here - Secrets of tone production DVD Simon Fischer violin basics

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