Lesson 33
Back to: Lesson 32
Go on to: Lesson 34
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.
Key Points: Pieces 68 & 69
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You will almost certainly connect Piece 68 with black & white movies and slapstick comedy. This is where playing without hooked bowing is very appropriate as it enhances the comedy effect.
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Piece 68 is a different use for 6/8 when the music needs to evoke a kind of 'pastoral' effect. So in this piece keep the bowing as smooth as possible. This is in sharp contrast to the previous piece.
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Piece 68 should eventually be played quickly so take the trouble to build the sppeed of the piece up as you practise.
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Watch out for the dynamics in piece 69. There are several hairpin crescendos so use these to gradually get louder as the piece coms to a close.
Remember:
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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.
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To get going pluck through each piece once or twice.
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Then try with the bow the Student's Track until you feel confident to move on to the duets.
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Go from plucking to bowing and back to plucking until you are confidently bowing each piece.
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Don't be in any rush to 'get it right straight away' - being patient will pay off in the long run.
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Go over previous videos if you think something's not right.
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Most 'horrible' sounds occur because of a tense right hand causing the bow to 'tremble,' 'bounce' or be 'scratchy'.