

Simple setup cue: Place the bow roughly halfway between the bridge and the end of the fingerboard. If you are unsure, choose slightly closer to the fingerboard rather than too close to the bridge, then refine by ear.

Guided Experiment B: Find Your “Home Lane” on Each String

On each open string (G, D, A, E), play four slow bows in Lane B.
Without changing speed, move slightly toward the bridge and play two bows. Then move slightly toward the fingerboard and play two bows.
Choose the spot that gives the cleanest start and the most stable ring at your comfortable dynamic. Mark it mentally as your home lane for that string.

Note: Your home lane may differ slightly by string. Many players naturally play a touch closer to the bridge on lower strings for clarity, and a touch farther from the bridge on the E string to avoid harshness—your ear decides.

(3) Adjusting Contact Point for Common Problems

Problem: The string “speaks late” (delayed start)

What it often feels like: you begin the bow, but the sound blooms late or cracks in after a moment.

Contact-point adjustment:

Move slightly toward the bridge (a few millimeters) to increase resistance and grip.

Step-by-step fix (open string):

Start in Lane B and play a slow bow.
If the start is late, reset and move 2–3 mm toward the bridge.
Repeat with the same speed. Aim for a clean start without forcing.
If it improves, stop there; if it becomes scratchy, you went too far—return slightly toward Lane B.

Problem: The sound is airy or unfocused

What it often sounds like: a whispery tone with weak core, especially at moderate volume.

Contact-point adjustment:

Move toward the bridge until the tone gains a clear center.

Step-by-step fix (open string):

Play in Lane A (near fingerboard) on purpose and notice the airy edge.
Move back toward Lane B in small increments, repeating one bow each time.
Stop when the pitch feels stable and the sound “locks in.” That is your corrective direction for airiness.

Problem: The sound feels scratchy or gritty

What it often feels like: too much resistance; the bow seems to catch, especially at the start of the note.

Contact-point adjustment:

Move slightly toward the fingerboard to reduce resistance and soften the edge.

Step-by-step fix (open string):

Start near the bridge (Lane C) and play a slow bow; notice the increased resistance.
Move 2–3 mm toward the fingerboard and repeat with the same speed.
Continue until the scratchiness reduces but the tone still has core.
If the sound becomes airy, you moved too far—return slightly toward the bridge.

Quick Diagnostic Table

Symptom	Likely contact-point issue	Try moving	What should improve
Late speaking / delayed start	Too far toward fingerboard (not enough resistance)	Toward bridge (small steps)	Cleaner starts, more grip
Airy / unfocused tone	Too far toward fingerboard for your speed/weight	Toward bridge	More core, clearer pitch center
Scratchy / gritty	Too close to bridge for your speed/weight	Toward fingerboard	Smoother surface, less bite

Guided Experiment C: “Three-Note Check” for Fast Self-Correction

Use this mini-routine anytime you notice a problem.

Play three short bows on an open string (middle of the bow), staying in one contact point.
If the sound is not what you want, move the contact point one small step (2–3 mm) in the corrective direction.
Play three more short bows and compare.
Repeat once more if needed, then stop and memorize the better spot.

(4) Contact Point with String Crossings and Bow Direction

String Crossings: Keep the Lane Consistent Across Strings

During string crossings, many players unintentionally drift contact point: for example, the bow creeps toward the fingerboard on one string and toward the bridge on the next. That creates sudden tone changes and inconsistent resistance.

Practical goal: maintain the same “lane” (A, B, or C) as you cross strings, unless you intentionally want a color change.

Guided Experiment D: Lane Consistency on Two Strings

Choose D and A strings.
Set contact point in Lane B on the D string and play two slow bows.
Cross to A and immediately match the same lane (same distance from bridge) and play two slow bows.
Alternate D–A–D–A, listening for equal clarity and similar resistance.

Self-check: If one string suddenly sounds thinner or harsher, you likely changed lanes without noticing. Adjust contact point before changing anything else.

Bow Direction Changes: Contact Point Can Drift at the Turnaround

At the moment you reverse bow direction, the hand may subtly pull the bow closer to the fingerboard or push it toward the bridge. That drift can cause:

a small crunch at the start of the new bow (often too close to bridge)
a weak restart or airy beginning (often too close to fingerboard)

Guided Experiment E: “Turnaround Watch” on Open Strings

Choose one string and set Lane B.
Play very slow bows, focusing on the instant of direction change.
After each turnaround, ask: Did my contact point stay in the same lane?
If it drifted, correct it on the next bow by placing the hair back in the lane before moving.

Tip: Make the correction visually at first (using the bridge as a reference), then gradually rely more on the feel of resistance and the sound’s core.

Micro-Increment Practice: Building a “Contact Point Map” in Your Ear and Hand

To develop reliable control, practice moving contact point in tiny, deliberate steps while keeping speed and weight steady. This trains you to recognize the boundary between warm/airy and focused/scratchy.

Routine (per string, 2–3 minutes): 1) 2 bows in Lane B (baseline) 2) 1 bow slightly toward fingerboard 3) 1 bow back to baseline 4) 1 bow slightly toward bridge 5) 1 bow back to baseline Repeat, making the “slightly” even smaller each cycle.

What you are training: not just finding one good spot, but learning how little you need to move to fix a sound problem in real time.

Now answer the exercise about the content:

A beginner notices that notes start late and seem to “bloom” after the bow begins moving. What contact-point change is most likely to improve the start without changing bow speed or weight?

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A delayed start often means the bow is too far toward the fingerboard with not enough resistance. Moving a few millimeters toward the bridge increases grip and helps the note speak more cleanly without forcing.