Methodology for strings Part 3

The right hand

- Warming up
- Basic development
- General training
- Correcting
- Main strokes
- Chords

Warming up

Part 3 of this methodology series focusses on the development of right. Subjects offering
methodology students more structure and a deeper understanding will be dealt with in particular.
The stages of the pupils development will not be followed as such, but a lot of elements will be
supplied. Eventually all these loose elements have to form a whole. As with the jigsaw puzzle the
teacher does already know the overall picture. Practical experience gained over the years is the best
training here too.

“When a violinist bows, he is not just producing a sound from his instrument. He also creates a link
with an abstract world of colour, sound and emotion. Symbolically, bowing also touches the right
chords of music and art. The art of teaching requires more. You must be able to unravel the
complexity of movements. To do so, you will not always be able to use your own experience of
learning. You cherish, quite rightly, those things of your development that went well and came
naturally. That is fine, for too much awareness may inhibit you sometimes. However, knowledge
and analytical insight are absolute musts for a teacher. Only then, he will be able to guide a pupil
and incite him to play the instrument musically and expressively. As point of departure for further
development right, first a short flashback of the essence of Part 1.”
- a natural tone without any posture problems already at the first lesson.
- when holding the bow for the first time, place the inner fingers a bit further over the bow than
usual, to get a nicely rounded thumb and little finger.

- for balance place the hand a bit higher on the bow during the first couple of months. In the 17th
and 18th century this was the usual way of holding the bow, so called ‘Italian’ way.

- keep the first bows quite small so the hand remains in position.
- lots of rhythms but no complicated bowings.

“When teaching beginners, gaining command over left will prove to be the most difficult. With the
more advanced players, however, right will be experienced as far more complicated.”

The teachers analytical faculties are the decisive factor in fining the individual pupils natural
balance.

Basic development

- Bow control
- Bow-partitioning
- Bow speed
- Legato
- Retake
- String crossing
Bow control
The exercises and movement analyses:
“use the rests, particularly at a basic stage for practising and training certain things. Squeeze and
relax during the rests.

This way the pupil will sense the feeling of relaxation better.”
“Move the fingers, but not the thumb and the little finger.”
“For a better awareness of the little finger and breaking overactivity in the other fingers.”
“Relax the arm consciously.”
To release possible tension in the upper arm relax during the up-bow. Do this exercise on open
strings first, later on scales and studies. For a better bow control and a playful way of learning to
play at the bridge.

Bow-partitioning
When teaching beginners bow-partitioning is one of the first complications after the first detaché
strokes. The teachers knowledge of the horizontal movements main impulse enables him to teach a
proper bow partitioning.
“The most general division is:
- at the frog: the main impulse with the upper arm active, so from the shoulder.
- at the middle: main impulse with the forearm, so fro the elbow.
- at the tip: forearm most actively involved, but the upper arm cooperates with a forward
movement.”
To secure the basic handhold the initial bow partitioning should be in the middle. There is no need
to wage until the whole bow is used. Young children are very susceptible for simply having a ‘go a
lot’,so the more intuitive bow-partitioning can be trained by means of word rhythms. Bow-
partitioning is a combination of bowing at various places of the bow.

Applications of bow-partitioning is necessary at all levels in order to have a better command of

tone production and articulation.

Think of various ways of training how to enhance the sense of bow-partitioning.

Bow speed
With changing bow-speed it is difficult to keep the constant quality of tone and loudness.
“If, for instance, speed changes, pressure and place have to change as well to keep the same sound.
With the rhythm, the change of bow-speed is the problem. If you wish to keep the sound even, you
have to deal with the three factors of tone production. Bow the long note slowly, at the bridge, with
more pressure. The fast note faster, more towards the fingerboard with less pressure.
The most difficult change is from fast to slow, from tensed to relaxed. That is why we build this up
with rests. Play, and relax during the rest and gear yourself for different pressure, speed and place.
By adding f and p you will further the sense of change. You have to change over faster now, because
the rest gets shorter. After this build up the pupil can apply scales and studies with changing bow
speed.”

Application at a higher level

- Try to recognise by means of analysis the same regularities in more complex situations. If
necessary the approach can be the same building-up with rests.

Legato
When teaching beginners mime the movement first in order to simplify the coordination.
“First determine the bow-speed. Then add left. For instance, the first finger towards the thumb pad.

With a more difficult rhythm: mime-arco.”

The basic legato must become an automatism first, then extend more and more.

Application at a higher level

- An example of a complex legato. String crossing influences the synchrony and needs more bow.
Various ways of practising exaggerate this. This way you can build a suppleness. Ultimately there
will be a greater command of the passage.

Retake
At an elementary stage always combine the retake with rests. The retake causes more tension than
detaché. The essence of this exercise is putting the bow back quickly and eliminating the tension
during the rest in order to influence the quality of the next note.
To advanced relaxation you can add squeeze and relax, moving the fingers or relax the arm during
the rest. After having practised the retake for instance on scales apply it to simple pieces.

Application at a higher level

This approach will also ensure a better command at

faster continual retakes.

String crossing
Crossing strings, so the vertical movement of the upper arm, is also one of the complications of
basic bowing. At first let the pupil play always two notes, to keep the string crossing at the same
place of the bow.
“In the basic stage, move the upper arm in a conscious and controlled way during the rest. The
vertical movement. The position of the hand, wrist and forearm have to remain in the same relation
to each other.”

Application at a higher level

At a more advanced stage, when crossing three or four strings also add rests on practising. But then
before the rest cross very rapidly to the new string.

The rest is actual used to relax.

General training to all strings

- Detaché
- Little finger
- Finger stroke
- Martelé
- Fingers separate
- Changing finger
- Combination-stroke
- Balance

Detaché
A broad analysis of movement, when playing all the strings.
A detaché in a continuous movement the upper arm moves vertically.

At slow detaché repeating over two strings the forearm moves

elliptically.

With all the repetitive movements the position of the upper arm is determined by the lowest string.
At fast detaché repeating over two strings the wrist makes a stirring movement.

The legato string crossing in continuous movement is done with the upper arm again.
Legato repeating over two strings with the wrist up and down.

“Try to avoid bowing near the frog, because you need a difficult rotating forearm movement there.”
Use this information about the analysis of movements for your error analysis.
Application at a higher level.

A frequently used combination of same of the previous movements:

- first in double stoppings for the intonation.
- then only the continuous movement over three strings with the vertical movement of the upper
arm.

- first arpeggio, then only the slurs.

- after that, the repetitive movement over two

strings depending on the tempo with forearm or wrist.

- eventually all the movements will be combined.

Little finger
Little finger strengthening
The monkey stick exercise as agility training:
- especially with the correct handhold: first vertically and gradually more in the horizontal direction.
- especially for the little finger, stretch the arm, bow horizontal, leave the little finger rounded.

The exercise: lift the finger and place them again without help from left.
Retake and all other exercises at the frog strengthen the little finger too. The whip exercise, which
strengthen the little finger sequels the turning of the bow from the first lessons.
- first whip backwards, then the whip forwards. In between the whips always correct the handhold
with help from left.
Point of departure must be the correct handhold and the stretched arm. Associate with turning a key
or the bow as the wind shield wiper.
Application at a higher level.
An application of the advanced swish-exercise taken from ‘Urstudien’ by Flesch.

Finger stroke
If a more advanced player likes flexibility in fingers and wrist, special attention must to be payd to
the so-called finger stroke.
Finger stroke is an element of the total bow-movement and is not a real stroke.
There are two ways of activating this mechanism:
- by active training and then fitting it in or
- by starting from one big total motion and then reduce and refine from there:
Active/Passive

“We shall first discuss the path of active training. This means: all the links are trained actively first
and then use passively.”
- arm horizontal

- exercise the small knuckles

- exercise the big knuckles at a 90 degrees angle

- combine wrist and all fingers, the thumb joints too, associate with grasping.
- moving the arm anti-clockwise: pronation
-now the grasping movement again
- the same movement with a pencil
- put the bow with the tip on the table

- little downs and ups at the frog, just with wrist and fingers. The thumb is active too.
If a pupil involves the arm too much you could block the forearm with a music stand for example.

Martelé
Martelé at the frog:
- each note twice, on a scale for example.
There is a concise form of a finger and thumb movement that happen when play with a whole bow.

This wrist-finger movement with consciously minimal use of the arm is the collé. The tone is sharp
and short. Therefore Galamian calls it ‘pizzicato with the bow’.
A collé variation for advanced players by Thibeau:
- up bow at the frog, draw in the fingers, keep it like that;
- quickly set it at the tip;
- down bow at the tip.
These movements need to be done very consciously, because they go against the ordinary feeling of
pattern. Increase the tempo. Command of the whole bowing range will be trained if you extended
over four strings and apply it to a study.
- Fit the deliberately angular finger stroke in as a linking step.
- The results of the active training are now integrated in a more passive application of the finger
stroke. The main impulse of this finger-hand action at the frog comes from the upper arm.

“Now the other path: developing the finger stroke from the wide bowing movement. A mimed-fan
movement. Try to associate this with a paintbrush. Mind the active wrist.
- Down bow: spread the fingers/deep wrist.
- Up bow: lift the wrist in a relaxed way/fingers limp.”
To absorb the change of bow smoothly, the forearm moves already back while the hand and fingers
still go on in the same direction.
The same with the bow:
- first with assistance over the string
- then on the string. The teacher restrains the down-bow which will create the draw-sense.
Particularly the wrist consciously deep in the down-bow. This furthers drawing a tone.
The old French methods use the letter ‘t’ from tirez as a symbol for down-bow.
- now increase the tempo. The movement from quick to small.

Fingers separate
The use of the right hand fingers is very subtle and distinguished. Therefore it is also necessary to
train the individual use of all fingers.
“We demonstrate these exercises with 0-1-2-3-4 up and down, but you can project them also on
studies.”
- just the index finger active, the other fingers may tighten, when bowing each note 4x in the
middle, fortissimo.

This is important for extenuating the index fingers sense.

- then with all fingers on the bow.

- middle finger.
- ring finger.
- with one and two.
- one and three.
- one and four.
- two and four.
- three and four, do this exercise slightly nearer the frog.
These exercises on all strings and alternating with all fingers on the bow.

Changing fingers
A simple use of changing finger burdening:
- walking the bow over the string to and fro each note, 4X. The tone must remain the same at every
place of the bow. Apply to studies too at a later stage. Then each note ones.

Application for advanced players:

Play a sustained note with clear notion for the changing strain for the finger:
- down-bow: 4-3/3-2/2-1/1
- up-bow: 1/1-2/2-3/3-4

Combination-stroke
“Because this exercise is over three strings, all movements are carried out wide. This way, many
separate elements come together naturally.
- First stay at one place. You will feel that finger, wrist, forearm and upper arm cooperate.
- Then walking from frog to tip and back again.

On all strings and increase the tempo.

Balance
The approach from a wider natural motion can combine also separate element smoothly which has
positive results for the ultimate sound.
- to achieve a proper balance when standing, walk towards the music stand and then stand at it.
Walking while you are playing may relax, in particular so if the posture is too stiff.
- weight shifting makes the pupil more aware of binding both feet.
- sagging and rising also helps finding the right balance.
- bend the knees slightly.
- left moves with the body back and forwards. The bowing arm swings sideways.
- now the same smooth movement with the violin.
- finally bowing from the feet in one big dash.

The exercise build up in 4 steps can greatly improve the balance. An advanced player can also use
this exercise in case of a trembling bow in the down-bow.

Correcting
- Pronation
- Supination
- Sense at the frog
-Sense in the middle
- Sense at the point
- High shoulder
- Stiff wrist
- Straight bowing
- Sound nuances

Pronation
Pronation: too little intensity of tone, brushing, is often caused by too little pronation. Pronation is
anti-clockwise forearm rotation.

“You can apply the exercise for independent use of the fingers.”
Due to pronation the index finger becomes both: transmitter of pressure and conductor of the arms
weight. Only training with the first finger and 1-2 is suitable for this!
Adding the other fingers after that, the intensity of tone remains the same. The whole hand is
actually flexible.
Playing staccato in down-bow and up-bow may further the pronation sense

Supination
Bad use of the little finger at the frog is usually an indication of too little supination. Supination is
clockwise forearm rotation.

“An exercise to further supination sense. Do this exercise only at the frog.

In three steps, 2X each note, with a very small stroke, so with upper arm impulse:
- the index finger is stretched so extreme use of the little finger.
- lift the index finger now.
- the index finger is now in the normal position.
Because it automatically fixes the wrist better, this three part exercise can also be used in cases of
over flexed wrist and too much finger stroke.

Sense at the frog

When playing at the frog, the upper arm gives the main horizontal impulse, which has actually been
discussed before.
“In every day life, we’re mainly focussed on the hand. Many pupils don’t use the upper arm
actively.
Exercises to improve the sense at the frog:
- miming, move into all directions, so from the shoulder.
- grasping over the shoulder too. Associate with soaping yourself in the shower.”
- take the bow at 1/3 and bow in up-stroke until the frog.

- more straining for the little finger, but just as effective, with normal bow-hold in up-stroke, keep
on bowing passed the frog in the same direction.

When to involve the upper arm actually depends on the length of the upper arm. As regards ideal
proportions, one could speak of a golden section, however violinists rarely have them, while
maintaining all regularities, you’re always looking for a compromise.

Sense in the middle

Detaché in the middle is the basis for many derived strokes. Bowing in the middle should therefore
be unrestrained.
“The main impulse comes from the forearm. So, from the elbow.”

- by blocking the upper arm, you force the pupil to use his forearm. Take care that the support has
the proper height.

- supported by the teacher the pupil has to regain the same feeling.
- then experiencing the same feeling without support.
Too much tension between properly set thumb and fingers can also hamper the hinging of the
elbow.
- you can feel the negative effect of too much squeezing very well by miming the movement.
- make the movement with a clanged fist or hand, then without pressure. You can feel the restraining
in the elbow go.

Sense at the point.

Bowing at the upper part of the bow is a combined movement of forearm and upper arm.
“The main impulse comes from the forearm, the upper arm cooperates loyally.”

stroking the knuckles along the wall is a way if imprinting the cooperation of forearm and upper
arm on the motor memory.
- then evoke the same sensation while bowing.

High shoulder
Playing with a high shoulder usually goes hand in hand with the high upper arm.

It often occurs with players who have a strong need to express themselves. Even old methods were
against to the phenomenon of carrying the upper arm too high. In the Dutch edition Leopold Mozart
even called this posture the bad way. Clutching a book under the arm were sometimes used as a
rough remedy.
“Correcting by ‘your elbow down in the up-bow’ is very useful at a basic stage. The wrist and
fingers will hinge automatically, while the shoulder relaxes. Later, bowing while burdened with a
weight can also be very effective, if applied properly. Never make the mistake of hanging a bag on a
lifted upper arm. After releasing it, the effect will work negatively. Shoulder and arm are inclined to
go even more up. Buren the hanging arm for a short while. After it has been released, the urge to lift
the shoulder and arm will be less.”
This is also a good exercise for activating the use of the forearm.

Stiff wrist
A stiff wrist is usually caused by too much tension in the thumb.
“Too much tension in the thumb does not necessarily go with an incorrect position. Lucien Capet’s
exercise is meant to further the agility of the thumb.
- roll the bow to and fro during a long stroke.”
An exercise to release too much tension in the thumb:
- bow until the frog and move the thumb several times.
- you could also try various finger stroke exercises, in particular martelé at the frog with wrist and
fingers.
- training the wrist separately makes the entire movement more relaxed.
- the same with a coin on the arm makes the exercise more exiting, especially for young children.

- for the more advanced, move the arm independently from the wrist.

- on three places first for the right feeling: frog/middle/tip.

- then while bowing

Straight bowing
In most cases of self correction by observing what you are doing is not sufficient for learning how
to bow a straight stroke. Self correction by mean of a mirror is not the ultimate solution either.
Sometimes it may even lead to confusion. The direction be attentive to an intense tone is fine, but
often not enough to let the pupil bow a straight stroke.
Try after having analysed the problem thoroughly several exercises out in class, and then make your
choice.

Straight bowing errors:

- slanted backwards
- slanted forwards
- slanted not specific

Slanting backwards is mainly the result of bowing too much from the shoulder and not from the
elbow. So there is too little forearm activity. Teachers recognise this problem already 200 years ago.
A solution Campagnoli had thought of for instance, existed of a cord from the upper arm to a button
on the jacket. By blocking the upper arm this way the forearm had to remain active in the down-
bow.

“Let the pupil stand near a wall. The wall forces the forearm to become active at the right moment.
‘the knuckles along the wall exercise’ for a better sense of point may work here too, but slanting
backwards can especially be remedied by the counter-pressure exercise.”
The teacher provides pressure, and the pupil has to give counter-pressure during the down-bow.
Subsequently let the pupil play it alone. The effect will be immediately noticeable.
Holding the instrument too low further slipping of the bow and does slanting backwards. Taking the
jacket off the scroll result in an upward reaction of the left arm.

Bowing while keeping the right foot on a chair, will increase the sense of direction in particular on
the two highest strings.
There is also a very common error made at the up-bow: up-bow without folding in. Without hinging
the wrist so a slanted up-bow.
“The therapy: consciously lowering the elbow during the up-bow. The result: the wrist will hinge,
the upper arm relaxes, so bowing will become straighter.”
Suggesting try and smell the parfume on the wrist may also lead to the desired hinge effect.

“With these exercises, the upper arm is kept too low, consciously, bit a too low upper arm can very
simply be adjusted to the ideal position. Apart from that, I want to emphasize that there is no simple
correction available for an arm that is structural too high.”

Suggestive exaggerated aiming for direction may sometimes force a breakthrough of awareness.
Carl Flesch called this solitary exaggeration.
- in the down-bow move your hand towards the music stand, overdoing it a bit.
- in the up-bow, move your hand back to your face.
- the teacher makes the pupil feel the right track. This way the pupil can register the right bowing
directions.

The same exercise can be done at home. Then the pupil will have to fix the bow himself.
Sometimes the pupil does not have the slightest motion of bow-direction. To produce convincing
evidence take away the instrument and show the fixed bow-movement.

The pupil has to correct the bow direction. Feed back while playing, the teacher indicates when it is
straight. The pupil had to register this. Afterwards the teacher can ask the pupil what he perceives
when he bows in the correct direction.

Sound nuances
“All about the tone production and nuances of sound that are discussed during the methodology
lectures should be regarded as basic information. You can use that, to enable your pupil to express
himself better. With a lot of pupils, however, you will have to wet their needs to express themselves.
If you want to improve the quality of a pupil’s tone, concentrate first on a good idea of sound.
Additionally, I shall give you some general tips for influencing tone.”

Pay much attention to the son filé.

This is changing the dynamic on very long sustained notes. Which is a pre-requisite for expressive
playing. Have the pupil practice portato and staccato.

The same mechanism helps to add more colour to sustained notes.

Make use of the arms weight to achieve an intense tone, applying more pressure is not the only way
to do it.
Intensity of tone can also be increased by giving the instruction ‘give counter-pressure with your
violin’. For extreme fortissimo tilt the wood of the bow towards the fingerboard, particularly in high
positions where the distance to the bridge is minimal.
This way the sting of hair narrows, which enables you to play nearer the bridge. Tilting the wood a
bit more towards the bridge is a relaxed option for a sustained and very tiring orchestral tremolo.

Practice fast alternating dynamic extremes on studies that serve that purpose.

The 4000 bowing variations selected by Sevcik are still excellent

study material and a source of inspiration for the teacher. In order
to develop that specific sense of bowing, play passages that must
sound dolce or leggiero like the beginning of the Havanaise in
harmonics first.
“A small countermove with the instrument furthers a smooth change of bow. Tone production will
get full attention, if romantic expressive passages are practised non vibrato first. Vibrato will
become the extra ornamentation again, as it was preached in the 18th century methods.

Though gaining all kinds of techniques may result in improved play, it is no guaranty for colourful
and expressive play. A teacher should be open to possible other causes of learning because due to an
inner need to express himself musically, a pupil often chooses the right technique instinctively.

Main strokes
- Martelé
- Staccato
- Spiccato
- Sautillé
- Ricochet
- Springing arpeggio

Martelé
Martelé is a stroke derived from detaché. Martelé means hammered. This reverse to the sound effect
and not to the way of playing. Basic martelé is a very fast stroke without pressure, with a separation
between the strokes. After the stop press. The pressure is lifted at the start of a new stroke.
“In particular with martelé, demonstrating by the teacher may cause confusion. The attack comes
from released pressure. The pupil, however, thinks that he has to press sharply to get the
characteristic sound.
Martelé can be learnt or improved by using the following steps:
- point of departure must be the tone as produced on the table in Part 1. So bowing without pressure.
Just use the weight of the bow.
- increase the bow speed, so stopping becomes more difficult.
- now a fast stroke and during the rest press and release, without effecting the tone.
- now release the pressure at the beginning of the new note, so darting off the string.
- left has to proceed right, so place the fingers during the rest.
If you want to improve the martelé, you first have to analyse why it is not satisfying.
Standard errors with martelé are:
-the pressure comes on too early
- the pressure is released too late
- the stroke is too slow
- no command of the bow resulting in a quivering bow (no bow control)

Staccato
The basic staccato follows the same principles as the martelé. Hence the term martelé-staccato,
however this staccato has a limit to the tempo.
- here too, the tone is not created by press-press-press, but by release-release-release.
“It is quite obvious that you have to press first, before you
can let go. Be sure to give pressure before the first
staccato note. This ensures a good command over the
rest.”
The virtuoso tightened-muscle staccato makes only sense at a fats tempo and can for instance be
generated from the tremolo sense.

Spiccato
The pupil needs to have a reasonable right hand technique and must use the little finger properly,
before spiccato can be developed. The pupil will off course first learn a more technical spiccato.
Playing more spiccato differentiations can be developed from this basic spiccato. The plural:
spiccati. But actually be more appropriate to indicate the wide range of tone production.
“some teachers learn the spiccato from the air, from big to small. The risk: the spiccato is too high.
Others slow down the sautillé and let it shift into spiccato. This approach is, therefore, indirectly
from the detaché. Developing spiccato straight from the detaché is the most commonly used
method. We take a look at the steps from detaché to the basic spiccato:
- start with this staccato rhythm, just below the middle. We use the staccato pressure sense now, to
get free from the string in the up-bow.”
Some pupils have problems with lowering the bow in a composed way. Let them first set the bow.
With this linking step you strengthen the relationship with the detaché. Here too, darting off the
string in the up-bow. The preceding exercises in condensed form could be used as basic spiccato.
This can be consolidated by means of scales and studies. Advanced players are divided to practise
spiccato on the upper half. This furthers a better command of spiccato at the ideal place of the bow.
Some pupils try to jump too actively and too much near the frog. Spiccato realised by the natural
bounce of the bow could then be used as correction, but also as a step to a basic spiccato.
- bounce from big to small by rotating the forearm more or less in the middle.
- adding a small upper arm movement in horizontal direction on command. This results in a
scratching tone.
- use your ears to refine the tone. The natural bounce of the bow remains essentual.
This approach appears to be affective too for achieving a synchronise spiccato with a string quartet
or string ensemble.

Sautillé
Sautillé or saltato is only possible with the balanced bowing technique. The bow acts independently
more so than with spiccato. Sautillé is only possible from a certain speed. Many separate
components of bowing have to emerge in a natural way.
Some directions from learning or improving sautlllé:
- A preliminair mind exercise is important, slight pronation is a prerequisite. The impulse comes
from the forearm. Te effect is felt in the hand. A basic sautillé can be created by accelerating and
decreasing combined detaché. The first attempt should not be made on an open string. Hold the
violin horizontal and flat. This way right needs to compensate less.
- Slight pronation of the hand. This gives more room in the wrist.
- relax shoulder and upper arm. This furthers freedom in the elbow and wrist.
- do not tilt the bow too much. The bow has more bounce if the hair is flattened.
- establishing the place on the bow by experiment
- this may vary per bow.
- you can approve the tone by playing more on the fingerboard. The string is less rigid there and
gives a better tone. After all sautillé is a fast stroke.
If the movement is too wide the teacher fixes the bow saying:’continue the movement’.

Once released the movement will be smaller. The pupil can do the same alone. If the tone is loose
you can start with too much pressure and release it gradually and sautillé is created. Training the
sautillé with just one finger on the bow creates a suppleness. As a result the sautillé with all fingers
on the bow will be conducted with greater command.
With the combination over two strings, the accent is on the vertical component of the sautillé.
Special attention has to be payd to the synchrony of left and right. Particularly so if combined with
string crossings.
Ricochet
Ricochet is a thrown stroke. The bow rebound because of his natural elasticity. You can affect the
speed of the ricochet.:
- slow: more towards the middle, starting higher.
- fast: more towards the tip, starting lower, less stroke.
While practising count very exactly to receive the precise moment of up-bow. Use all the hair to
gain more rebound. Ricochet should be practices first on the down-bow on one tone. The
combination of string crossings and several notes is more complex due to synchrony.

Springing arpeggio
The springing arpeggio is derived from the legato arpeggio. It is only possible with a fast tempo.
“You must create the right conditions for the pupil to learn or improve rhythmic bouncing.”
- play first in legato arpeggio to feel the vertical upper arm movement. It will be more regular.
- command of the index finger is furthered by practising with staccato.
- the weight and re-bound of the bow can be experienced by play a slow throwing arpeggio.
- start at the tip and move the springing arpeggio toward the middle to find the perfect place. This
actually varies per bow.
- directions like: the hair flatter, bearer to the bridge, or bow slightly slanted may also help.
Chords
- Double stoppings
- Unbroken chords
- Broken chords

Double stoppings
Simple play with double stoppings should not be postponed too long. It furthers the command of the
bow, moreover to support of the harmonic intonation. By bowing nearer the fingerboard, it is easier
to touch more strings. There is only little pressure needed, because the resistance is lower. The pupil
wants to touch more strings and is naturally inclined to give too much pressure.
When playing double stopppings and chords, you must be extra aware of the three factors of tone
production:
1) place of the bow on the string
2) weight of the bow
3) speed of the bow.
- a high position combined with an open string makes it necessary to find a compromise as regards
the distance to the bridge. Slightly slanted bowing is then even legit. The same goes for large grips
like tenths.

Unbroken chords
Also when playing unbroken three-note chords, intonation has priority.
“This exercise is the stepping stone to playing unbroken three-note chords. Put down the bow
immediately after the stroke and relax during the rest.”
This is an important stepping stone for mastering several elements, applying the principle of retake
on double stoppings, practising double stoppings with greater bow speed with little pressure and
more towards the fingerboard imprinting the demarcation of an area defined by three strings on
your motor-memory.
Some tips for playing unbroken three-note chords:
- put the bow in the middle of the string first.
- apply that little pressure, that the hair only just touches the three strings.
- the more towards the fingerboard, the flatter the strings.
- with minimal pressure the bow should be fast nearer the fingerboard. Direct the stroke more
upwards so the lowest note sounds longer rather than shorter.

Command of technique will be better in the down-bow, but the same regularities apply to the up-
bow too.
Broken chords
broken three- and four-note chords are build up in a few steps at an elementary stage.
- play each chord twice. This gives more rust to improving the intonation and realising the optimal
sound.
- apply little pressure.
- use little bow on the first double stoppings in particularly. This ensures a better sound with the
second double stopping.
- with legato detaché of two chords, you must practice the link separately.
Let the upper arm anticipate in the up-bow. This way you diminish the movement and improve the
legato sound. Breaking two after two is the simplest and most frequently used breaking of four-note
chords. Much more difficult, but also more professional is the three-two breaking. There are varies
ways of breaking chords, also combined with arpeggio. Sometimes it is started on the beat,
sometimes anticipated. Choice mainly depends on the actual performance and interpretation.

This is the end of the technical analytical bowing instruction. It is an introduction to the abstract
world of music. A teacher who has an understanding of the concrete steps to be taken during the
various stages of development, will be able to help his pupils to acquire a rich range of tone colour
that will enable them to express their innermost feelings.