From Bobby Ni
Posted August 20, 2007 at 05:44 AM
Does anyone have any alternate methods (besides just doing what is written over and over again...) to improve and practice this specific bowing? I am really lacking this bowing style in the middle and the tip of the bow.
the precise thing you are talking about is one of the first things i look at when someone plays violin in front of me. that handling of the bow near the frog gives me a very good indiction where the player is at.
to me, 80% of the work that goes into your bowing exercises is geared toward making that transition seamless. in fact, not just seamless, but giving your downbow a voice at that precise millisecond. unless the transition is controlled well, your downbow never really begins because you will be forcing the sound out later with pressure instead of the natural weight made possible by that subtle transition (fingers/wrist). a little like you are at the bus stop, but the bus is already leaving and you give chase.
having problem with 16th notes simply means spending more time at 8th notes... if faster is worse then slower is better.
I just took a look at the exercise you mentioned. Which variations in particular? To isolate the movements you need, first get rid of your violin and bow. Make a wrist bowing motion holding your arm like you're at the frog. Notice what it feels like. Continue that motion and move your arm around - down low, over your head, and of course as if you're holding the bow at the tip. See how your arm finds the right place to support the movement? Now bring back the instrument and bow. Try to recreate the feeling you had when you were doing this stroke before in playing position. If you're still not comfortable at the tip, see how far up the bow you can get before the motion changes, and work to extend that range by a few centimetres every day.
Your wrist may be tight because other parts of your arm (especially shoulder and elbow joints) are tense. You may also be trying to use too much bow and involving your forearm. Not really a problem, but it doesn't help you to isolate the different muscle movements - and that's really what Sevcik's about.
Hope this helps!
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