here - Secrets of tone production DVD Simon Fischer violin basics

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