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Defaults 299 DeLay, Dorothy 207, 239 Détaché 145, 147 accented 87, 261 length of bow 115 proportions 87 simple 87 Diminuendo, unwanted 74 Double contact, principle of 301 Double stops See also each interval alternate upper and lower line 226 bow balance 72, 73 bowing one string 225 fixed and movable notes 218 leaving fingers down 227 light fingers, heavy bow 84 perfect intervals 209 third tone 218, 220 using a model 227 vibrato exercise 138 wrist 301 Drop-outs 27, 29, 36 Effort 275 bowing too near fingerboard 57 broad bow stroke 117 channelling power into string 256 economy of movement 207, 274 finger action (left hand) 240 forearm rotation 267 fourth finger (left) hand weight 230 levering elbow into string 258 light fingers (left hand) 120, 234, 235 localizing actions 270 mental picture 291 moving fingers from base joint 239 non-vibrato 236 reaching back 246 relaxed left hand 119 repetition practice 280 spreading fingers on bow 88, 259, 297 tilt of hair 259 timing finger and bow 245 upper arm, bowing from 258 vibrato 134 violin angle 299 Elbow (left) left-hand pizzicato 140 mobility 299 straight line to base joints 301 upper arm default position 299 Elbow (right) 262 bowing from 257 levering in upper half 88, 258 Elementary students 47, 57 Energy 4, 126, 215, 245, 270 Equalizing and 64 drop-outs 27 lifting and dropping 9 Evenness 35, 100, 148 bow disturbed by left hand 34, 61 bow length exercise 68 describing sound 48 different bowing as model 64, 66 sautillé 97 scales 141 separating bow and left hand viii, 119 spiccato 65, 93 staccato 90 tone exercise 67 vibrato 130 Exchange shifts See Shifting Expressive intonation 212, 214 Extensions 206 leading from the base joint 246 measuring from adjacent notes 203 notes before and after 206, 213 releasing after 232 widening by reaching back 246 wrist 238 Face 270 Fast playing clarity 27 fast and slow intonation 215 groups 24, 293 height of fingers 115, 298 notes dropping out 27 speed limit 24 speed of shift 172, 298 Feedback 56, 57 Fifths double stop 56, 205, 224 interval 204, 209 Finger action See Fingers (left) Finger preparation 240 continuous vibrato 137 default 301 drop-outs 27, 29, 30 fast-finger practice 8 first finger 243 fourth finger 243 scales 243 Finger pressure (left) default 299 ghosting 160 harmonic-like in shifting 182 harmonics 139 minimum pressure 140, 230, 235 over-pressing in double stops 84 pizzicato 140 practising non vibrato 236 releasing held-down fingers 231 stop–release 233, 300 thumb counter-pressure 230 trilling shifts exercise 183 vibrato 130, 298 Fingered octaves reaching back 251, 252 scale short-cuts 152 Fingers (left) See also each finger base joints See Base joints blocks 11, 197, 198 chords 81, 83 contractions in chromatics 149, 186 defaults 300 dropping continuous vibrato 137 one action 11 energy 4, 243, 245 evenness viii, 90, 93, 100, 119, 141 fan-like shape 11 fast fingers 7, 240 feel of 142, 155, 193 fifths 224 finger accents 242, 285 finger action 239 fingertip See Fingertip (left) fuzz See Fuzz holding down 193, 231 independence from bow 137 leading the bow 14, 122, 244, 301 leaving fingers down (double stops) 227 legato 119, 241, 244 legato bowing 137 lift-off 8, 193, 270, 300 continuous vibrato 137 co-ordination 10 fast 10, 240 fuzz 123, 240 pulling against a resistance 9 rhythm 286 too early 27, 31, 286 light and effortless 120 light fingers, heavy bow 137 like a pianist 193, 301 localizing actions 270 low 4, 115, 123 measuring from imagined fingers 195 middle joint 300 moving at the last possible moment 7, 8, 10, 36, 300 non-consecutive 195, 197 ping 7 prepared fingers See Finger preparation pressure See Finger pressure (left) reaching back 246, 247, 251 relationships between 193, 207, 212 releasing 130, 182 rhythm 122, 285 shape, dropping and lifting 10, 270, 300 short 301 slow tempo, fast fingers 8 space between 300 speed 125, 240, 241, 242, 270, 298 speed limit 11 square and extended 135, 194 squeezing together 250, 300, 301 stopping the string, two ways 240 stop–release 300 tension 290 timing 7, 286 tip See Fingertip (left) tone–semitone patterns See Tone–semitone patterns Fingers (right) See also each finger flexibility 253 movement in martelé 88 placement on bow 84, 297, 302 Fingertip (left) angle of base joints to fingerboard 300 elbow position 299 one-finger semitones 212 space between fingers 300 vibrato 115 First finger (left) contact point with neck 237, 238, 301 double contact, principle of 301 finger preparation 243 harmonics, artificial 139 localizing actions 270 reaching back in tenths 246 releasing base joint 183, 230, 231 release for fourth finger 230 square and extended 135 squeezing with second 250, 301 vibrato 135 First finger (right) counterbalanced by fourth 303 giving at base joint 254 martelé 88 over-using 254 over-working 258 placement on bow 297, 302 position relative to thumb 259 sautillé 97 Five forward three back 16 Fixed and movable notes 218 Fixing bow hold, release of 255 flexible musical ideas 110 tension 272 Flesch, Carl 253, 299 Forearm (left) vibrato 134, 236 wrist 238 Forearm (right) 272 angle to floor 269 elbow against wall 268 powered from upper arm 257, 258, 268 string-crossing 267 333
Forearm rotation beginning and ending notes 268 definition of 265 hand movements 266 on one string 269 proportions 267 rounded gestures 268 spiccato 95 Four main factors See Pitch, Sound, Rhythm, Ease Fourth finger (left) base joint 239 extending reach of 250 finger preparation 243 hand weight 230 harmonics 139 placement on tip or pad 255 reaching back from 246 releasing 230 squeezing with third 300 tilt of violin 299 wrist 238 Fourth finger (right) balancing with 255, 297 placement on bow 303 placement on tip or pad 255 playing in upper half 269 Fourths double stop 223 interval 204, 206, 209 Friction (bow) 56 Fuzz 240 continuous vibrato exercise 137 co-ordination 14 fast fingers 240, 298, 300 trills 123 Galamian, Ivan 153, 207, 253 double contact, principle of 301 half shifts 186 in and out 258 practising slowly 1 rhythm and accent practice 36 Ghosting See Shifting Gould, Glenn 304 Grooving 280 Groups chromatic glissando 191 mental command 24, 293 rhythmic aiming-points 25, 284 staccato 26 Habits 280, 299 Hair See Bow hair Hand (left) 240 angle of knuckles 237, 250 base joints See Base joints based on upper fingers 246 contracted fingering 149, 186 double contact, principle of 301 feel of the hand and fingers 153, 155 higher and lower placement 238 independence from bow 34, 61, 235 large 298 octaves, position for 72 placement 298 shape 193, 251 small 298 tension 251, 252 widening at the base joints 246, 252 Hand (right) base joints 302 channelling power 256 heavier at heel 64 independence from bow 34, 235 independence from left hand 61 responding to bow 69 responsive to hair–string contact 67 springs 253 string crossing 265, 266 tension 90 wrist, high and low 266 Harmonics double stops 139 finger pressure 139 fourth finger 139 shifting to 188 sustaining without the bow 189 Head 270 Hip joint 274 In and out 76, 258 Independence actions 137 hands 34, 61, 137, 235 Intermediate notes See Shifting Intervals See Intonation Intonation accents 216 arpeggios 212 arrows 216 bow pressure 60 checking in other positions 200 chords 79 chromatic tuner 218 diminished seventh 214 diminished third 214 evenness 141 expressive 212, 214 fast and slow passages 215 feel of the fingers 193 holding fingers down 193 ignoring sound and rhythm 196 insecure 218 instantaneous correction 227 intervals 210, 217 leading notes 207, 214 mental rehearsal 291 octaves (double stop) 72 piano, tuning to 218 playing on different strings 202 proportions 298 relationships viii, 207, 217 same notes, different octaves 207 starting on different keynotes 201 structure 207 tempered 214, 215, 218 tester notes 207 thinking in intervals 193 tone–semitone patterns See Tone–semitone patterns Knees 274 Leading notes 207, 214, 218 Learning, four stages 280 Left hand See Hand (left) Legato 7, 57, 134 bowing close to next string 101 finger action 241 finger preparation 244, 301 height of fingers 5, 298 practising on open strings 34 separate bows 87 Lengthening and widening 272, 274 Leverage 89 bow hold in martelé 88 elbow (right) 258 first finger (right) 302 second finger (right) 254 spreading fingers on bow 88, 259, 297 string-crossing at heel and point 91 Lifted strokes 297. See also each stroke forearm rotation 95 rhythm practice 36 Lifting fingers See Fingers (left) Listening 27, 56, 182, 304 Localizing actions 137, 270 Loops 16, 278 Martelé 32, 90, 141 bite 89 designing strokes 88 proportions 88 scales 144 vibrato accents 89 Memory accent practice 43 accenting and pausing 295 adding one note at a time 21 association 292 aural 292 blind spots 296 describing phrases 293 emotional 294 groups 24 intellectual 293 muscle memory 280 note relationships 294 practising from memory 292 rhythm practice 36 tactile 293 thinking ahead 294 visual 292 Mental commands groups 24 groups in staccato 26 rhythm practice 36 Mental picture command–response 36 mental rehearsal 290 rhythm practice 36 shifting 157 thumb 229 using a model 126 Mental rehearsal 290 Metronome viii, 2, 24, 37, 92, 118, 141 Milstein, Nathan 2 Mind-muscle unit 36 Minimum effort 43 Models chromatic glissando 192 double stops 227 evenness of spiccato 65 reversed bowing 64 slurs for simple détaché 87 spiccato for staccato 91 tone 53, 181 trills 126 up-bow attacks 64 vibrato 135, 138 Momentum 301 Mona Lisa 297 Moses variations, Paganini 299 Mozart, Leopold 289 Muscle memory 280 Muscles active and passive 272 contracting 252, 272 counter-exercising 272 fatigue 272 localizing actions 270 mind-muscle unit 36 muscle memory 280 responsiveness not strength 36 training mind, not muscles 291 Neck 43, 159, 271, 272, 273 Octaves (double stop) 56 upper and lower finger 72 Overlapping bowing 119 co-ordination 14 334
Page 1 and 2: Contents Introduction VII Index of
Page 3 and 4: Scales and arpeggios 141 Note about
Page 5 and 6: Introduction The music examples in
Page 7: General index ABC practice 275, 292
Page 11 and 12: String crossing accented 302 awkwar
Page 13 and 14: Ciaccona, bar 133 2 1 1 4 2 73 Fuga
Page 15 and 16: Sonata in F, op. 24 (‘Spring’)
Page 17 and 18: Movement 1, bar 24 4 75 A 1 4 Movem
Page 19 and 20: Movement 2, bar 52 32 4 4 2 0 0 2 M
Page 21 and 22: Elgar, Edward Chanson de Matin Fibi
Page 23 and 24: No. 3 [Allegretto], bar 1 261 0 0 A
Page 25 and 26: Movement 3, [Allegro non troppo], b
Page 27 and 28: Concerto no. 4 in D, K218 Movement
Page 29 and 30: No. 24 [Quasi presto], var. 9, bar
Page 31 and 32: Havanaise, op. 83 bar 49 [Allegrett
Page 33 and 34: Movement 1, bar 119 128 Movement 1,
Page 35 and 36: Viotti, Giovanni Battista Concerto
Page 37: ar 26 2 1 2 1 2 3 4 2 1 1 1 121 bar

here - Simon Fischer

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