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 <strong>of</strong> the last 322Miming 322Vibrato 322An outline <strong>of</strong> 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 sensations<strong>of</strong> playing 326Investing your time 327Varying the material 327Scales and studies 327Logical order <strong>of</strong> 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 <strong>of</strong> 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 <strong>of</strong> scroll 35hanging 142, 190<strong>violin</strong> position relative tolength xviii, 33, 117Arm (right)actions, origins <strong>of</strong> 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 <strong>of</strong> 32shoulder and elbow,movement at 179square 120suspending in air 169, 197, 276triangle 119<strong>violin</strong> 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 <strong>of</strong> 195intonation 263<strong>tone</strong>, how to produce 48BBach, C.P.E. 230Back 30, 195costal arch 176curve at top <strong>of</strong> 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 <strong>of</strong> 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 <strong>of</strong> fingers 41, 42creases 41, 43fingers, distribution <strong>of</strong> 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 <strong>of</strong> 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 <strong>of</strong> 208334
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