External string bowing: Lie the bow shaft outwards and downwards naturally on the violin barrel, (borrowing the weight of the bow shaft to make the bow hair exert pressure on the strings) relax the arm and sink, and the strength reaches the fingers. The combined force of the four force points to control the bow rod will send the force out, start to open the arm, naturally arch the wrist slightly, control the bow rod with the middle finger, ring finger, thumb and index finger, keep a certain distance between the palm and the bow hair, and straighten outward and rightward sports. Do not raise the elbows, the bow hair is close to the piano barrel, keep the direction of the bow straight, the speed is stable, and the strength is even, until the arm is completely straight. At this time, due to the conversion of the wrist, the palm is closer to the bow hair.

Note: From the shoulder, the upper arm, the elbow, the forearm, the wrist to the fingers, there must be a tacit understanding, almost forming a whole, to jointly send the force to the fingers that control the bow, move together, and stop together. The concept of bowing is not just pulling, but sending, sending power to the bow and sending the bow out.

Pushing the bow with external strings: the arm begins to retract, the wrist is naturally slightly bent, the middle finger, ring finger, thumb and index finger control the bow shaft, the palm is close to the bow hair, make a straight movement outward and left, do not raise the elbow, and the bow hair is tight Stick the piano barrel, keep the direction of the bow straight, the speed is stable, and the force is even until the arm is fully retracted. At this time, there is a certain distance between the palm and the bow hair.

In the two exercises, you must sing the sound in the same rhythm as the rest before each pause, cultivate the ear's response to pitch, and initially form the concept of pitch and rhythm.