Bow Exercises/Variations for the Prelude of Bach's E Major Partita
I just recently met with my professor this past week, and he assigned me Vieuxtemps 2 and Bach's E Major Partita. I would really love suggestions from you all about a few of my problems concerning my Bach.
The Prelude, Measure 17 and 67 - Bowing: I've worked this section out to be played in the middle to lower middle part of the bow (it is forte). I've accelerated this section (measures 17 through 28 & 67 through 78) to quarter note = 92, a fair tempo in my opinion.
My point: the string crossings are not as clear and as even as they must be. Coordination and fatigue are minor issues, but are present (but i guess it's from practicing the darn sections so much....at least the fatigue). I have practiced these sections with rhythms and different bowings at slow tempos accelerating them up to my desired performance tempo and usually a tad quicker. I have accomplished a good number of variations, but when playing these sections in context, the results are not as wonderful as they are whenever I separate the sections. It makes it hard to figure in the shaping as well. I know it is a matter of connecting section by section of the movement together, but I would love for you all to inform me on rhythms, bowings, exercises, and other practice methods to help me get these string crossings cleaned up and polished for my New York String Seminar audition in the fall!! Would really appreciate any input. Thanks!!
Replies (4)
Bruce's comments are excellent. His suggestion of starting on the second, third or fourth note can also be achieved by using accents on these notes, or on various combinations of notes. Simon Fischer talks about using accents for this type of practice in "Practice". He also writes that "every note in a fast passage must be clear. Clarity is more important than speed, since fast passages usually sound more brilliant when played a fraction more slowly - but with every note clear..."
Bruce also writes that you may have been working on this too much and the reason it is not improving is because of a technical problem. My suggestion would be to use Sevcik Op 2 - the three string bowing studies - http://erato.uvt.nl/files/imglnks/usimg/b/b4/IMSLP54476-PMLP45683-Sevcik__Otakar_-_The_bowing_school._op._2__Violin_._Book_5.pdf
You can spend as much time with this as you like (there are 1,040 variations on three strings). #16 is probably the most pertinent but I am sure that mastering the other 1,039 will do wonders for your bowing technique!! Good luck!
Generally what happens is that the bow double hits the E string. If this is happening to you, you are going to have to get your arm/elbow up a bit higher.Try this: place your bow on the A string and check to make sure that the spaces between the bow hair an D string and the bow hair and E string are equal. Also check the wrist, no bending at the start position. The crossing should be smooth when played slowly, if there is any jerking movement going on your elbow height/wrist needs to be adjusted.
I play this part in the upper half of the bow with a lot of wrist movement, Heifetz and Menuhin seem to play it here also.
http://www.youtube.com/watch?v=tAVXJQDXItI
http://www.youtube.com/watch?v=wy0OP18Qm-E&feature=fvwrel
I find the sound is clean and it is easier when using rubato when played at the upper half. Wrist movement: tilt the bow away from you (hand bends down) when going from A to E. Tilt the bow towards you (hand moves back) when going from A to D.
Does anyone have a good metronome marking for this? I've been having difficulty getting it 'up to tempo', but it is hard to say what that means without a marking. I've heard recordings anywhere from quarter=112 to quarter=152, the latter seemingly impossible... Is 108 too slow for this movement?
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July 10, 2012 at 07:35 PM · The most useful rhythms to use for practice are the various combinations of 2 eighth notes and 2 sixteenth notes.Dotted rhythm in this will not be as helpful.
Also, practice in groups of 4 notes, in tempo. Stop between each group. Then practice using 2 groups of 4 notes (stop). Then 3 groups of 4 notes (stop).
You can also practice by displacing the beat. With the metronome, Play starting on the 2nd sixteenth note and feel that as the beat (you start up bow). Then start on the 3rd sixteenth and feel that is the beat (starting down bow). then on the 4th sixteenth. This is pretty challenging, even though you are using the same bowing pattern.
To figure out the shaping, play each change of chord as a broken 3 note triple stop. You will find that you will naturally stress harmonies that are suspensions.
If you have practiced this a lot already and still don't have the proper coordination, you may have a technical problem. Find the part of the bow which works best for you. You mentioned that you are playing in the lower 1/2 of the bow. You probably should be playing somewhere near the middle. Too close to the frog, and you have too much bow tip weight. Too close to the tip and you have to move more with your arm.
Also, the strings crossings should be made using the whole arm as a unit. If your wrist is flopping around you will have no control over the bow because the amount of pressure on the string will be constantly changing. Make sure that you have a consistent pressure on the string all the time. You can make sure of that by practicing with only your thumb and first (and second) fingers holding the bow.