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Go on to: Lesson 31

Lesson 31

Go on to: Lesson 32

Back to: Lesson 30

64 Puff The Magic... - Student's Track
64 Puff The Magic... - Duet
65 Dumplins - Student's Track
65 Dumplins - Duet

Key Points: Pieces 64 & 65


  • Piece 64 uses hooked bowing but using two 'up bows' as well as two 'down bows'. If you have begun to handle the down bow form then you will find using up bows quite straight forward.

  • Piece 65 is where your hooked bowing capability will be seriously tested.  This is one to master in order to get this kind of bowing 'under your belt'.

  • Some parts of Piece 64 should be practised very carefully, namely bars 4 and 5. Bar 4 has full bow on a quick quaver so take care not to play this too loudly. Bar 5 has two quaver hooked up bows which may need to be practised separately.

  • The dynamics in these pieces are marked mf and mp (moderately loud and moderately soft). In the case of piece 64 make sure that the top part is louder so that your part stands out. In piece 65 both parts have the same dynamics so it is about the contrast between each 2-bar section.



  • 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'.


'Hooked' bowing (repeat from last lesson) - 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.

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