Lesson 38 - Insuring Nameless, leaving George

Lesson notes from Deryn:

1. Bow Technique

1.1. Sevcik Op. 1 No. 2 (Pg. 5)

- As an alternative to using the note sequences that precede the variations, use new scales and arpeggios (G & F maj 2 octaves)
- Variations 1 & 2: be sure to stay on the string during the rests - bow stays on the string at all times.
- Variation 3: preparatory exercise for grand détaché bowing. Aim for clean sound, well connected bow and soft hand.
- Variation 4: legato separate bowing: rich, warm tone
- Variation 5 & 6: retakes (up-bow followed by down-bow) - circular, fluid arm movements driven from the root of the arm and controlling the bow through to the tip.
- Variation 7 & 8: Uneven bowing - maintaining a consistent tone and dynamic while changing the speed of the bow (whole bow for each note)

1.2. Bunting Bowing Regime

- Get closer to the bridge for 12 and 16 ticks per bow.
- Pay close attention to the bow hand and overall right arm comfort throughout.
- Try to make adjustments as you play.
- Shoulders down.
- Light, relaxed vibrato: Start each note clean and gradually increase the vibrato as you go along.
- Keep left hand fingers apart when using vibrato, especially 1st and 2nd fingers when stretching back.

1.3. Sustained notes at the bridge

- This is a sound development exercise.
- Test of bow control, and learning to adjust weight and speed according to string tension which is always greater at the bridge.
- Pluck the string with your left hand just as you start bowing.
- Keep the bow speed absolutely consistent
- Try to keep the note as clean as possible
- Take note of any inconsistencies in the sound and observe why they might be occurring.
- After doing this several times on each open string, play a scale of your choice 'normally' (i.e. bow halfway between bridge and fingerboard)
- Note how much easier the bow movement feels and listen to the sound - there should be an improvement after playing at the bridge.

2. Left Hand Technique

2.1. Connecting 1st and 4th Position - Legato (Langin Chapter 32 ex. 32 - 32e)

2.2. Playing the same passage in 8 different positions and keys (Langin III pg. 30 ex. 35g)

- Do E major (half position) first, then F major (1st position), then the rest in order.
- Aim to make these a regular feature of your practise sessions from now on.
- Be aware of the position you're in, the key you're playing in, and the notes you're playing.