String Crossings and Level Changes Without Losing the Bow Lane

1) Elbow Height Map for Each String (and Why Shoulder Lifting Creates Instability)

Clean string crossings are mostly an arm-level change problem, not a wrist “flick” problem. Think of each string as having its own comfortable elbow height (a lane). Your job is to switch lanes smoothly while keeping the bow traveling straight.

Elbow “map” (typical starting reference)

• G string: elbow is lowest; forearm feels more “under” the violin.
• D string: elbow slightly higher than G; forearm angle opens a bit.
• A string: elbow higher again; forearm more level with the floor.
• E string: elbow highest; forearm feels more “on top” of the instrument.

These are not fixed measurements; they depend on your arm length, violin setup, and bowing area. What matters is that each string has a repeatable level where the bow naturally sits on that string without twisting your wrist or collapsing your hand.

Why lifting the shoulder causes bumps

When you “reach” for a higher string by lifting the shoulder, three common problems appear:

• Unstable bow lane: the shoulder is a large joint; small changes create big shifts, so the bow drifts and the crossing becomes noisy.
• Extra vertical motion: the bow travels in an arc up/down instead of a controlled level change, creating a thump at the moment of contact.
• Tension chain: shoulder tension spreads into the upper arm and hand, making the bow less responsive.

Instead, aim for a feeling of shoulders wide and quiet, with the elbow and forearm doing most of the level change. The shoulder joint still participates, but it should not be the “driver.”

Quick self-check

• Can you switch from D to A without your collarbone area tightening?
• Does your bow stay on the same straight track while the arm level changes?
• Do you feel the change mostly as an elbow/forearm adjustment rather than a shrug?

2) Keeping the Bow’s Contact Point Steady During Crossings

During a crossing, the bow should change strings while staying in the same contact-point neighborhood (same distance from the bridge) and maintaining the same general bow lane. The most common crossing problem is not the crossing itself, but the bow drifting toward the fingerboard or bridge as the arm level changes.

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The “two things move, one thing stays” idea

• Moves: elbow height (string level) and the bow’s slight tilt (hair angle) as needed.
• Stays: the bow’s contact point and straight travel direction.

Step-by-step: contact-point anchor drill (open strings)

1. Choose a reference lane: pick D string and place the bow where you want it (your normal tone area).
2. Freeze the lane visually: use the f-hole/bridge area as a visual reference so you can see if you drift.
3. Play 4 slow strokes on D (any comfortable length) and watch that the bow stays in the same lane.
4. Without changing bow direction, cross to A and continue the stroke. The goal is that the bow arrives on A at the same contact-point distance from the bridge as it was on D.
5. Repeat A back to D on the next stroke.

Attention cue: “Same lane, new level.” If the sound changes suddenly or you see the bow slide toward the fingerboard/bridge, reduce the size of the level change and make it slower.

Common causes of contact-point drift (and fixes)

3) Preparing the Next String in Advance (Micro-Tilt + Anticipatory Elbow Motion)

Crossings feel bumpy when the string change happens as a last-second event. Smooth crossings happen when the next string is prepared before you arrive there. Preparation has two main tools: a tiny bow tilt and an early elbow motion.

Micro-tilt of the bow (hair angle) to “invite” the next string

A micro-tilt means a very small change in how the bow hair meets the string so the bow can transition without catching. This is not a big roll of the stick; it is subtle, and it should not disturb the straight travel of the bow.

• Crossing to a higher string (e.g., D→A): prepare by slightly orienting the bow so it can settle onto the higher string without a drop.
• Crossing to a lower string (e.g., A→D): prepare so the bow can settle down without a “fall.”

Attention cue: “Tilt is tiny; elbow does the level.”

Anticipatory elbow motion: move early, arrive quietly

Instead of changing elbow height exactly at the crossing, begin the elbow’s travel during the previous part of the stroke. The elbow arrives at the new level just before the bow touches the next string, so the contact feels like a gentle transfer rather than a jump.

Step-by-step: “early elbow” crossing drill

1. Start on D string with a slow down-bow.
2. In the last third of the stroke, begin moving the elbow toward the A-string level while still sounding D.
3. At the very end of the stroke, allow the bow to transfer to A with almost no extra vertical motion.
4. Reverse on the up-bow (A→D) using the same idea: begin lowering the elbow early.

Attention cues:

• “Elbow travels during the note, not between notes.”
• “No hop—just a change of floor.”

Diagnose bumps by where they occur

• Bump right at the crossing: elbow change is late; start earlier.
• Two bumps (one before, one at crossing): you are moving elbow and then also hopping; reduce the second motion.
• Pitch squeak or double-stop sound: you are touching both strings too long; make the level change cleaner and smaller.

4) Combining Crossings with Bow Distribution (Where Crossings Feel Easiest)

Crossings are affected by where you are in the bow because your arm geometry changes. Some players find crossings easiest near the middle; others feel more control near the frog. The goal is to be able to cross cleanly anywhere, but you should practice strategically.

General tendencies (use as a guide, not a rule)

• Near the middle: often the most neutral; elbow changes can be small and balanced.
• Near the frog: the arm is more bent; crossings can feel “tight” if the elbow is pinned. Keep the elbow free and avoid pushing from the shoulder.
• Near the tip: the arm is more extended; crossings can feel “wide.” Anticipatory elbow motion becomes especially important so you do not reach suddenly.

Step-by-step: same crossing, different bow locations

1. Pick one crossing pair (D↔A is ideal).
2. Practice 8 crossings near the middle using short strokes (about 5–8 cm).
3. Move the same drill to the frog area (still short strokes). Keep the shoulder quiet; let the elbow float.
4. Move the same drill to the tip area. Start even shorter if needed, and begin the elbow preparation earlier.

Attention cue: “Same sound goal; adjust timing of elbow preparation.”

Progressive Patterns: From Adjacent-String Oscillations to Simple Rhythms

Work in a progression that keeps the task simple: first stabilize the level change on open strings, then add rhythm patterns that test coordination without adding left-hand complexity.

Stage 1: Adjacent-string oscillations (open strings)

Use short strokes and keep the motion economical. Start with D↔A, then A↔E, then G↔D.

Pattern 1 (even):  D A D A D A D A  (repeat) 

• Bow amount: very small (5–8 cm) at first.
• Where: start at middle.
• Attention cues: “Elbow levels switch; hand stays organized.” “No vertical bounce.”

Stage 2: Add simple rhythm patterns (still open strings)

Rhythm changes reveal whether you are preparing early enough. Keep the crossing smooth even when the note lengths change.

Pattern 2 (long-short):  D(2) A(1) D(2) A(1) ...  (counts in parentheses)

Pattern 3 (short-long):  D(1) A(2) D(1) A(2) ...

Pattern 4 (four shorts then two longs):  D D D D  A-- A--  (repeat)

• Attention cue: “Prepare the elbow during the long note so the short note lands cleanly.”
• Minimize extra motion: if the rhythm gets choppy, reduce bow length and slow down.

Stage 3: Crossing placement within the stroke (middle vs frog vs tip)

Now decide where in the bow the crossing happens. This trains you to keep the bow lane stable while the arm geometry changes.

• Cross near the middle: start each pattern centered around the middle of the bow.
• Cross near the frog: start close to the frog and keep strokes compact; avoid “digging” with the shoulder.
• Cross near the tip: start near the tip; begin elbow preparation earlier and keep the bow traveling straight.

Attention checklist for minimizing extra motion

• Elbow leads, wrist follows: avoid a wrist-only crossing.
• Smallest effective level change: do not lift higher than needed for the next string.
• Quiet shoulder: no shrugging or reaching.
• Contact point stays consistent: watch for drift during the level change.
• Crossing is a transfer, not a jump: aim for a smooth “handoff” between strings.