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Stephen Brivati

The importance of being bowing.

November 5, 2009 20:40

Greetings,

A great teacher once said to me that the science of violin playing is in the left hand and the art I the right. Not sure I am completely convinced by this dichotomy but it does serve to remind us that left and right hand deserve at a bare minimum fifty percent of our attention each. This will then vary in proportion on a case by case basis.

This being the case I wonder how many of us actually neglect the right hand(arm, whatever) to a considerable extent during our technique building practice? I suppose it’s the nature of the beast, intonation being such a bugbear, that we should focus on the left hand. Plus there is something, somehow more immediately gratifying in play a scale of some sort than an open string, or maybe not….

The result of this imbalance of attention does in some cases lead to a practice routine in which one does scales to begin with, probably dutifully beginning with a slow easy one and building up to fiendish double stops without really paying more than cursory attention to the bowing. Of course this problem is alleviated to some extent if one follows the principles laid out by Flesch (and later Galamian) of combining bowing and left hand. But, somehow I think bowing still gets short shrift. It may be helpful to address this issue directly for a month or so by beginning every days practice with pure bowing exercises.

A useful resource is Drew Lecher`s book but one might set up a very good routing using exercises from Basics or (gasp) a combination of the two. Something like the following.

1) Spider on a stick (recommended for pros as much as beginners….)

2) Up and down finger action from Basics.

3) Short notes in lower half using only fingers.

4) Colle in all parts of bow.

5) Thibaud exercise. (Down at point, up at heel using colle)

6) Pulsing exercises on one string.

7) Exercise in planes (Drew or Basics)

8) String crossing exercises- both detache in all parts of bow and long slurs.

9) WB martele.

10) Speed and sp exercises from Basics.

Alternatively one might use soemthing like Casorti. These are just a few possibilities. No need to take more than 20 minutes or do any to excess. But if one gets the bow arm into a grove it may that the scales that follow (in itself something of an ambitious jump) may be much more beautiful and much more inspiring a as result.

Bowing is common in Japan,

Cheers,

Buri

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Scales without prunes

November 3, 2009 15:25

Greetings,

been doing a lot of work on scales recently. One thing I have noticed which interests me is that even on simple one octave scale and arpeggios with no position change there is no faster way to warm up my hands. I can play things like the accelartion scale exercises up to extreme tempos and my fingers actually remain cold for some reason. The key factor here is in the degree of mental involvement. I practice the very simple scales in order to have absolutely perfect action in the fingers without any tension. Then I am really focused on keeping all possible fingers down for as long as possible and the final factor is preparation of the fingers on an adjacent string ascending and below the current finger descending. If I am paying 100% attention to these things then the amount of energy focused on the hands makes them extremely hot within a very short space of time.

One of the biggest flaws or difficulties with scales for many people is preparation of the first finger when ascending so it is useful to practice this daily. At the same time, the note preceding the new note must be kept down until after the new note has sounded. Auer stated that this was the secret of legato in violin playing. In descending scales although it is pretty much the same thing I think the significance of finger preparation is a little different. It is here that it is vital to have a mental conception of the whole pattern of the fingers. One cannot place a lower r finger silently and then when it is its turn to sound –slide- it into where it should actually be. That is the basis of an extremely faulty technique and actually quite common.

All this work on left hand unfortunately may lead to another problem. The secret, in my opinion, of a good tone is the ability to draw he bow through the air without dipping it in either direction up or down. It is amazing how common this is even to a small degree. I suspect what tends to happen when one begins to focus on the left hand aspect of scales mentioned above the bow arm automatically drops, or the bow dips in accord –with the finger preparation-. If this is a habit then the mental energy required to correct this may be considerable in the initial stages. One of the best exercises for the problem and playing in general is the independence of bow arm exercise advocated by Simon Fischer in Basics. One plays long tones on the g string and plays the left hand as written while sustaining the g string bow stroke. The technique should be applied to all etudes and piece son a daily basis. Even doing this once on a three octave scale (the lower notes will sound of course) will markedly improve the delivery. One can of course bow any string one likes and do the fingering. This is advisable.

Quote for Yixi et al:

The basics are only a guiding principle,

Your strongest posture is the one that fits your constitution.

That cannot be taught to you,

You have to find it for yourself.

It is not a question of widening your stance or narrowing it,

If the truth be told.

But, people will do what is comfortable for them,

So, If you allow them to, they will just make it up for themselves.

That is why, you must always return to the `Basics.` (Small Fischer joke....)

This is what is important.

(Shioda Gozo- Yoshinkan Aikido)

Cheers,

Buri

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6th dan puddy cat.

November 1, 2009 21:15

Greetings,

as I have noted before, my cat hates the sound of the violin to the point of pathology. Indeed, I only have to unzip one side of the case and his head shoots up, his body goes rigid and glares at me with a depth of hatred I have never seen bettered on a human being. Then he runs screaming and howling out of the room.

Anthropomorhism aside, he has clearly been studying my Aikido texts while I am out and he recently defeated me at a level only a sixth dan would understand and be able to control. As I tuned the violin he looked at me impassively in a curious state of no mind. There was no energy to feel. As I begin to play he turned sideways in a seated position (Tenkan- the essenc eof Aikido) and did a breakfall onto my feet so he was lying on top of them, back to the ground legs fully extended and pretending to be alseep. I played a few more notes, but what could I do? I put the violin in the case and scratched his tummy as he carried on gently snoozing.

The little swine has become a master!

In the meantime here is a perfect description of how to become a good violinist from a martial arts writer:

http://aikidoforbeginners.blogspot.com/2009/10/very-useful-little-article-i-came.html

Cheers,

Buri

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