Today I introduced Ivan Galamian's
acceleration and retardation exercise for scale practice.
We are beginning with the 3 octave G major scale.
Beginning tempo is quarter note equals 50. Students should gradually progress to quarter note equals 60 over the course of the month of September.
Some key points to remember while practicing:
1. Divide the bow into as many equal parts as there are notes in the slur.
-4 notes to a bow equates to each note getting 1/4 of the bow
-6 notes to a bow equates to each note getting 1/6 of the bow
-8 notes to a bow equates to each note getting 1/8 of the bow
-12 notes to a bow equates to each note getting 1/12 of the bow
-24 notes to a bow equates to each note getting 1/24 of the bow
To simplify this process it is often advantageous to divide the bow into halves, thirds and quarters.
For example:
- 4 note slur will sustain 2 notes in the lower half and 2 notes in the upper half.
- 6 note slur will sustain 3 notes in the lower half and 3 notes in the upper half.
Practice the 6 note grouping also dividing the bow into thirds. 2 notes are in the lower third, 2 notes in the middle third and 2 notes in the upper third.
- 8 note slur will sustain 4 notes in the lower half and 4 notes in the upper half.
- 12 note slur will sustain 3 notes in each quarter of the bow and 4 notes in each third of the bow and 6 notes in each half of the bow.
- 24 note slur will be rendered easiest to execute if we divide the bow into thirds, each third sustaining 8 notes.
Your bow is your metronome. That is to say that the speed of the bow must remain constant in this exercise, regardless of the number of notes in each slur.
To better understand this concept, set your metronome to 1/4 note equals 50.
Now play an open string, using your entire bow in time with the metronome. This is the speed of your bow for 4 notes through 24 notes.
Some right hand basics to consider:
1. Arm-string levels:
Your upper arm should be at the same angle as your bow. There are 4 basic arm levels, one for each string. We raise and lower our arm level from our shoulder socket.
2. Open and close your forearm from your elbow.
One of the most common bad habits is when we confuse our string level and forearm movements resulting in a locked elbow.
If you are struggling with a locked elbow, see me or one of the advanced students for a demonstration of the "wall exercise".
3. Prepare your bow changes!
Down bow at the frog: supinate and transfer much of the balance of the hand to the pinky
Up bow at the tip: pronate and transfer much of the balance of the hand to the index, middle finger/thumb.
We must prepare for the down bows at the end of the up bows and vice versa. In other words, the hand must transfer from the up bow position to the down bow position at the end of the up bow, BEFORE WE CHANGE DIRECTION. The down bow will begin before the up bow is finished and vise versa.
For this to be successful, the hand must cultivate the ability to pivot between pronation and supination.
Some exercises to cultivate the pivot action:
Practice all possible finger combinations on open strings and scales and etudes.
(The following all include the thumb)
1-4, 1-3, 1-2, 1-3, 2-4, 2-1, 2-3, 3-4, 1, 2, 3, 4
Remember to keep your thumb bent and curve your pinky!
* Successful bow changes require an understanding and mastery of the finger stroke ( think colle) This is an area of study which we will focus on heavily. The Colle and Martele strokes are fundamental to a sound violin technique. More to follow....
RHYTHMS
The brain is your largest muscle. Most mistakes occur because you have not cultivated a mental control over your physical movements.
Practicing rhythms forces your brain to solve problems and enhances mental control. It will often reveal a problem in left hand rhythmic digitation ( sloppy rhythm in your left hand ), string crossings, shifts etc....
I advocate a healthy amount of time devoted to Dounis type practice, of which I will expound upon at a later date.
Use the Galamian bowing and rhythm supplement to the scale book.
To cultivate a general understanding of this concept, begin ton incorporate rhythms into your scale practice.
for 4 note slurs, practice 4 note rhythms. First separate bows, then slurred. ( 2 note rhythms work too).
for 6 note slurs, practice 6 note rhythms ( also 2 note, 3 note and 4 note rhythms )
for 8 note slurs, practice 8 note rhythms etc. etc.
There are an infinite number of combinations. The ones I have just suggested are the most basic and are intended as an introduction to this type of practice.
