here - Secrets of tone production DVD Simon Fischer violin basics

ContentsDetailed contents........................................................................ ivIntroduction............................................................................... xvGeneral index.......................................................................... 334Index of musical examples........................................................ 342lesson 1The toneproduction lesson............ 1lesson 2Holding theviolin and bow.............. 27lesson 3The intonationlesson........................... 55lesson 4Backgroundessentials 1.................... 93lesson 5Setting up thebow arm..................... 117lesson 6Setting upthe left hand................ 133lesson 7Avoiding achesand pains.................... 163lesson 8Backgroundessentials 2.................. 205lesson 9All aboutchanging position........ 231lesson 10The vibratolesson......................... 249lesson 11Improving keybow strokes................. 261lesson 12Backgroundessentials 3.................. 301

IntroductionxvThe science of violin playingCan you improve your playing byreading a book?I’m too old – you can’t improve at myageNot just trying harderAdvancing without improvingFinding the single most importantnext step to takeThe three-stage processKnowing where to put the XNoticing everything: blind spotsxvxvixvixviixviiixviiixviiixixxixAural blind spotsThe most common technical areas to checkxixxxGeneralxxLeft handxxRight handxxiThe higher the standard the less obvious thenext stepxxiHow long realistically does it take toimprove?True stories: Jenny (less advanced)True stories: Elaine (advanced)True stories: Morven (professional)xxiixxiixxiiixxivlesson 1 The tone production lesson 1Knowing the instrument 1Five soundpoints 1Understanding what the bow does tothe string 1An instrument of friction 2Looking at the hair-string contact from‘underneath’ 2Getting more for less: speed not pressure 2‘Pressure’ or ‘weight’? 3Visual image 3Image of the cat 4Understanding resonance 4Listening to the background resonance 4Practising in a dry acoustic 5Understanding the properties of thestring 5The feel of the string 5The thinner the string, the nearer the bridge 5The proportions of other string instruments 6Point-of-contact: not following the line ofleast resistance 6The secret of tone: proportions ofspeed–pressure–soundpoint 7Disharmony 7Magical quality 8The quality of the sound: upper partials 8The sound under your ear is not the soundthe audience hears 8Experiment on the piano 8Improving listening 9Testing the student 9Learning how to make faulty soundsdeliberately 10Five essential tone-production exercises 11The endless well 11Be the world’s first string-player 11Exercise 1: Whole bows on eachsoundpoint 11The process of finding the correct balances 12Giving the student a model 13On first playing the exercise 13Four ways to approach the exercise 13Evenness 14Don’t speed up when you open your arm atthe elbow 14Feeling the momentum of the bow 14Variation 15The give of the wood and the hair 15Proportions 15How to sound as good as the best violinistin the world 16Applying Exercise 1 to the repertoire 16Exercise 2: Fast, short bows on eachsoundpoint 17Applying Exercise 2 to the repertoire 17Exercise 3: The pressure exercise 18Bow division 19Playing into the wood of the bow at thepoint 19Practising last piano of bow before first forteof next bow 20iv

Practising playing piano at the point 20Playing with a soft hand 20Evenness: sustaining between the stagesof the exercise 21Variation: using less bow 21Exercise 4: The speed exercise 21Practising last ‘slow’ of bow and first ‘fast’of next bow 22Evenness: sustaining between the stagesof the exercise 22Variation: using less bow 22Exercise 5: Changing soundpoint 22Two ways to do the exercise 24Get to the bridge before you changethe angle 24Not increasing energy with the bow speed 24Preparatory exercise no.1: drifting the bow 24Preparatory exercise no.2: proportions of‘along’ with ‘in and out’ 25Combining the tone exercises 26Groups or phrases on each soundpoint 26lesson 2 Holding the violin and bow 27Putting the violin on the shoulder 27Using a shoulder rest 27Filling the gap 27Further in or out 28Higher or lower 28Raising the violin 28Fit the instrument to you, not yourself tothe instrument 28Raising the violin quickly 29Lifting with the right hand 29Putting the chin on the chin rest 29Head position 29Which part of the chin touches thechin rest? 30Rotate, then drop 30Avoiding pressing 30Relaxing the weight of the head 30Mind the gap 31Adjusting the four planes 311. Finding the correct height of thescroll 32Looking at the angles objectively 332. Finding the angle to the body 333. How high or low on the shoulder? 34Right arm 34Left hand and arm 354. The tilt of the violin 35Right arm 35Left hand 36Setting yourself up for playing first orsecond violin 37Holding the bow 37The bow hold changes constantly 37Naturalness 38How to set up the basic bow hold 38First finger: leverage 39Experiment in leverage 40Avoiding tension in the base of the thumb 40Feeling the creases 41The changing contact-point of thefirst finger on the bow 42How to stop the fingers climbingup the bow 43‘Bow-hold’ or ‘bow-balance’? 43Proportions 44The perfect sense of contact we are born with 44The alive bow-hold 44Does the fourth finger stay on the bowin the upper half? 44Pulling in with the third finger 45Should the knuckles be flat, or shouldthey stick up? 45Avoiding pressing in the upper half 461. Using the second finger 472. Creating weight from the hand 48Proportions 48The more delicate, the closer to the fingers 48Feeling the difference between ‘arm weight’and ‘hand weight’ 493. Using faster bow speed 49Flexibility 50Springiness 50Noticing the difference 50The push–and–pull test 51v

The shake test 52The bow ‘moving within the hand’ 52Spiccato and string crossings 52Freeing the thumb 53Three joints, not two 53Tip, not pad 53Give 53The thumb and fourth finger 53The changing contact-point 54Leverage 54lesson 3 The intonation lesson 55Clear mental pictures 55Self-test 55Four levels of intonation 55How long realistically does it take to improveintonation? 56Improving listening 57Tuning and acoustic beats 57How to demonstrate an acoustic beat 58Experiment in acoustics 58Super-effective ear tests 58Stage 1 59Stage 2 59Stage 3 59Ensuring success 60Increase your confidence 60How to think of each note 60Tuning to the open strings 60One situation where you should ignore theresonance 62Keep checking 62Warm-up exercise 62Sharps and flats: gravitational attraction 63Warm-up exercise: quarter-tone scale 63How to tune each note 63Understanding the differencesbetween the positions 71Two essential intonation exercises 73Saving time by spending time 73Exercise 1: Finger spacing 73Exercise 2: Note patterns repeated withdifferent fingering 74If it is out of tune there is always areason why75Tension: five areas to release 75The in-built tendencies of each fingerto play sharp or flat 76Perfect fifths: back, across, or forwards? 76Playing from lower strings to higher 76Playing from higher strings to lower 77Stopping two strings at once 77Warm-up exercise no.1 77Warm-up exercise no.2 78Reaching down to a lower string 78Warm-up exercise no.3 79Square and extended finger shapes inmoving passages 79Shifting between one finger shape andanother 80You can’t just put fingers down next toeach other 80Filling the gap 81Fingers pulling other fingerswith them 82Bow-pressure and pitch 84Pulling or pushing the string 84Semitones with one finger 85How to play scales in tune: 1–4–5–8 85Stage 1 87Stage 2 87Stage 3 87Hovering fingers in tune above the strings 88Applying scale tuning to the repertoire 89The impossibility of playing in tune 89Adjusting for out-of-tune strings 89Playing with a soft hand 89The difference between single-stopand double-stop tuning90Tuning to a higher or lower string 91Ignoring the third tone 92Tuning in narrow fifths 92vi

lesson 4 Background essentials 1 93Pitch–sound–rhythm–ease 93Finding the music: pitch, sound,rhythm 93Why is a harp the shape it is? 93Pitch–sound–rhythm IS the style and theexpression 93Ease: the master formula 94What is a good performance? 94The goal is always the same 94Uniting technique and music 95The final result: only two questions to ask 95The magic word 96The master key 96Generating ideas by thinking in terms ofproportions 96Technique is describable from A to Z 96True stories: Deborah 97Asking simple questions: ‘more’ and ‘less’ 97General 98Left hand 99Right hand 99Working on fundamentals 99Keep on starting again 99Adding twenty floors to the skyscraper 99Advanced tennis training 100Advanced violin training 100How to build technique 1006 different techniques to play 6 notes 101Combining techniques 101Practising like a beginner 102The typical lesson: different level,same issues 102The problems just get smaller 102The language of the violin 103Study with a great teacher: yourself 104Starting from the point of completesecurity 105I am too scared of difficult pieceseven to start learning them105Command–response 105Mind not muscles 105Hesitating before playing 106Alternating clockwise-anticlockwise 106Improving command-response 106‘You should have heard it yesterday’ 106Understanding percentage shots 107Expand your range of comfort 108I can’t play fast 109The Russian who couldn’t play fast 109Playing through without stopping 109Groups 109Just ‘one of those’ 110How to play faster than Heifetz 111Speeding up with the metronome 111Flow 112Thinking ahead 112Remembering to play music not notes 113Don’t speed up when things get tough 113I haven’t got time to practise inrhythms and accents 114Rhythm practice 114Basic rhythm patterns 115Basic accent patterns 115Rhythm practice 116Accent practice 116Lesson 5 Setting up the bow arm 117Finding the violin position 117Drawing a straight bow 118The image of the compass 118Bowing out to the side 118Experiment 118The best straight-bow exercisein the world 119Aiming the bow 119Four important places in the bow arm 1191: Heel 1192: Point-of-balance 1203: Square 1204: Point position 121Feeling the symmetry of the bow arm 121The Flesch and Galamian bow arms 121Building the bow arm 122vii

Forearm rotation 122The changing contact of the first fingerwith the bow 123Lifted strokes 123Understanding curves 124True stories: Joe 124Playing into the wood of the bow 125Experiment in ‘hanging’ 126Playing into the wood of the bow duringstring crossing 126Elbow and wrist: how high? 127Lower half of the bow 127Making imperceptible circles at the bowchange128Upper half of the bow 129Wrist 129Experimenting with splints 130Playing from the hand in the upper half 130Warm-up exercise 131Playing from the back 131‘Window-cleaning’ experiment 132lesson 6 Setting up the left hand 133Developing a ‘classic’ left hand 133Widening at the base joints: the secretof a good left hand 133Separating the fingers 135Fingertip placement: left, middle, right 135True stories: Andrew 135Daily warm-up exercises for widening thehand 136Keeping fingers above the string 137Warm-up exercise: pulling in thebase joint 138Using the exercise during practice 138Keeping fingers close to the strings 139Preventing the fingers from lifting 140Setting the left hand position usingdouble stops 140The 18th-century approach 140Practising thirds, fourths, sixths 141What is the correct position of theleft elbow? 142Keeping the upper arm free 142Playing from a lower to a higher string 142Getting stuck when shifting down 143Finding the position by ‘hanging’the arm 143The angle of the knuckle joints 144How can I get my fingers and bow towork together better?144Co-ordination 144Leading from the fingertip 144Practising by opposites: overlapping 145Reinventing the wheel 145Finger preparation: the secretof legato 145Stepping down a ladder: one finger;two fingers; one finger 146Typical warm-up exercises 148Pizzicato practice 148Using pizzicato as a practice method 148Spiccato 148Leaving fingers down on the string 149How can I improve my trills? 151Picture the perfect trill 151Practise the trill exercise 152Stage 1 152Stage 2 152Stage 3 152Other work on trills 152Fast fingers: the key to a great left hand 152Making a ‘ping’ with fast fingers 153Lift-off exercises 154Enabling the third finger to move easily 155Heifetz exercise 155Metronome exercise for fast drop and liftoff156How can I improve my fourth finger? 156See it as being strong 156How can I stop my fourth finger fromcollapsing? 157Typical fourth finger exercises 157viii

Moving from the base joint 157Aiming onto the tip or pad 158Aiming into the middle of the finger 158Raising and dropping exercise 158Independence exercises 159Reaching-up exercise 160Sliding exercise 161Dotted exercise 161Other ways to improve the fourth finger 161Extending a finger away from itsusual note162Extension exercises 162lesson 7 Avoiding aches and pains 163Understanding the causes 163Listening to your body 163Forming good associations 163The force of gravity 164Chain reactions 164Pressing and squeezing 164Curing the problems is usuallysurprisingly easy 164Common first causes of chain-reactions 165General 165Left hand 165Right hand 165An introduction to lactic acid 165Warming down 166Counter-exercising and stretching 166Muscles: working from the zero point 168Muscles can only contract 168The zero point 168Suspending your arm without using anymuscles in it 169Feeling the contraction–release in thepalm of the hand 170Squeezing the arm to make the fingersmove 170Massaging the upper forearm 170Massaging the hand 171Minimum muscular effort 171Experiment on the back of your hand 172Expecting tension produces it 172Lengthening and widening 173Not pulling down: lengthening the backand raising the chest 173Go up to go up; go up to go down 173Widening at the base joints of theleft hand 174Widening at the shoulders: releasingthe minor pectoral 174Right shoulder and upper arm 174Left upper arm 175Not tightening as the date approches 175Maintaining balance and flow:avoiding fixing 176Freeing the middle of the backand the costal arch 176The costal arch 176Not twisting the back 177Freeing the shoulders 178Raising or not raising 178The shoulder and the elbow 179Keeping the shoulder down and theelbow up 179Freeing the left hand 179Understanding flexibility 179Continual moments of release 180Freeing the thumb 181Practising exercises with the thumbexaggeratedly forward 182Thumb rotation 182Experiment: play without the chin onthe violin 182The principle of the double contact 183Freeing the wrist 184Relaxation exercise 184Manipulating the wrist 184Placing fingers gently: the secret of arelaxed left hand 186Moving the finger from the base joint 187Tapping exercises 187Pull the note out of the string withthe finger 188How can I stop pressing the stringstoo hard? 189Changing the mental picture 189Five levels of pressure 189Starting from nothing and graduallyincreasing 190ix

Replacing finger-pressure with arm-weight 190Rolling the finger into the string 190Understanding balance 192Key areas 192Hyper and hypo 192Knowing to look somewhere else 192Unlocking the right elbow 192Excessive right wrist movement 193Keeping the left upper arm free 193Unlocking the left nail joint 193Unlocking the left hand 194Unlocking the fingers on the bow 194Excessive head movement 194Bowing smoothly 194Unlocking the costal arch 195Keeping the knees free 195Unlocking the shoulders 195Swaying, rotating, shifting the balance 196Homeostasis: the ‘wrong’ thingsmay be ‘right’ 196Everything you do is ‘right’ even if itis ‘wrong’ 196There must be a sense of benefit 197Adapting to your physique 198Localizing: the key to mastery 198Streamlining your playing bynot-doing 198You’ve got to stop before you start 199‘Stopping before you start’ in sport 200Saying ‘no’ and ‘yes’ 200Directing individual actions 200Carrying on until a new habit is formed 200Muscle tone and direction, not relaxation 201True stories: James 201One thing triggering another 202Finger preparation 202Chords 203Spiccato 203Left-hand pizzicato 203Revealing the posture 204lesson 8 Background essentials 2 205Understanding technical andmusical timing205Watch the great players 216How can I stop my playing soundingall the same?205Contrast and tonal colour 205Mountains and deserts 206Making the design big enough 206Vibrato 206Varying the strokes 207How much is too much? 208Playing to the limit 208Playing piano and projecting 208The difference between volume andcharacter 208Volume and distance 208The concert hall, the violin, and thesoundpost 209Identifying waves 209Don’t sustain 210Imagining orchestration 210Changing the key or the notes 212About energy 213Combining high and low energy 214Playing with more accent 215Using a model 216About rhythm 218Rhythm gets your foot tapping 218Trying to play notes in tune with a goodsound 218Feeling the pulse 218Sub-dividing 218Good rhythm aids good co-ordination 218The mechanics of rhythm on a stringinstrument 219Playing expressively in time 220Rhythmic licence is the last thingto consider 220Making musical expression throughrhythm 220Creating accents by playing early 220The blended sound of a brilliantorchestral section 221Practising musically 221‘Mechanics’ and ‘Technique’ 221The inner super-computer 221Whistling experiment 222Staying out of the way 222x

Not caring too much 222Not interfering 223True stories: Ann 223Picturing the perfect result 224Shifting 224Bowing smoothly 224Picturing the musical quality 225What is vibrato? 225What is a trill? 225If it were in a piece I could play it,but as an exercise I can’t 225Playing from the inside out 226True stories: Jane 226True stories: Sarah 227Belief: living the music 228When the music is happy, I am happy 229Stanislavsky: the father of modern theatre 229Mesto: put yourself in a mood of sadness 230Playing with inspiration 230First I’ve got to learn it 230lesson 9 All about changing position 231What is a position? 231The frame 231Shifting 231Fingering 232There is no such thing as a shift 232True Stories: Oscar 232Hearing notes in advance 233Leading from the fingertip 234Lightening the bow 234Measuring: using intermediates 235Practice method 235Finding the common denominator 235Single-finger scales and arpeggios 235Scales 236Single-finger scales and children 236Arpeggios and broken intervals 237Timing and measuring the shift: filling inthe interval 237Five different types of shift 238Exercises 239Classical 239Romantic 239Combination 240Substitution 240Exchange 241Listening and the feel of the violin 242Listening to the shift 243Listening to the shifting finger 243Understanding timing 243Stealing time from the note beforethe shift 243Avoiding tension 244Practice method 244Missing out the note before the shift 245Slow Arrival Speed: the end of fear inshifting 245Parking Dorothy DeLay’s car 246It does not matter where you shift to 246There is no such thing as a long shift: thereare only short shifts 247Everywhere on the fingerboard is close 247A thousand notes on each string 247Optical illusions 247It’s so much easier to miss and play out oftune 247The fingers get all cramped together atthe top of the string 248Precariousness of the bow 248Look at it from a different angle 248lesson 10 The vibrato lesson 249What should vibrato sound like? 249Speed and width 249Four basic groups 250Group 1 250The test that proved the wrong result 250Group 2 250The clapping experiment 251xi

Group 3 251Group 4 251Listening to your vibrato at half-speed 251Vibrato: the throb of pure emotion 252True stories: Gabriel 252How to develop vibrato 252Change your vibrato 252Changing the elements 253Which part of the fingertip? 253Changing the anatomy of your fingertip 254Which is better: hand or armvibrato? 254Experiment in trying to prevent an armvibrato 254Finger vibrato 255Feeling the buoyancy of the string 255Releasing to a harmonic 255How to play a fast vibratowithout tension256Start from nothing 256Make it narrower 256Staying free in the upper arm 256Speeding up with the metronome 256When doing the exercise for the firstfew times 257Sub-dividing the larger unit 257Using the vibrato trill as an exercise 258Tapping with the middle joint ofthe thumb 258One of the secrets of artistry:leading accents from the vibrato259Playing accents in the air 259Continuous vibrato 259lesson 11 Improving key bow strokes 261How can I make my bowing feelreally smooth?261It is impossible to scratch if the bowkeeps moving 273True-legato warm-up exercise 261Son filé 262Adding dynamics: Leopold’s ‘divisions’ 262Just how do you change bowsmoothly at the heel?263Active finger movement at the heel 263Using the ‘fist bow hold’ 264Flesch himself didn’t like the fingermovement 264The tilt of the bow 265Lower half 265High positions 265Playing with full hair 265Choreography of the bow 266Designing the strokes 266Using enough bow 268Proportions 268Accents 269Avoiding bulges 270Lead with the vibrato 271Working out the proportions 271How much bow weight? Watch thegreat players 272I never know how to start a note 274Being sympathetic to the string 274Starting from the air or fromthe string 275Starting from the string 275Starting from the air 275Practise beginning notes 276Finding the moment of balance 276How to feel confident beginningup-bow at the point 277Experimenting with leverage 277One action, not two 278Moving the string towards the bow-hair 278Releasing the thumb 278Leading with the vibrato 279Practising it 279How can I improve lifted strokes likespiccato?279The bow wants to bounce 280Bounced strokes are more natural thansustained strokes 280Experimenting with the spring of the bow 281Experimenting without the first finger 281Finding the sweet spot in sautillé 282Spiccato 282xii

Raising the elbow 282The bow hold does not matter 282True stories: the virtuoso who couldnot play spiccato 283Up not down: playing spiccato likea pianist 283Playing around the string, not hitting 284Understanding proportions in spiccato 284Height and length 285Where in the bow 285Thickness of string 285Soundpoint 286Tilt of the bow 286Experimenting with flexibility 286Co-ordination: don’t always blamethe bow 286Exercise for placing the fingers early 287Pizzicato 287Staccato 287Working from the inside out 288Little dipping movement of the point 288Direction of bow 288Finger movement 288Three stages of the arm in staccato 289Rocking the hand 289Soundpoint practice 289Separating the elements 290Gripping the string to make the bite 291Fast-slow speed-pattern alone 291Heavy–light pressure–pattern alone 291Finger movement alone 292Adjusting the bow hold for power 293String crossing 293Five ways to move in relation tothe string 293Smooth string crossing 294Gaining or losing bow on the stringcrossing 295Following the curve of the bridge 296Tremolo 296The movement of the hand in tremolo 296Speed of tremolo 297Chords 297Seven common misconceptionsabout playing chords 297Silent placing exercise 299Reducing effort in three-string chords 300Localizing 300The martelé lesson 290lesson 12 Background essentials 3 301Scales and arpeggios 301Why practise scales? 301Putting off practising scales as a student 301My first ten years of playing and teaching 301Getting the best of both worlds 301Exercises–scales–studies–pieces 302How is a scale when it is played well? 302Practising the elements of the scale 302Holding down the first and fourth fingers 302Double stopping string crossing is goodfor both hands 303Half of forty-eight is twenty-four: themumble strategy 303Chromatic scales 305Slow and fast fingering 305Keeping the thumb in one place 305Practice method: missing out thesecond finger 305Knowing what notes you are playing 306Playing in groups 306Naming the notes 306Scale practice chart 307Some different ways to use the chart 307Double stops 307Light left hand in double stops 307Standing on two weighing machines 307Thirds 308Thinking in intervals and tone-semitonepatterns 308Reaching back from the upper fingers 309Practising the elements separately 309Flow 310Mobility exercises 310Fourths 311Perfect fifths 311Tuning the fifth 312Placing the fifth for single notes 312Sixths 312xiii

Octaves 313Relaxing the hand rather than measuring 313Experiment in the air 314Remembering to release, lengthenand widen 314Improving instantaneous adjustment 314Octaves: traditional practice method 315Playing the lower note more loudly 315Using scales and arpeggios 315Fingered octaves 316Exercises 316Fingered seconds and harmonics 317Thinking in finger-spacing intervals 318Tenths 318You have more reach than you think 318Reaching back 319Sliding exercise 319Pizzicato 319Trusting yourself to find the string 319Should your right thumb rest on thefingerboard? 319What is the correct way to pluckthe strings? 320How to practise pizzicato 320The one time you need to press the leftfingers hard 320Placing the left fingers in time beforeplucking 321Coming back for the next chord aspart of the last 322Miming 322Vibrato 322An outline of mental rehearsal 322Conquering nerves 323You already rehearse mentally 324Filling your mind with the perfect result 324Seeing what you want 324Understanding the effect your mindhas on your body 325Present tense, personal, positive 325Notes about practice 326Moving up one level at a time 326What to practise 326Exercises 326Building technique: finding new sensationsof playing 326Investing your time 327Varying the material 327Scales and studies 327Logical order of study 327Relearning elementary studies 328Pieces 328Playing through old repertoire 328Listening to recordings 329Go to concerts and then do it yourself 329Improving listening 330Timing and planning 330Structuring the practice 330Concentrating on one thing at a time 331First study, second study, third study 331Vintage wine 332When the shoe fits 332Not setting an ultimate deadline 332Daily record 333The importance of making mistakes 333Paying the price 333xiv

General indexAAccent practice 116Accents 208, 213, 215, 259, 269agogic 271playing early 220Acoustic beat xvii, 57, 58Acousticsdry and resonant 5Alexander Technique 164, 173Alexander, F. M. 94inhibition, direction 199Amplitude 2Analogiescolourxviiiguitar 197harp 93, 146sport 100, 107, 122, 166, 200Arm (left)angle of scroll 35hanging 142, 190violin position relative tolength xviii, 33, 117Arm (right)actions, origins of 49balance 192bowing parallel to the bridge xvii,14, 34, 102, 117,118, 221, 227, 294Eastern European, Flesch,Galamian 49elbow, opening at 14, 120forwards, backwards 98, 118in and out 121levers 118, 193relaxing into the string 35scroll, correct height of 32shoulder and elbow,movement at 179square 120suspending in air 169, 197, 276triangle 119violin position 117weight 49Arpeggios 55, 217, 243finger preparation 146non-diminuendo 304octaves (double-stopped) 313Ševčík sequence 261single-finger 161, 235thinking ahead 112uniform intonation 56Auer, Leopold 64bow hand 193bow hold 43, 45, 49feet, position of 195intonation 263tone, how to produce 48BBach, C.P.E. 230Back 30, 195costal arch 176curve at top of 173lengthening xviii, 28, 29, 173mobility, hyper and hypo 192pain (lower back) 195playing from xix, 131pulling down 176twisting 177Baillot, Pierre de Sales 328Balance 89, 192Barmas, Issay 49Base joints (left) xiv, xviii, 137, 187moving fingers from 102, 152, 187,221tension 165too far from neck 157widening xviii, 102, 133, 137, 174,194, 197Base joints (right)springiness 46widening 97Basics exercises 105, 224See ExercisesBell, Joshua 174Blind spots xvii, 58, 265Bloch, Alexander 199Blum, David 85Bowangling to the bridge 24bow-hold or bow-gripxvdistance from bridge xvi, xviidivision 19drifting 24give at the heel and point xv, xix, 15,19, 124hair 1, 265, 280–281, 295hair, acting on string 2lightness in upper half 46, 49momentum xix, 3, 13, 14,165, 176, 223movement, horizontal and verticalxvii, xix, 3, 13, 21, 125–126, 293over-pressing 248playing into wood in upper half 16shaking 194, 323springiness of stick xix, 7, 126,280, 281stickers 120tilt 37, 213, 264wood, playing into xvii, 126wood, scraping on string 265Bow change 50Bow holdbalancing 43, 44bow-hold or bow-grip 43climbing up the bow 43contact-points of fingers 41, 42creases 41, 43fingers, distribution of 39fingers, movement atheel 263, 264, 266fingers, natural spacing 38first finger See First finger (right)fist bow-hold 264, 282–283flexibility 44, 51fourth fingerSee Fourth finger (right)heel and point position 42leverage 37, 213second fingerSee Second finger (right)springiness 50supination, pronation 37–39, 42, 44,46, 47, 52, 99, 123third fingerSee Third Finger (right)thumb See Thumb (right)Bowingbalance, starting from 276changing bow 22, 102, 112, 128, 263circular movement 128curves 124, 284division 266hair-string contact 3, 14, 265length 6, 268scratch 273Bow pressure 48, 267describing 9evenness 269excess 2, 84first-finger pressure 46avoiding 47intonation 84, 248‘Pressure’ or ‘weight’? 3proportions xx, 6, 7, 8, 96, 271–272scratching 13, 19shifting, releasing during 234speed not pressure 3, 49string crossing 294string length 5string vibration 13–14upper half 46–47Bow speedfaster in upper half 49increasing in middle of bow 14slower nearer bridge 5Breathlessness 31Brendel, Alfred 301Brodsky, Vadim 332Bronstein, Raphael 39, 71, 207Bron, Zakhar 121Brubeck, Dave 218Bulge notes xvii, 270Button 31CCampagnoli, Bartolmeo 18, 90,240Capet, Lucien 18third finger on bow 45Carrington, Walter 164, 173,178, 199Casals, Pablo 103, 208dual-function notes 207dynamics, range of 208334

gravitational attraction 63intonation 114expressive 63pressure exercise 18scales tuning-method 85trills 225waves 209–210Cause and effectxvChain reactions 164Children 13, 93bow arm 119bow hold xxi, 43child prodigies 104elbow and shoulder 179fingertip, leading shifts from 234learning, speed ofxvmeasuringxvmomentum, explaining 14muscles 180ring, listening to 4shift, listening 243single-finger scales 236tension 180, 256tones and semitones 80–81tricks and strategies 303vibrato 254, 256Chin 28, 197chin rest 27, 28, 29–31placement on 98pressing the head into 176positionxviiitailpiece, relative to 117Chords 49, 109, 297–300, 304, 311bow hold 37fist bow hold 264left-finger pressure 308pizzicato 320, 321, 322soundpoint, changing 6, 297–299timing 203Chromatic 305Classical shift See ShiftingCollar bone 27, 31, 164, 182Collé 130, 284Combination shift See ShiftingCommand–response 105–107, 299Concentration 325, 333Co-ordination xviii, 113, 144fingertip, leading bow from 287pizzicato 148, 287practise method 320prepared fingers 219rhythm 218separate bows 186sixths 312spiccato 203, 287Costal arch 176–177, 195, 196Counter-exercising 166Counterpressure 164, 190, 278DDeaf spots See Blind spotsDeLay, Dorothy xvii, xix, 102acoustic beats 58Auer bow hold 45concentration 105concerts, attending 329double-stop tuning 92energy 213Heifetz, playing faster than 111Heifetz warm-up exercise 155inspiration, playing with 230musical ideas, clarity of 206playing fast 109pressure exercise 18slow arrival speed 246‘time-consuming’ not ‘difficult’ 333trill exercise 152tuning method, scales 85Détachébow arm 121bow hold, balancing notgripping 44proportions 97, 271spiccato approach 285Differential tone 90Direction (and inhibition) 199Dont, Jacob 152, 161, 327Double contact, principle of 183Double stopsfinger-spacing intervals 318fixed and moveable notes 91mobility exercises 310–311, 314thirds 83Dounis, Dr D.C.xviipressure exercise 18scales 301shoulder (left) 178spiccato 285Dynamics 208pitch 2EEar tests 58–60Effort 125, 133, 166, 198leverage 39–40, 40, 129minimum 94, 95, 111wrist (right) 184Elbow (left) xix, 197See also Upper arm (left)getting stuck 143left, right 97, 99steering under violin 142Elbow (right) 119–120See also Upper arm (right)higher, lower 99, 127–128, 197–198level with bow 128unlocking 192–193Elman, Mischa 63Emotional memory 229Energy 154, 266accents 215bow speed near bridge 24combining high and low 214–215dynamics 209finger action (left) 159, 172, 186finger movement (right) 292finger pressure (left) 189fingers, holding down 151fingers (left), keeping closeto string 215increasing, decreasing 213–214left-finger accents 186localized actions 198–199shifting 215tremolo 297vibrato 193, 251, 256wrist (right) 129Etudes 105Dont 110Kayser 105Kreutzer 37, 83, 100, 112, 130, 161,201, 211, 264, 271, 295, 296, 327Sitt 105Evenness 14–15, 16, 21, 22, 127scales 302Exchange shift See ShiftingExercises xx, 99, 102, 104, 105,122, 124, 145, 147, 180,194, 214, 224, 269, 326, 330accents 269base joints (left) 138bowing parallel to bridge 119bow, placing on string 275, 277Brendel, Alfred 301chords, placing fingers 299chromatic scales 305counter-exercising 166–167extensions 162fast drop and lift-off 156fingered octaves 316–317finger preparation 146–149, 202–203finger pressure 189–190Flesch, Carl 264–265fourth finger (left) 157–162hand (left), widening 133–135, 136hand (right), tone 131Heifetz warm-up 155intonation 62, 63, 73–75, 77–78, 236knuckles (right) 157legato 261, 304lift-off, left fingers 154–155mobility, left hand 310–311, 314Mozart, Leopold 140playing musically 1, 225,225–226, 233resonance 4shifting 232, 234, 239son filé 262–263spiccato 285–286stretching 171tapping 182, 187–188, 225thirds (double stop) 310tone 11–26trills 152vibrato 249, 252, 254, 259wrist (left) 184Expression xvi, 1, 93, 96, 113Bach, C.P.E. 230bulges 270changing note-by-note 205–206creating musical technique 225creating technique 221, 227drawing out the tone 3expressive physical movements xviiifinger action (left) 189Geminiani, Francesco 95, 230intonation 94Mozart, Leopold 230picturing 9, 13pitch–sound–rhythm 93–94, 95playing in time 220rubato 220scales 228scales and exercises 225–226vibrato 206, 260‘Expressive intonation’ 63Extensions 82–83, 104, 162, 232335

F‘Fast fingers’ 106, 152–156, 199Fast passages 108–109Feet xviii, 192, 195, 196‘Fifth’ finger 162Fifthsdouble stop 311–312narrow 92Fingering 232octaves 316Finger preparation 145–148, 186,202–205, 205Fingerswide and narrow 81Fingers (left) See also Fingertipactive or passive movement 154–156banging xv, 172, 201Base joints. See Base joints (left)blocks 111chords 299close to strings xiii, xvi, xviii, 137,139–140, 140, 303counterpressing with thumb 189double contact, principle of 183dropping 205extensions 162, 232fast 172, 213.See also ‘Fast fingers’finger accents 186holding down 150, 302hovering over strings 103, 236knuckles, angle to fingerboard 144leading bowxviiilevers 193move to the right 200moving from base joint xviii, 152nail joint 193overlapping 303over-pressing 165, 189, 317percussive 188–189, 213placing xv, 186preparation 145–146, 186,202–203, 205pressure xviii, 102, 148arm-weight, replacing with 190double stops 299, 307–308finger vibrato 255five levels 189localized actions 198–199mobility 176pizzicato 320–321tone 190–191wrist, keeping free 184pulling string 84reaching back 133, 140, 309, 317rolling 190–191, 255semitone spacing 80–81separation between 82–83shape xviii, 137, 144space between 135, 144speed 152See also ‘Fast fingers’square and extended xviii, 79–80squeezingfingers and thumbxvfirst- and second-fingers 134neck 183sideways xviii, 97–98, 133, 135,139, 164–165, 174thumb and first finger 182tapping 187–188tip or pad 99too-slow action 165V shape at base joint 133Fingers (right) 176.See also Base joints (right),Thumb (right),First–Fourth fingers (right)angle on bow 193bow impulses, sensitivity to 52flexibility 99, 198locked 50pressure 99pronation, supination 99spacing 99springs 50squeezing 43, 164string, playing into 48Fingertipangle to string xvi, 89, 317fat, thin 81fourth finger (left) 158hand shapexviiileading in shifting 144–145numbness 175placement: left, middle, right 135tingling 145vibrato colourxixFirst finger (left)base joint, pulling in 138contact-point with neck 99elbow position 142holding down 203natural direction 77neck of violin, contact with xviiiposition marker 231First finger (right) 37, 38avoiding pressing 46–47contact-point 99changing 42crease 41forearm rotation 123leaving stick 52pressing 46–47, 131squashing tone 45thumbdistance from 39–40, 99relative to 40two functions 43Fist bow hold 264, 283Fixes and moveable notes 91Flesch, Carl xvii, 245bow arm 49bow hold 40, 47chords 298exercises 264finger movement (right) 264first finger, putting weight into 47forearm movement, upper half 121intonation 89pizzicato 320pronation in the upper half 44–45six fundamental types 122, 264son filé 262spiccato 285third finger on bow 45thirds, scales in 309vibrato 249Flexibility 50–55, 179–180bow change, click at 50Flow 112–113Forearmmassaging 170–171Forearm rotationxixfirst finger, changingcontact point of 123left arm 35, 99, 122–123, 137,179, 197right arm 42, 123, 193Fournier, Pierre 3Fourth finger (left)base joint xviii, 158collapsing 157elbow position 142elementary players 139–140exercises 157–161finger preparation 147holding down 302–303improving 156mental picture 156over-reaching 71straightening 133thirds 141–142tip or pad 139–140, 157, 158vibrato 156, 158Fourth finger (right) 41, 46balancing 102contact-point 99placement 43playing in upper half 45tip, pad 99working with thumb 53Fourthsdouble stop 141, 311Frame 231Friction 2, 3, 265GGalamian, Ivan xvii, 245bow arm 49bow hand 50correlation 105, 106double contact, principle of 183fingertip placement 135frame 231in and out 121practice 328pressure exercise 18shifting 234, 243square and extended 79staccato, bow hand for 289string crossing 294third finger on bow 45triangle position 119–120tuning while practising 89Geminiani, Francesco 95, 230Geminiani chord 140, 299Given, Thelma 263Goals xx, 60Gravity, force of 164Groups 109–110Grumiaux, Arthurfourth finger (left) 156HHaendel, Ida 287HairSee BowHand (left)See alsoBase joints (left)balanced 192chain reactions, causes of 165classic shape 133336

contacting instrument 99, 243contracting 316fingers, keeping near string 236frame 162higher, lower 97keeping free 172massaging 170–171mental rehearsal 323, 325position at top of E string 97proportions 97softening 138, 244, 316tilt 36upper arm, releasing 314upper fingers, based on xviii,140–141widening at base jointsxivHand (right) See also Bow holdchain reactions 164creating weight from 47, 48,130–131flexibility xix, 20supination, pronation 37, 42, 99, 123Handsindependencexixsize, large and small 39, 81, 231,248, 254Hassid, Joseph 40, 149, 264Havas, Kató 197Headangle 29balancing 192‘forward and up’ 29left, right 29, 98movement, excessive 194relaxing the weight 30–31rotating 30Heifetz, Jascha 16, 45, 266, 301fast playing 111intonation, adjusting 89shifting 32warm-up exercise 155Hesitation 55before playing 106High-, low-frequencyscratches 13Hips 176, 193Hodgson, Percival 8, 44Holt, John 303Homeostasis 196Horowitz, Vladimir 101Hurwitz, Emanuel 145Hyper, hypo mobility 192IImagination, musical xviii, 1, 93,104, 221, 230, 330Inhibition 199Inspiration 1, 230, 233Interference 108, 122, 223, 224, 319Intermediate notes 235, 239, 240Intonationadjustment, instant 89, 314–315bow pressure 84checking with open strings 60, 62evenness 302expression through 94finger shapes 80gravitational attraction 63, 68, 85hesitation 55leading notes 62, 63, 64, 68, 86measuring and relating xv, xx, xxii,60, 81orchestral sound 221positions, spacing in 71–73proportions 96quarter-tone scales 63reference points 66scales 302semitone spacing 80–81structured and unstructured 55–56sympathetic vibrations xx, 60–61tempered, expressive 63, 71third tone 90timbre 61, 65uniform 74–75JJaw bone 27, 30Joachim, Joseph 265KKayser, H.E. 105, 152Keller, Hans 6Knees 176, 195Knuckles (left) 38angle to fingerboard xviii, 99,135, 137Knuckles (right) xix, 38higher, lower 45–46, 99parallel with bow 42springiness 50Kreisler, Fritz 253, 260, 329fourth finger (left) 156Kreutzer, Rodolphe See EtudesLLactic acid 165–166Lengthening andwidening xviii, 168, 173–178costal arch 176–177Léonarde, Hubert 150Leveragexixbow hold 37, 47, 213, 293chin on chin-rest 31elbow (right) 129hand and arm movements 296point, placing on string 277right handfirst finger 39–40first finger and thumb 54second finger 47–48second finger and thumb xixthumb, counterpressure of 278Listening xvi, xviii, 13, 57, 221acoustic beats 57–58ear tests, sensitizing with 58–60feedback 242improving 9, 57, 330intonation 75pre-hearing 55, 75, 93, 226,233, 236pressed tone 3quarter-tone scale 63resonance 4sensation, linking sound with 222shifting 224, 233, 243, 246surface noise 57tilting head 29tone exercises, improved by 1vibrato 252Localizing 152, 199MMartelé xiv, 49, 100, 103, 130,290–293bow hold 37, 293curves 124finger movement 292first-finger pressure 46proportions 96–97timing, technical and musical 205vibrato 271Massage 166‘Mechanics’ (and ‘Technique’) 221Mental controlconscious 221, 223detached 1, 23, 225, 227, 233groups, playing in 109–110localization of 199mental block 283Mental picture 9, 324arm (left) 197arm (right) 118bow hold 43chromatic scale 306finger pressure 189fluency 105fourth finger 156intonation 55perfect result, picturing 224, 323tension in hand 172thumb 53, 181trills 151visualization 156Mental rehearsal 322, 324–325bow shaking 323left hand 323memory 323Menuhin, Yehudi 104, 166, 329practice-mute 5single-finger scales 235Milstein, Nathan 45, 89, 253, 333Mobility 98, 176, 194–195bow-hold 44costal arch 176elbow (left) 142head 29thumb 182Momentumbow leading hand xix, 3, 13, 14–15,165, 176, 223double stops 310spiccato 15violin, raising 29Moser, Andreas 141Mozart, Leopold 230, 249, 262expression 230fourth finger (right) in upper half44–45Geminiani exercise 140–141pressure exercise 18son filé 262sympathetic vibrations 60–61vibrato 249Mozart, Wolfgang Amadeus 18337

Musclesactive, passive 168contraction 41, 168fixing 176minimum effort 171minor pectoral 170, 174tightening 89–90zero point 168Mutter, Anne-Sophie 323NNeaman, Yfrah xviii, 122, 229, 264attack, angle of 273finger preparation 145melodic playing 302Neck 27, 28, 30, 31, 197Neveu, Ginette 264OOctaves (double stop) 313–314fingered 316–317lower note louder 315string-length 318Oistrakh, David 16, 272bow arm 122first performances 332fourth finger (left) 156scales and arpeggios 302staccato 287Opposites, pracising by 145Overlapping 145, 303PPain 163Partial tones 8Percentage shots 107–108Perfect fifths 67, 76, 318Perfect intervals 66, 85–86,91–92, 311–312Perlman, Itzhak 81, 329Piano 2, 40, 60, 101experiment on 8finger preparation 146flow 112hand position 50intonation 62, 64, 68, 70, 70–71, 86staccato 283timing, technical and musical 205Pitch–sound–rhythm–ease 94–95,111, 114–115Pivot 31string crossing 101, 102, 112, 205,294, 295thumb (right) 52Pizzicato (left hand) 154, 203, 228Pizzicato (right hand) 319–322as a practice method 148‘Bartók’ pizzicato 320Point-of-balance 14, 46, 119, 120Positions 231, 236, 238–239Posture xvi, 192, 204Pressure 164, 265See also Bow pressure,Fingers (left)Progress, fastest possiblexviProjection 7, 265Proportions 96arm (right) 119bow, balancing in hand 44bow length and speed 268–269describingxiv–xvgive of the wood and hair 15ricochet 102sounds, describing 9–10Speed–pressure–soundpoint xx, 6, 7,9, 102, 227, 271–272spiccato 284, 286strings, thickness 6string vibration, widest 14tone from right hand inupper half 49, 130–131width of hair, string length 265Pulling down 102QQuantz, Johann xiv, 63, 92, 206RRabin, Michael 5Recordings 329–330Resistance, line of least 6–7Resonance 4, 57, 62, 65, 209Rhythm 218–221co-ordination 218expression through 94fingers (left) 186orchestral section, sound 221shifting 243–244underlying pulse xx, 112, 218Rhythm practise 94–95, 114, 116Ricci, Ruggiero 162Ricochet 279, 280first finger, experimentingwithout 281fist bow-hold 264Rode, Pierre 265, 327Rolland, Paul 29, 179Rolling 190–191, 255, 257Romantic shift See ShiftingRostal, Maxbow hold 40vibrato 260Rubinstein, Artur 220Rushing 108, 113SSautillé 37, 110, 279bow hold, balancing not gripping 44sweet spot 282Scales 55, 73, 105, 261,301–307, 326, 327, 330Casals 18chromatic scales 305expression 225, 228finger preparation 146fingers, holding down 150fourth finger warm-up exercise 160fourths (double stops) 311non-diminuendo 303–304octaves in a passage,improving 315–316perfect fifths (double stops) 311–312pitch–sound–rhythm 302pizzicato 320practice chart 307practising elements of 301quarter-tone scale 63single-finger scales 161, 235–236string crossing 303substitutions 242thinking ahead 112–113thirds 217, 308–309, 309–310tuning 85–89two-octave 75uniform intonation 55–56vibrato 249ScotomaxviiSee also Blind spotsScrollanglexviiiheight 32higher, lower 6–7, 32, 98left, right 33–34, 98lift, right 32Second finger (left) 81–82, 139–140double stops, independence in 83half position 71opening between firstand second 133–134, 194practise method forchromatics 305–306square and extended 79third finger, separation between 82thirds 141V-shape with first finger 133–134Second finger (right) 131crease, contact-point 41, 43helping first finger 47–48leverage 47–48thumb, not pulling in towards 165thumb, relative to 39, 40tremolo 296Self-correctionautomatic 313Semitone 71, 80–81, 85–86Ševčík, Ottakar 152, 226Shifting 224classical 191, 235, 238–239, 246, 248combination 238, 240, 248descending 30exchange 239, 241exercises 239–242fingertip 234leading shifting 48ghost notes 233, 242illusion of string length 247intermediate notes 235listening 243no such thing 232playing musically 113, 233pre-hearing 233, 236romantic 191, 235, 238, 239, 248semitone with one finger 85slow arrival speed 239, 245–247square and extended 80substitution 238, 240sustaining during 234tension 244timing 205, 213, 220,239, 243–244, 245upper arm 121Shoulder rest 27, 28, 182338

position 28too high 30Shoulders xviii, 131, 176left 165pulling in 28raising 27, 28, 176, 178–179,195, 200, 233tension 30, 197Sight-reading 162Silverstein, JosephxviiSitt, Hans 105, 327Sixths (double stop) 134, 141–142,312–313Slow Arrival Speed 245–246Slurs 219fast fingers 153–154, 172, 186fingers, dropping not rolling 191Solar plexus 176, 252Son filé 262–263Sound, impurities inxxSoundpoints 1Spiccato xiv, 25, 100, 213,279–280bow hold 282–283balancing not gripping 44bow moving within hand 37, 52–53fingers on bow 49first finger, experimentingwithout 281fist bow-hold 264, 282–283brushed 279chords, played with spiccato stroke298co-ordination 148–149, 203, 286curves 123, 284détaché 285Dounis, Dr D.C. 285Flesch, Carl 285flexibility, fingers and thumb 286groups 110, 257–258height and length 285length 285–286momentum 14–15pizzicato practice method 148–149,287point-of-balance 120proportions 48, 96, 284–285, 293run, end of 289scratches 284, 286–287soundpoints exercise 286speed limits 110string thickness 285thumb flexibility 195tilt of bow 286up not down, like pianist 283–284upward movement 3Spohr, Louis 27, 249Square and extended 79–80Square (right arm) 120Squeezing 163, 164, 197See also Fingers (left),Fingers (right)fingers and thumb (left) xvthumb and first finger (right)198–199Staccato 279flying, solid 279perfect result, picturing 324Stage-fright 323Stage whisper 208Stopping before starting 199–200Stretching 166Stringvibration, width of 16String crossing 303clockwise, anticlockwise 106legatoxixsmooth 294–295wide 53Stringscause and effect 1fingers pulling or pushing 84flatter nearer fingerboard 297friction 2, 265further apart at bridge 247gut 6, 45height above shoulder 27–28horizontalxviiilength when stopped 318less flexible closer to bridge 5, 23level with floor 32, 197meeting bow-hair 173short 84springiness xv, 189, 255,280–281, 315supporting the bow 35swinging from side to side 2sympathetic vibrations.See Intonationtension xv, xx, 6–7, 23thickness 3, 6, 274vibration, width of 2, 7, 13, 265watching 13Style 93pitch–sound–rhythm 93–94Supination, pronation 37, 42,52, 99Flesch, Carl 44, 47forearm rotation 123Supination shift See ShiftsSuzuki, Shin’ichi 197, 321Sympathetic movements 131, 198,254Sympathetic vibrationsSee IntonationSzeryng, Henryk 40, 264, 301Szigeti, Joseph 197TTapping 152, 187–188Tension 31, 233associations with 163, 172, 180chain-reactions 164forearm, massaging 170–171intonation 75, 89–90left forearm rotation 35left-hand 84, 215minor pectoral 174raising shoulders 27right-hand 44shaking bow 195shifts 244squeezing 133, 164–165thumb (right) 40–41vibrato 183–184, 195fast 256–258Tenths (double stop)string length 318Thinking ahead 112–113, 321Third finger (left) 139over-reaching 71second finger, separationbetween 82straightening 133weak in pizzicato 155Third finger (right)crease 41crease-contact near point 43pad, contact with frog 41, 43pulling in 45thumb, relative to 40–41‘tone finger’ of bow 45Thirdsdouble stop 141, 308–309interval 82Third tone 90–91, 303Thumb (left) 78chromatic scales 305counterpressure 189, 197forward, back 99higher, lower 99how many joints? 181over-pressing 197pivot 182position on neck 176preparation 182, 205rotation 182, 255squeezing xviii, 75, 102, 182tension 195Thumb (right) 40contact-points 54counterpressure 278curved xxi–xxii, 99flexibility 21giving 53muscle contraction 41pivot 52placementxixplacement on bow, diagonal 39tension 40–41three joints, not two 53tip, pad 53, 99Timing, technical andmusical 205, 219–220, 291Tone productionSee alsoBow speedbridge, bowing too far from 6describing 9, 13–14evenness 14excess pressure 2–3, 84impurities, high andlow frequency xx, 13isolating factors 12left-finger pressure 165, 189,320–321orchestral section sound 221speed–pressure–soundpoint 13string thickness 5–6sustaining evenly 112tilt of bow 265Tonus 7Tortelier, Paul 28Tremolo 296–297sympathetic movements 296Trills xix, 151, 224finger angles 134339

models 217studies, fourth-finger 161Tuningnarrow fifths 92unisons 57UUpper arm (left)See alsoElbow (left)balance 192immobility 28knuckle joints, angleto fingerboard 144locking 165, 197, 314space 256Upper arm (right) 120See also Elbow (right)rotation 179scroll, height of 32upper half 99Upper partials 8, 8–9VVégh, Sándor 110, 210third finger on bow 45Vengerov, Maxim 174, 216Vibrato xiv, 16, 57, 59, 101, 201,206, 208, 222, 224, 230,233, 266, 267, 296, 331accents 259, 279arm 193, 252, 254, 254–255, 256blind-spotsxviiibow, shaking 195bulge notes 270chain-reactions 165chords 299colour 205, 207, 221, 249, 253concept of 225, 252continuous 112, 257, 259–260copying 329directionxv, xixdotted motion 250double-contact, principle of 183exaggeration, practising by 109, 206expression 94, 95, 206, 220fingersholding down 150square and extended 79fingertip xvi, 158, 249, 253,254, 256, 331leading vibrato 48finger-vibrato 252, 255finger, weight ofxixfour basic groups 250–251fourth-finger 156, 158, 161, 217groups of eight 257–258hand 193, 252, 254intonation 89, 250–251leading bow with 271, 279listening 330mental picture 156models 217Mozart, Leopold 249nail joint 193pitch xix, 250pizzicato 322‘playing itself’ 225proportions 96quiet playing 214rolling 257scales 225speed and width 108, 193, 206,211, 213, 214–215, 249,251, 253, 256, 259, 331Spohr, Louis 249string, releasing 251sympathetic movements 254, 296tension 183, 195throb 12, 225, 251, 257varying 206, 210vibrato ‘trill’ 258violin, holding firmly 30width See speed and widthWinram, James 249‘wrist’ vibrato 48Viola 6, 92, 173Violinangle to body xviii, 33flatter without shoulder rest 27grippingxviiilighter, heavier 29neck sloping down 32position on shoulder 34, 98raising 29tilt xviii, 28, 31, 35–37, 144Viotti, J.B. 265WWaves 209–210Winram, James 249Wrist (left) 197freeing 184give 176high 131in, out 99locking 165pushing out xviii, 136straight line at 136Wrist (right) 42, 48excessive movement 193higher, lower 99tilt of bow 265upper half, supporting in 130YYankelevich, Yuri 100, 189, 331pressure exercises 18Index of musical examplesBach, Johann SebastianConcerto no. 2 in E, BWV1042mov. 1, b. 1 65Partita no. 3 in E, BWV 1006Preludio, b. 17 106Partita no. 2 in D minor, BWV1004Allemanda, b. 12 83Fuga, b. 4 304mov. 1, b. 1 210mov. 1, b. 4 174Sonata no. 1 in G minor, BWV1001mov. 4, b. 1 209Bartók, BélaFirst Rhapsodymov. 1, b. 2 108mov. 1, b. 38 108Beethoven, Ludwig vanConcerto in D, op. 61mov. 1, b. 89 107Sonata in C minor, op. 30 no. 2mov. 1, b. 19 69Sonata in E-, op. 12 no. 3mov. 1, b. 5 271mov. 1, b. 23 70Sonata in G, op. 30 no. 3mov. 1, b. 51 296Brahms, JohannesConcerto in D, op. 77mov. 1, b. 90 107mov. 3, b. 1 92Scherzo (Sonatensatz), WoO2b. 3 101b. 10 259Sonata in D minor, op. 108mov. 1, b. 1 37mov. 1, b. 61 72Sonata in G, op. 78mov. 1, b. 90 176mov. 1, b. 212 70Sonata no. 1 in G, op. 78mov. 1, b. 3 67Sonata no. 2 in A, op. 100mov. 2, b. 162 322mov. 2, b. 162 321Sonata no. 3 in D minor, op. 108mov. 1, b. 29 220mov. 2, b. 1 146mov. 2, b. 43 216Britten, BenjaminSimple Symphonymov. 2, b. 1 319Bruch, MaxConcerto in G minor, op. 26mov. 1, b. 6 66mov. 1, b. 6 276340

(Concerto in G minor, op. 26)mov. 1, b. 10 276mov. 1, b. 16 6mov. 1, b. 16 273mov. 3, b. 19 112mov. 1, b. 34 298mov. 1, b. 37 83mov. 1, b. 37 260mov. 3, b. 44 84mov. 1, b. 45 269Campagnoli, BartolomeoNew method for the violinpart 4, no. 236 240Chausson, ErnestPoème, op. 25b. 117 68Dont, Jakob24 Etudes and Caprices, op. 35no. 3, b. 1110Dvořák, AntoninRomance, op. 11b. 43 76Elgar, ElgarSonata in E minor, op. 82mov. 1, b. 131 215Fauré, GabrielSonata in A, op. 13mov. 1, b. 57 68Fiocco, Joseph-HectorAllegro, b. 18 145Franck, CésarSonata in A, op. 26mov. 1, b. 5 108, 278mov. 2, b. 48 209mov. 2, b. 56 206mov. 2, b. 95 70mov. 2, b. 168 266Grieg, EdvardSonata in C minor, op. 45mov. 1, b. 145 214mov. 1, b. 254 245Handel, George FredericSonata no. 4 in D, op. 1 no. 13mov. 2, b. 24 114Kabalevsky, DmitriConcerto in C, Op. 48mov. 1, b. 9Kayser, Heinrich ErnstxxiiEtudes, op. 20 no. 1 295Kreisler, FritzCaprice Viennois, op. 2b. 21 329Kreutzer, Rodolphe42 Etudes ou capricesno. 2, b. 1 100no. 6, b. 1 37no. 8, b. 1 271no. 13, b. 1 264no. 30, b. 11 296no. 31, b. 20 211no. 33, b. 1 83no. 35, b. 12 112no. 36, b. 1 130no. 37, b. 1 201Lalo, EdouardSymphonie Espagnole, op. 21b. 37 224Massenet, JulesMéditation from Thaïsb. 3 253Mendelssohn, FelixConcerto in E minor, op. 64mov. 1, b. 2 67mov. 1, b. 84 123mov. 1, b. 85 296mov. 2, b. 9 72Mozart, Wolfgang AmadeusConcerto no. 3 in G major, K216mov. 1, b. 51 63mov. 1, b. 78 213mov. 2, b. 9 107Concerto no. 4 in D, K218mov. 1, b. 42 162mov. 1, b. 42 194mov. 1, b. 42 283mov. 1, b. 45 89mov. 1, b. 52 72mov. 1, b. 57 207mov. 3, b. 23 287Concerto no. 5 in A, K219mov. 1, b. 40 69mov. 1, b. 40 267mov. 1, b. 40 270Sonata in B-, K454mov. 1, b. 1 66mov. 1, b. 14 284mov. 1, b. 50 210Symphony no. 39 in E-, K543var. 6, b. 1 116Violin Concerto no. 4 in D, K218mov. 1, b. 49 80Paganini, Niccolò24 Caprices, op. 1no. 1, b. 1 213no. 3, b. 2 280no. 15, b. 15 271no. 15, b. 19 289no. 19, b. 1 315no. 24, var. 6, b. 1 113Provost, HeinzIntermezzo, b. 25 116Pugnani-KreislerPraeludium and AllegroPraeludium, b. 21 84, 174Praeludium, b. 35 51Allegro, b. 41 77Rode, PierreConcerto no. 7 in A minor, op. 9mov. 1, b. 4 174Saint-Saëns, CamilleConcerto no. 3 in B minor, op. 61mov. 1, b. 20 267Havanaise, Op. 83 210b. 48 65Sarasate, Pablo deCarmen Fantasy, op. 25Introduction, b. 49 113Introduction, b. 65 241Introduction, b. 137 277Introduction, b. 158 245Habanera, op. 21 no. 2,b. 26 122Malagueña, op. 21 no. 1b. 55 203Playera, op. 23 no. 1b. 4 65b. 4 212b. 7 222b. 31 228b. 88 228Zigeunerweisen, op. 20, no. 1b. 98 321Schnittke, AlfredSuite in the Old StyleBallet, b. 9 284Fugue, b. 41 76Schubert, FranzSonatina in A, op. 137 no. 2mov. 1, b. 31 108Sonatina in G minor, op. posth. 137no. 3, mov. 4, b. 1 261Sonatine in D, op. 137 no. 1mov. 1, b. 1 70Ševčík, OttakarChanges of Position andScale Exercises, op. 8no. 1, b. 1 269Sibelius, JeanConcerto in D minor, op. 47mov. 1, b. 4 107mov. 1, b. 20 272Tartini-KreislerVariations on a theme by Corellivar. 1, b. 1 308Tchaikovsky, Pyotr IlyichConcerto in D, op. 35mov. 1, b. 23 65mov. 1, b. 23 150mov. 1, b. 40 305mov. 3, b. 416 271Three Pieces, op. 42Meditation, b. 20 72Meditation, b. 34 216Violin Concerto in D, op. 35mov. 1, cadenza 276Vivaldi, AntonioConcerto in G minor, op. 12 no. 1mov. 1, b. 7 270Wieniawski, HenrykConcerto no. 2 in D minor, op. 22mov. 1, b. 68 208Polonaise brillante, op. 21b. 23 324b. 78 313Scherzo-Tarentelle, op. 16b. 40 111341