Clear high position notes in fast passages.

October 28, 2019, 3:34 PM · Hello I am struggling with playing a clear notes in higher positions in fast passages with legato bowing can you help me? (In Mozart 3) Thanks for the answers!

Replies (10)

October 28, 2019, 3:59 PM · If you try the same passage at semiquaver=60, how do you get on?

The issue is probably some mixture of
a) intonation - good intonation is necessary for 'singing' tone - the tonal quality of in-tune notes can be perceived more easily than the actual intonation
b) bow stroke - you have to ensure that your bow is still in good contact throughout the stroke. The "right" contact point will be closer to the bridge the higher you are on the string, and the bow responds differently to the different length of string and different angle of string. So if you have a good stroke in low positions you probably have to relearn it a bit for higher positions as well

October 28, 2019, 4:08 PM · Thanks!
Edited: October 28, 2019, 5:11 PM · Hi,
I can't really help you, but when you'll have solve this problem on Mozart 3( looks for me it is the last notes before the Cadenza in the first Mvt), you'll have to play the Mvt/Piece with very good musicality.For musicality, you can solve this by watching Mr Vengerov's masterclass on the 3rd Mozart Violin concerto. Also listen to two/three differents recordings of this piece(Ex: Hilary Hahn, Anne-Sophie Mutter, Mr Zukermann)
I know I'm not answering the question but you may have problems with musicality(took me 6 months for the first mvt to sound like I'd like)
Remember too this:"Mozart, so easy for children, extremly hard for adults"
October 28, 2019, 5:19 PM · I've forgot,
Play scales (especially in G major) to High positions and then go faster on the scales(if you can play it slowly, you can play it quickly)
Play the passage(s) too fast for you slower, with good fingerings and bowing, with perfect sound and with confidence, and then play faster
You can also learn the whole piece by heart(I personnally play faster when I play by heart)

Also...ask your teacher (if you have a teacher,it will be certainly useful)


October 28, 2019, 7:38 PM · Practise without the bow, and make sure you lift your fingers as little as possible.
October 28, 2019, 10:09 PM · Experiment also with how hard you are pressing on the strings when you make the stops.
October 29, 2019, 1:00 AM · How expensive is your violin?
October 29, 2019, 1:21 AM · Daniel, like others have mentioned, you have to bow closer to the bridge when in high positions. But, also, when fingering especially in high positions, you have to practice on pressing only the string you are playing on, your fingers should not press or touch the other strings (this would dampen your sound). Playing scales in high positions, like Guillermo said, fast, slow, in all bowings, is good to practice all this.
October 29, 2019, 2:09 AM · Thanks all for answers!
Yes i have a teacher and i will ask him.
Eric i have 1200€ violin.
October 30, 2019, 9:37 PM · Try more left hand articulation (bouncy fingers, with a good amount of weight and pad in the finger coming down, without squeezing the neck). On the lower strings esp,, the left hand is often the culprit. Try falso further or closer to the bridge, straight bow - every string and position is slightly different.

This discussion has been archived and is no longer accepting responses.

Facebook Twitter YouTube Instagram Email is made possible by...

Shar Music
Shar Music

Yamaha Silent Violin
Yamaha Silent Violin

Corilon Violins
Corilon Violins

Pirastro Strings
Pirastro Strings

Dimitri Musafia, Master Maker of Violin and Viola Cases
Dimitri Musafia, Master Maker of Violin and Viola Cases

Find an Online Music Camp
Find an Online Music Camp

Bay Fine Strings Violin Shop

Bobelock Cases


Los Angeles Violin Shop

Nazareth Gevorkian Violins

Wangbow Violin Bow Workshop

Laurie's Books

Discover the best of in these collections of editor Laurie Niles' exclusive interviews. Interviews Volume 1 Interviews Volume 1, with introduction by Hilary Hahn Interviews Volume 2 Interviews Volume 2, with introduction by Rachel Barton Pine