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Question from a new-comer.


Saddest Violinist

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First I would like to say hello to all of you since I am a new comer.

Anyway, I would like to ask how to play well in Staccato or Spiccato. For example, in Paganini's Moto Perpetuo, I have to play Staccato right??? So I should play with the middle of the bow. The question is, should the bow be controlled by the movement of whole arm or just by the recoiling force of the bow in such a high speed???

Also, in Tzigane, there is a part where the violin solo is accompanied by the Harp, a double-stop fingering. So I will feel tired of the left hand fingers when I have to move the fingers so rapidly. Is it normal or should I avoid???

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I'm totally off the topic, but why have you named yourself 'Saddest violinist'?

As far as your thread goes, I've been struggling with spicatto for many, many months... Besides all the Sevcik and alike exercises, I'm finding that as my wrist relaxes it starts to sound better, but I can't give you much advice, there are many members who have lots more experience and will give you lots of insights!

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quote:

Originally posted by ondinaperret:

I'm totally off the topic, but why have you named yourself 'Saddest violinist'?

As far as your thread goes, I've been struggling with spicatto for many, many months... Besides all the Sevcik and alike exercises, I'm finding that as my wrist relaxes it starts to sound better, but I can't give you much advice, there are many members who have lots more experience and will give you lots of insights!

Try gripping the bow losely and moving the right hand in a little circle. If you do the right the bow will beging to bounce rapidly. It's all in the wrist.

Have fun,

Don Crandall

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Hi. I spent alot of time struggling with staccato strokes during my student days. Finally Robert Lipsett solved my problem by showing me how to use a very small amount of bow--an inch or less--with a rapid stroke to initiate staccato sound. The beauty of this stroke is that you don't have to lift the bow at all. It flies of its own accord (the exact bow placement--middle, upper half, etc--depends on the dynamics and on the weight of your bow). For Paganini Moto Perpetuo one has to practice the notes by repeating them (for instance, four times each) and also in groups of four and eight. Another, related stroke is the brushstroke where you do lift the bow slightly. They key for me was to hold the bow lightly yet firmly with 2nd and 3rd fingers against the side of the frog. These fingers have a controlling "pull" that you can vary to affect your sound, if you experiment. Another helpful element is the placement of my elbow--I can't have it too low, or the brushstroke won't work. Every day I experimented with my stroke and my sound, playing scales in this way. Now that I don't practice much (I conduct alot), I have to practice and refresh my strokes before I play, in order to polish them up for proper use.

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At the speed of Moto Perpetuo (quarter = 180), you will end up with a sautille' stroke -- the bow should bounce on its own (as opposed to the controlled spiccato stroke).

If your left hand tires during a solo work, you are working too hard. Try using less pressure with the left hand.

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Anything wrong with the name Saddeest Violinist???

Anyway, during the spiccato, should only my wrist move or the whole right arm??? And what is the name of the techniques for different names???

Moreover, I read from the book the Art of Violin that when play in speed of 180 quatchets per minute, the bow should be placed at the tip??? Do you think it's necessary or not??? And for the first Cadenza in Sibleius Violin Concerto 1st movt, should I play the staccato part at the frog or in the middle???

In addition, any opinions on playing the part in Tzigane??? I really wonder because I don't whether my fatigue is because my fingers are short or not. But I am sure that it is not caused by too much pressure on the strings.

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