Key Points: Pieces 62 & 63

 

• Piece 62 uses every form of bowing you've learned so far, adding the addition of tenuto. Tenuto isn't too hard to do, it merely means giving the note its full length. This tends to give the note a little 'weight' in comparison with the other notes.

• The key to Piece 63 is learning the hooked bowing technique. Learn this slowly and carefully by working with the notes associated with it separately from the piece.

• Some parts of Piece 62 should be practised by separating short sections with the different kinds of bowing and then putting them together.

• The dynamics in Piece 63 require both crescendos and diminuendos. See the dimnuendos as a subtle relaxation of the pressure of the right hand index finger.

 

Remember:

• As always start by doing a bowhold check, do a whole bow warm up, playing the scale of D major and G major. This is so easy to do and really helps you check your tuning.

• To get going pluck through each piece once or twice.

• Then try with the bow the Student's Track until you feel confident to move on to the duets.

• Go from plucking to bowing and back to plucking until you are confidently bowing each piece.

• Don't be in any rush to 'get it right straight away' - being patient will pay off in the long run.

• Go over previous videos if you think something's not right.

• Most 'horrible' sounds occur because of a tense right hand causing the bow to 'tremble,' 'bounce' or be 'scratchy'.

TIP:

'Hooked' bowing - the key to this is to first focus on the 'gap' or 'stop' between to the two notes. Make a deliberate attempt to 'stop' the bow moving before completing the stroke. Do this a few times before attempting to close the 'gap' or 'stop' gradually. Eventually it should almost have disappeared except that it should sound as if you were in fact changing the bow direction as you might normally. If this doesn't happen your 'hooked' bowing will sound like 'staccato' instead.