here - Secrets of tone production DVD Simon Fischer violin basics

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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
Page 1 and 2: ContentsDetailed contents..........
Page 3 and 4: Practising playing piano at the
Page 5 and 6: lesson 4 Background essentials 1
Page 7 and 8: Moving from the base joint 157Ai
Page 9 and 10: Not caring too much 222Not inter
Page 11 and 12: Raising the elbow 282The bow hol
Page 13: General indexAAccent practice 116Ac
Page 17 and 18: Musclesactive, passive 168contracti
Page 19 and 20: models 217studies, fourth-finger 16

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