Editing Violin (section)

====Bowing techniques====
The most essential part of bowing technique is the bow grip. It is usually with the thumb bent in the small area between the frog and the winding of the bow. The other fingers are spread somewhat evenly across the top part of the bow. The pinky finger is curled with the tip of the finger placed on the wood next to the screw. The violin produces louder notes with greater bow speed or more weight on the string. The two methods are not equivalent, because they produce different timbres; pressing down on the string tends to produce a harsher, more intense sound. One can also achieve a louder sound by placing the bow closer to the bridge.

The sounding point where the bow intersects the string also influences timbre (or "tone colour"). Playing close to the bridge (''sul ponticello'') gives a more intense sound than usual, emphasizing the higher harmonics; and playing with the bow over the end of the fingerboard (''sul tasto'') makes for a delicate, ethereal sound, emphasizing the [[fundamental frequency]]. [[Shinichi Suzuki (violinist)|Shinichi Suzuki]] referred to the sounding point as the ''[[Fritz Kreisler|Kreisler]] highway''; one may think of different sounding points as ''lanes'' in the highway.

Various methods of attack with the bow produce [[playing the violin#Bowing|different articulations]]. There are many bowing techniques that allow for every range of playing style. Many teachers, players, and orchestras spend a lot of time developing techniques and creating a unified technique within the group. These techniques include legato-style bowing (a smooth, connected, sustained sound suitable for melodies), [[collé (violin)|collé]], and a variety of bowings which produce shorter notes, including ricochet, [[Sautillé (bow stroke)|sautillé]], [[Martelé (bowstroke)|martelé]], [[spiccato]], and staccato.