Count "1, 2" slowly, out loud, making sure that the bow is divided exactly in half for each beat. Counting at the same speed, progress to four, dividing the bow into quarters. Next try six, with three beats in each half of the bow, before attempting eight. If you can, ask a pianist to play the accompaniment to you. Try singing your part, with the dynamics, before you play.
What does tranquillo mean? Tip: To help a smooth bow change at the heel, imagine a wave on a calm moonlit night gently changing direction.
Your arm, wrist and fingers should float freely. Use these questions and tasks to review what you just did, and think about how you could make it better! Piano accompaniments for all pieces are available in the printed versions! Search for:. My Account Cart. Home About Welcome! Think of your down and up bow strokes as gentle waves flowing in and out over the sand Get Ready Use these questions and tasks to prepare and get ready to play the piece: Before playing these long bows of eight beats at a time, start with two beats to a bow.
Listen to your sound at all times. To get this technique right first, you need to apply pressure while you press the bow head down on the string in the direction of the bow. Start the bow in the middle of the string with speed, while at the same time releasing pressure on the bow. Once the bow comes to a stop, you should not have any bow pressure on the string. The pressure should be just enough to create an easily audible scratch sound. While the technique is difficult, it can give you a tremendous amount of carrying power, which is why it is one of those techniques that never gets old.
This is the ultimate exercise for gaining excellent bow control and is crucial to learn before moving up to more advanced techniques. The staccato technique can be further divided into — firm and brilliant. This effect is then imparted on the bow as well. Flying staccato is used only in up-bow and requires tremendous finger flexibility. Similar to a Spiccato see below , the bow is controlled by the left hand, and is thrown onto the string from above.
It is performed off the string, as in, the bow is dropped on the string at the starting of an up bow. With the flying staccato, the natural spring of the bow is allowed to carry on for the entire duration of the run along with tremulant impulses generated by the upper arm. You can use varied firmness, arm speeds, and bow tensions while playing the flying staccato. These are situations such as while playing a piece by Mozart where there are many string crossings or whenever there are musical lines that are required to be brought out without using a bounce on each stroke.
The spiccato technique is used in faster passages than staccato. In the spiccato technique, the bow is slightly bounced on the string while playing a note. The spiccato stroke has many variations, from the harder sound, which comes with a more vertical movement to the softer, brushed strokes, which generate the opposite effect.
To practice spiccato, just let the middle part of the bow fall on the string. The bow will tend to bounce by itself. The bow placement has a major impact on the speed of the spiccato, with the effect depending on the tempo. The result of the spiccato can vary by simply altering the tilt and the placement of the bow while playing.
The flying spiccato is an up-bow stroke that is slightly slurred and separate. It is produced off the string an in a single direction and never down bow. While playing a flying spiccato, there is an almost vertical jump as you play multiple spiccato notes on a single bow stroke, in the same spot of the bow.
Ricochet is a bow stroke that occurs when the bow is thrown onto the string in a controlled manner, and, as a result, bounces off. The ricochet is a bowing technique that is used when playing fast notes that are played down bow and staccato.
This is a difficult across-the-strings bouncing movement you will need for pieces such as the Mendelssohn concerto. You end by rotating the whole arm over to the E string, hit E, then turn the bow around on E, which results in the production of the sounds of two Gs and two Es. To get the bow to bounce, hold it as far back as possible, and drive the bow from above the middle in an up-bow.
Then, turn the bow around, dropping your wrist violently, while also cradling the bow to get that jumping effect. When it comes to playing the violin, the Legato technique and some Staccato techniques represent the two extremes of violin playing. While the former offers a more fluid sound, the latter is all about separating each sound while playing briskly.
In other words, the notes are not slurred while playing.
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