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176:, improved upon the limitations of the Baroque bow. Previously a clockmaker, Tourte added a great deal of precision to the art of bow making. One example was his perfection of the screw and eyelet system; a ferrule circling the frog tongue and hair ribbon that worked as a guide to flatten and widen the bow hair.
138:
The first attempt to mechanically adjust the hair tension came with the "crémaillère", a notch and hook system that pulled the hair ribbon by cranking the frog back and released it while moving forward. This uneasy device added considerable weight to the bow and was seldom used, but the concept for a
129:
During the earliest periods of music history, prior the
Baroque era, the frog was a curved piece of wood affixed to the bow that served as a sort of rail to guide the hair ribbon and separate it from the stick. The bow hair was attached at both ends of the stick to the head and handle. The musician
227:
was the first bow maker to split the frog into two parts: the throat remains permanently attached to the stick, while the body of the frog is detached and moveable, in order to tighten the hair. The purpose of this invention was to always keep the leather grip and the frog at the same distance.
210:
The attention given to the beauty of the bow frog continued throughout centuries, particularly with the use of tortoiseshell in the 19th and first part of the 20th century, like famous "tortoiseshell-mounted Hill bow, made by Barnes in the early 1920" (Ariane Todes,
179:
Tourte also viewed the frog as a precious item and worked with ebony, gold, and tortoise shell. He standardized the use of ornamentation, such as the inlay of a pearl eye on each side of the frog, and covered mechanical parts with a pearl slide.
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A number of other innovations occurred throughout the 20th century, all attempts to modernize the frog's appearance. Yet the Tourte model of more than three centuries remained the standard, until the introduction of the
240:. While Galliane proposed a new look, its primary purpose was a new functionality for the frog, giving a helicoidal shape to the bow hair that follows the natural movement of the string player's arm.
75:
is unknown, although it may derive from the use of the frock, the small device that bow makers use to shape it. It is also referred to as the "heel" or "nut" of the bow. The German equivalent
36:
142:
With
Baroque bows the frog was made with either the same wood as the stick or ivory. The woods typically used were common exotic woods, such as snakewood (
55:
that encloses the mechanism responsible for tightening and holding the bow hair ribbon. Most of the bow frogs used in today's classical bows are made of
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pioneered the modern classical bow in the second half of the 18th and early 19th centuries. Tourte, with suggestions from the virtuoso violinist
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Jacques LaFleur (1757–1853) devised a method of attaching the hair that suppressed the need for the conventional mortise, plug, and wedge.
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A major improvement came with the screw and eyelet system, beginning in the 18th century. This was used in the workshop of
202:
introduced an oval ferrule that allowed the hair ribbon to widen and flatten as the violinist augmented the pressure.
546:
316:
Wilder, Tom. The
Conservation, Restoration, and Repair of Stringed Instruments. Archetype Publications Ltd., 2011.
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860:
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146:). During this time bow makers began carving the ivory, shifting their focus to the frog's aesthetic beauty.
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103:, indicating to play with the bow near the frog. However, the English term is also used, such as in the
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built upon Tourte's model to add the metallic underslide that reinforced the fragile ebony edges.
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had to stretch and release the hair ribbon while playing in order to obtain the desire tension.
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In the generations that followed Tourte, ebony became the new standard material for frogs,
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99:. The foreign language terms sometimes appear in musical instructions, such as
59:; some synthetic bows have frogs made with materials that imitate ebony, while
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Millant, Bernard, and Jean-Francois Raffin. L'Archet. Volumes 1-3. Paris: 2000
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blog.feinviolins.com/2013/05/why-frog-why-are-there-frogs-on-bows.html
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Fein
Violins Blog: Why a Frog? Why Are There Frogs on Bows?
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217:, 2012), until the use of tortoiseshell was regulated by
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new mechanical function of the frog was progressing.
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Close-up of frog of a violin bow (K. Gerhard Penzel)
83:," while in French and Italian the equivalent of "
23:The frogs of a violin bow, viola bow and cello bow
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328:The Strad, May 2012: The tortoise and the frog
268:The New Grove Dictionary of Music and Musicians
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39:Frogs of the French and German double bass bows
350:The Strad, May 2012: The tortoise and the frog
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299:. "George Gershwin's An American in Paris".
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257:Boyden, David D. (2001). "Frog (ii)". In
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16:End part of a stringed instrument's bow
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718:(changing string tuning)
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157:bow, exemplified by the
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71:The origin of the name
170:François Xavier Tourte
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887:History of the violin
523:Electric upright bass
47:is the end part of a
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790:Double bass concerto
303:, December 30, 1994.
273:Macmillan Publishers
225:Jean-Jacques Millant
113:An American in Paris
95:). French also uses
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67:Etymology and names
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107:edition of
87:" is used (
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826:Arpeggione
716:Scordatura
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632:Techniques
622:Tuning peg
612:Sound post
311:References
198:In Paris,
155:transition
125:Early bows
907:Slap bass
892:Jazz bass
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684:Harmonics
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214:The Strad
144:amourette
963:Category
902:Big band
861:Pochette
679:Arpeggio
667:Spiccato
577:Chinrest
555:Bass bar
533:Octobass
419:Pochette
265:(eds.).
234:Galliane
101:au talon
45:bow frog
866:Quinton
831:Baryton
722:Vibrato
672:Tremolo
662:Portato
657:Martelé
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244:Notes
219:CITES
161:bow.
89:talon
57:ebony
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