here - Secrets of tone production DVD Simon Fischer violin basics

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