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Lesson 32

Back to: Lesson 31

Go on to: Lesson 33

66 Row, row... - Student's Track
22 Road Monsters - Duet
67 Pop! - Student's Track
67 Pop! - Duet

Key Points: Pieces 66 & 67


  • Pieces 66 & 67 are in a new time signature of 6/8; six quavers per bar grouped in two groups of three quavers. You play the groups of three with a small emphasis on the first of each group of three. The first quaver of the first group has slightly more emphasis than the first quaver of the second group of three.

  • Piece 67 is also in 6/8 but it uses 'hooked' bowing to reduce the risk of a 'lumpy' standalone quaver.

  • In places Piece 66 has single quavers on their own. Short notes like these normally need more bow and can sound louder than the rest. Experiment with a lighter bow to see what effect this has and then try it without. You may think that the effect of a louder quaver can sound quite comical which may suit the style of the piece.

  • Watch out for the solitary pizzicato in piece 67. You need to maintain control of the bow so don't change your basic bowhold. Stick out your middle finger to pluck the string and then your bow hold will be ready to carry on with bowing ('arco').



  • 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 - 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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