zimbalist tango
TRANSCRIPT
L Hand: release flat fingers …………………………………………………………move hand balance toward second finger
RH BD: [(½/½ )/ (½/ ½ )] /*rtk*¼ // 5/5 of WB //from tip:(½/½ ) //save/move down/save // move/save/ mv //frog to / ¼ / ¼ /to frog/*rtk* ¼
of 2/3rds bow of 1/2 bow mid UH (~2/3)
LANES: md lane/ slight tug……………….//resonant md lane // AWAY // tug/ away /tug for G//away/md lane……………………………………………………
OTHER: Different sound and character. Take the time to sing!!
L Hand: Flat, fleshy fingers and leaning more toward 1st finger hand balance for warm, vibrant, expressive sound.
R Hand: Flat hair. Middle of the hand balance & pivot pt.
BOW DIVISION: frog to mid UH // save/Move to TIP/WB /WB // (½ /½ ) / (½/ ½) /*retake* ¼
of WB of HB
LANES: resonant lane // --- /closer to /pull into /away// medium lane/ slight tug toward bridge
bridge bridge
SHIFTS: shift on new (up) bow
OTHER: Shoulders back, ribcage released and open, & shoulder blades hanging for open and resonant sound. L Hand: release flat fingers …………………………………………………………move hand balance toward second finger
RH BD: [(½/½ )/ (½/ ½ )] /*rtk*¼ // 5/5 of WB //from tip:(½/½ ) //save/move down/save // move/save/ mv //frog to / ¼ / ¼ /to frog/*rtk* ¼
of 2/3rds bow of 1/2 bow mid UH (~2/3)
LANES: md lane/ slight tug……………….//resonant md lane // AWAY // tug/ away /tug for G//away/md lane……………………………………………………
OTHER: Different sound and character. Take the time to sing!!
L Hand: Flat, fleshy fingers and leaning more toward 1st finger hand balance for warm, vibrant, expressive sound.
R Hand: Flat hair. Middle of the hand balance & pivot pt.
BOW DIVISION: frog to mid UH // save/Move to TIP/WB /WB // (½ /½ ) / (½/ ½) /*retake* ¼
of WB of HB
LANES: resonant lane // --- /closer to /pull into /away// medium lane/ slight tug toward bridge
bridge bridge
SHIFTS: shift on new (up) bow
OTHER: Shoulders back, ribcage released and open, & shoulder blades hanging for open and resonant sound.
L Hand: [FOR ARPEGGIOS - Balance on 2nd finger for more rounded/arpeggio hand frame, / flat fingers……………………more 1st finger balance……………………. but also retain 1st finger awareness for shifts. Also helps to think of notes directly AFTER each shift (3rd fingers).]
RH BD: [ ⅓ / ⅓ / ⅓]/[ ¼ / ¼ / ¼ / ¼ ] // ¾ / ¼ /mv/save/mv/WB/ WB // (½ /½ ) / (½/ ½) /*rtk* ¼ of WB OF WB of HB of HB LANES: md lane…………………………………../closer and closer to bridge…//……/ away………………………/big tug/ away // medium lane/ slight tug toward bridge SHIFTS: Think of the motion of both hands moving in the same direction and speed together for fluidity. Shift with the ARM not the fingers or wrist. Shift to high A on NEW bow.
L Hand: release For double-stop: preplace LH & balance between 1st and 2nd fingers
RH BD: [(½/½ )/ (½/ ½ )] /*rtk*¼ // 5/5 of WB //from tip:(½/½ ) //save/move down/save // move/save/ mv //frog to / ¼ / ¼ /to frog/*rtk* ¼ of 2/3rds bow of 1/2 bow mid UH (~2/3) For double-stop: balance on imaginary string LANES: md lane/ slight tug……………….//resonant md lane // STAY ……………………………tug for G//slightly away/md lane……………………………………………… SHIFTS: Shift at end of Bb, up bow before retake Other: KEEP THE ATTITUDE!
L Hand: [FOR ARPEGGIOS - Balance on 2nd finger for more rounded/arpeggio hand frame, / flat fingers……………………more 1st finger balance……………………. but also retain 1st finger awareness for shifts. Also helps to think of notes directly AFTER each shift (3rd fingers).]
RH BD: [ ⅓ / ⅓ / ⅓]/[ ¼ / ¼ / ¼ / ¼ ] // ¾ / ¼ /mv/save/mv/WB/ WB // (½ /½ ) / (½/ ½) /*rtk* ¼ of WB OF WB of HB of HB LANES: md lane…………………………………../closer and closer to bridge…//……/ away………………………/big tug/ away // medium lane/ slight tug toward bridge SHIFTS: Think of the motion of both hands moving in the same direction and speed together for fluidity. Shift with the ARM not the fingers or wrist. Shift to high A on NEW bow.
L Hand: release For double-stop: preplace LH & balance between 1st and 2nd fingers
RH BD: [(½/½ )/ (½/ ½ )] /*rtk*¼ // 5/5 of WB //from tip:(½/½ ) //save/move down/save // move/save/ mv //frog to / ¼ / ¼ /to frog/*rtk* ¼ of 2/3rds bow of 1/2 bow mid UH (~2/3) For double-stop: balance on imaginary string LANES: md lane/ slight tug……………….//resonant md lane // STAY ……………………………tug for G//slightly away/md lane……………………………………………… SHIFTS: Shift at end of Bb, up bow before retake Other: KEEP THE ATTITUDE!
L Hand: ……………………………………………(see measures 27 and 28 above) // VERY flat fingers – even rotate elbow under vla for complete expressive change in sound RH BD: ¼ / ⅓ / ¼ / ¼ // ⅔rds / [½ / ½ ] //mv /save/ mv/ [ ½ / ½ ] // 2/3rds / mv/save/mv // mv/save/mv / to frog/ HB mid UH to frog//frog-mid UH *slight lift* LANES: ……………………………………….........../slight tug/back to slightly away from md lane/(tug)/slightly-away-md lane/md resonant lane! SHIFTS: (see measure 27 and 28 above) new bow shift on 1st finger preset in upward lift of bow Other: /Sudden switch to fiery/expansive character.
L Hand: balance between fingers of each double-stop……........preplace 1 and 3 in rest, …… return to 1st finger balance……..........................return to balancing but with 4th finger balance. between double-stop fingers RH BD: 2/3rds / ¼ *lift / ¼ // ¼ / ⅓ / ¼ / ¼ // ⅔rds / [½ / ½ ] //mv /save/ mv/ [ ½ / ½ ] // HB / ¼ / ¼ to get to LH* of ⅔rds to middle of HB LANES: md lane………………………………......../(tug )/……………………………………………………………………start to pull in……../(tug)/ back to md lane/ slightly away………… SHIFTS: Shift to A/C double-stop on NEW bow Shift to G/Bb, Bb/D, and A/C double-stops on OLD, up-bow motions. (Shift during the rest, while the bow is still moving upward). Other: / Sweet, playful character switch! - For sound and character of the 16th’s it helps to feel like you’re always trying to reach the frog, but never quite can until the downbeat of 27. - A good way to practice the first note of bar 27 is to first take out the Bb/D double stop and practice nailing the C/E with a comfortable 4th finger balance. After you’re comfortable with this, then add the grace note, making sure to keep the same balance; this may feel quite uncomfortable for the hand at first, since you’re playing 1/3 with a 2/4 balance, but in the end will allow for a higher consistency in accuracy.
L Hand: ……………………………………………(see measures 27 and 28 above) // VERY flat fingers – even rotate elbow under vla for complete expressive change in sound RH BD: ¼ / ⅓ / ¼ / ¼ // ⅔rds / [½ / ½ ] //mv /save/ mv/ [ ½ / ½ ] // 2/3rds / mv/save/mv // mv/save/mv / to frog/ HB mid UH to frog//frog-mid UH *slight lift* LANES: ……………………………………….........../slight tug/back to slightly away from md lane/(tug)/slightly-away-md lane/md resonant lane! SHIFTS: (see measure 27 and 28 above) new bow shift on 1st finger preset in upward lift of bow Other: /Sudden switch to fiery/expansive character.
L Hand: balance between fingers of each double-stop……........preplace 1 and 3 in rest, …… return to 1st finger balance……..........................return to balancing but with 4th finger balance. between double-stop fingers RH BD: 2/3rds / ¼ *lift / ¼ // ¼ / ⅓ / ¼ / ¼ // ⅔rds / [½ / ½ ] //mv /save/ mv/ [ ½ / ½ ] // HB / ¼ / ¼ to get to LH* of ⅔rds to middle of HB LANES: md lane………………………………......../(tug )/……………………………………………………………………start to pull in……../(tug)/ back to md lane/ slightly away………… SHIFTS: Shift to A/C double-stop on NEW bow Shift to G/Bb, Bb/D, and A/C double-stops on OLD, up-bow motions. (Shift during the rest, while the bow is still moving upward). Other: / Sweet, playful character switch! - For sound and character of the 16th’s it helps to feel like you’re always trying to reach the frog, but never quite can until the downbeat of 27. - A good way to practice the first note of bar 27 is to first take out the Bb/D double stop and practice nailing the C/E with a comfortable 4th finger balance. After you’re comfortable with this, then add the grace note, making sure to keep the same balance; this may feel quite uncomfortable for the hand at first, since you’re playing 1/3 with a 2/4 balance, but in the end will allow for a higher consistency in accuracy.
LH: 4th finger………………………………………balance btw fingers…………………………………………………………..……balance btw 3 and 4!!...back to 4th finger balance……………….. balance and intonation focus For intonation on the super release (think of the C# to E for intonation octave, it helps to think of the 1st finger and the let other fingers follow) as an auxiliary shift note and allow a slight arpeggiation between the 1st and 3rd fingers (a nanosecond chord break!). This allows you r brain to process two individual notes, nailing the 1st finger and then having time to slap down the 3rd finger – but after a while you do it so quickly that it ends up sounding like you’re sounding both notes at once. RH BD:[ ½ / ½ ]/[⅔/⅓]HB/HB //[ ½ / ½ ]/ ¼ [ ½ / ½] //WB / WB / SAVE //mv/sv/mv/mv/WB/ HB // see measure 36 of HB,*lift at frog* of HB mid UH to frog LANES: md lane………………………………slight tug…………………………………………gradually come into the bridge as you climb…back to resonant md lane………………… SHIFTS: New bow/ old bow/ old bow // old bow new bow Where possible, try to feel the whole hand moving as a unit, moved by the arm, between each double stop. Sometimes it helps to imagine the balance point in the left hand as following the simple and straight line of the strings up and down in order to avoid extraneous motion that can cause intonation problems. Other: NB: Even if the right hand is perfectly in tune, if the bow is not balanced happily and released with the weight from the shoulder blade resting on the imaginary string between the two double stops, the notes will sound out of tune. So, a good way to practice this section would be without the left hand , in order to learn bow division and right arm balance.
LH: 4thbal/1stbalance/……………………preplace!……………..incredibly fat, flat fingers again ………………………………………..keep 1st finger in mind for intonation……….. RH BD:[ ½/½]/[½/½] *rtk*/ ¼ // WB // frog [ ⅓ / ⅓ / ⅓] // [½ + LIFT] /frog to mid/ mid to frog*rtk*/¼ // 2/3rds / [ ⅓ / ⅓ / ⅓] of HB of HB of HB of HB of 2/3rds LANES: md ln/pull in/ md ln // close to bridge// md resonant lane………………………………………………………………………….slightly pull in..stay slightly above md ln SHIFTS: old bow old bow
LH: 4th finger………………………………………balance btw fingers…………………………………………………………..……balance btw 3 and 4!!...back to 4th finger balance……………….. balance and intonation focus For intonation on the super release (think of the C# to E for intonation octave, it helps to think of the 1st finger and the let other fingers follow) as an auxiliary shift note and allow a slight arpeggiation between the 1st and 3rd fingers (a nanosecond chord break!). This allows you r brain to process two individual notes, nailing the 1st finger and then having time to slap down the 3rd finger – but after a while you do it so quickly that it ends up sounding like you’re sounding both notes at once. RH BD:[ ½ / ½ ]/[⅔/⅓]HB/HB //[ ½ / ½ ]/ ¼ [ ½ / ½] //WB / WB / SAVE //mv/sv/mv/mv/WB/ HB // see measure 36 of HB,*lift at frog* of HB mid UH to frog LANES: md lane………………………………slight tug…………………………………………gradually come into the bridge as you climb…back to resonant md lane………………… SHIFTS: New bow/ old bow/ old bow // old bow new bow Where possible, try to feel the whole hand moving as a unit, moved by the arm, between each double stop. Sometimes it helps to imagine the balance point in the left hand as following the simple and straight line of the strings up and down in order to avoid extraneous motion that can cause intonation problems. Other: NB: Even if the right hand is perfectly in tune, if the bow is not balanced happily and released with the weight from the shoulder blade resting on the imaginary string between the two double stops, the notes will sound out of tune. So, a good way to practice this section would be without the left hand , in order to learn bow division and right arm balance.
LH: 4thbal/1stbalance/……………………preplace!……………..incredibly fat, flat fingers again ………………………………………..keep 1st finger in mind for intonation……….. RH BD:[ ½/½]/[½/½] *rtk*/ ¼ // WB // frog [ ⅓ / ⅓ / ⅓] // [½ + LIFT] /frog to mid/ mid to frog*rtk*/¼ // 2/3rds / [ ⅓ / ⅓ / ⅓] of HB of HB of HB of HB of 2/3rds LANES: md ln/pull in/ md ln // close to bridge// md resonant lane………………………………………………………………………….slightly pull in..stay slightly above md ln SHIFTS: old bow old bow
L H: RELEASE!!! (hand/arm/back/chest) ………………………………………………………………………………………………play with fingers so flat you’re almost putting down your first knuckle to guarantee a fat, juicy sound way up high on the C……………………………………………………………………………… RH BD: ⅓ *rtk*/⅔ (frog to mid UH)/ ⅔ *rtk*/ ⅓ // WB // WB //to md UH/ to frog // [⅓ / ⅔] // [~ ½ / ~½] WB WB LANES: slightly above md ln…………………………………………………………………………..away…pull in…………………WAY in!!!! ……………………………………………………………….. SHIFTS: new bow // new bow Use left ARM ARM ARM horizontal motion that works together with the right arm up-bow motion; let your hands/arms work together Other: Make sure to not force the sound on the high notes. At the very top, opt for a faster, more released right arm to create resonance, rather than gripping or crunching down while trying to push the sound out.
LH: ………………………………………back to arpeggio frame/balance……………………………………..// definite 1st finger balance……………………………………………………………… RH BD: [⅓ / ⅓ / ⅓] // ⅓ /try to reach/ [⅔ / ⅓] / try to reach/ [⅓ // ⅔]WB // tip to mid/ sv /mid to…//FRG*rtk*/ ⅔ / [ ⅓ / ⅓ / ⅓ ] frog to mid UH frog*lift* frog to mid frog*lift* (to mid UH) (mid UH to frog) LANES: ……………………………….still close to bridge…release…pull in…………release…………//…..md lane…………….pull in………………………………………………………………. pulled in by ring finger on frog SHIFTS: 1st finger extension *keep thinking / new bow new bow ARM, even in the small shifts to keep the hand position constant* Other: // quick character switch to playful/flirtatious. // BOLD! DEMANDING ATTENTION!
L H: RELEASE!!! (hand/arm/back/chest) ………………………………………………………………………………………………play with fingers so flat you’re almost putting down your first knuckle to guarantee a fat, juicy sound way up high on the C……………………………………………………………………………… RH BD: ⅓ *rtk*/⅔ (frog to mid UH)/ ⅔ *rtk*/ ⅓ // WB // WB //to md UH/ to frog // [⅓ / ⅔] // [~ ½ / ~½] WB WB LANES: slightly above md ln…………………………………………………………………………..away…pull in…………………WAY in!!!! ……………………………………………………………….. SHIFTS: new bow // new bow Use left ARM ARM ARM horizontal motion that works together with the right arm up-bow motion; let your hands/arms work together Other: Make sure to not force the sound on the high notes. At the very top, opt for a faster, more released right arm to create resonance, rather than gripping or crunching down while trying to push the sound out.
LH: ………………………………………back to arpeggio frame/balance……………………………………..// definite 1st finger balance……………………………………………………………… RH BD: [⅓ / ⅓ / ⅓] // ⅓ /try to reach/ [⅔ / ⅓] / try to reach/ [⅓ // ⅔]WB // tip to mid/ sv /mid to…//FRG*rtk*/ ⅔ / [ ⅓ / ⅓ / ⅓ ] frog to mid UH frog*lift* frog to mid frog*lift* (to mid UH) (mid UH to frog) LANES: ……………………………….still close to bridge…release…pull in…………release…………//…..md lane…………….pull in………………………………………………………………. pulled in by ring finger on frog SHIFTS: 1st finger extension *keep thinking / new bow new bow ARM, even in the small shifts to keep the hand position constant* Other: // quick character switch to playful/flirtatious. // BOLD! DEMANDING ATTENTION!
LH: …………………//…lean forward into 2nd finger/middle of the hand balance…….KEEP THIS BALANCE/HANDFRAME NO MATTER WHAT!........back to flat fingers (don’t bother trying EXTREME RELEASE. and open, released, to play a blocked 5th, just hop the 1 over to the G 1st finger balance after the C) RH BD: WB // HB / HB / HB // HB*lift* / 2/3rds / [ ⅓ / ⅓ / ⅓ ] // WB //mid LH&try get to FRG/WB // WB / ⅔…….. (frog to mid UH) of 2/3rds (make sure to save enough bow of WB…. for the G/Bb, in order to shift to the A/C in the up-bow) Practice this shift at first with a huge slurp on the up bow all the way up to the A/C and once you’ve reached the A/C, only THEN play a down bow. This will teach your body to coordinate the motions of the two hands comfortably together – and allow the right hand to encourage and demonstrate simplicity of motion to the left hand. LOTS OF BOOOOOW FOR THESE DOUBLE STOPS TO RESONATE!! And HOLD ON FOR DEAR LIFE TO THAT IMAGINARY STRING BALANCCCCEEE!!! LANES: slightly closer than md lane for high double stops………………………………..bridge!!! ………………………………......flirt with the edgy line……away/release…md. SHIFTS: shift up to C in the NEW BOW follow motion of/ OLD BOW think of 1st finger as extend silence that is still the up-bow – shift auxiliary note to 3rd finger C downbow motion with the ARM!............. Other: Practice singling out and “target practicing” each double stop in order to teach your brain the exact location or “destination” for each shift. RELAXED balance of the left hand is UBER important for sound and consistency whilst teaching yourself these destinations.
LH: ….still flat, juicy, fleshy fingers……………………………rotate to 4th finger balance…….back to 1st finger……………………………………………………………..preplace 8ve and rotate, mid 8ve, to 4th finger balance to prepare for upcoming 3rds RH BD: ……..⅓]/ HB/ [ ½ / ½ ]/ WB // WB // MV/sv / MV/sv / MV // HB/ try to get to frog/*rtk*/¼// mv/sv/mv/mv/sv/mv // ¼ *launch rtk*/ [⅔….. …of WB of HB (work down to frog) frg to ………..mid LH…to frg of WB LANES: md, resonant lane………………………………………………………………………………….pull in for C string resonance………………………………………………………….stay in……. SHIFTS: make sure to save enough BOW extend new bow same pos for shift down on downbow with 3rd finger extension Other: THINK RESONANCE. …………………………………………………………………………………………………………………………………………………………………………………………………
LH: keep 4th finger balance…………………………1st finger………..2nd finger (middle of ………preplace chord……………..........flatten out for juicy sound……………………… the 8ve) balance & keep mid of hand balance to retain handframe RH BD: …….. ⅓]/ WB / WB / WB *lift* // WB // 2/3RDS / to tip again // WB / ⅓ / ⅓ / ⅓ *launch rtk*// HB /HB/ [ ⅓ / ⅓ / ⅓ ] ..(of WB) think of traveling btw of WB…….. two imaginary strings for the chord LANES: bridge...slightly in from md lane……………………………………….pull in………………md lane…….slightly in………………………..bridge………release……… pull in for sexy sound SHIFTS: ARM ARM ARM ARM ARM ARM ARM ARM ARM ARM ARM… old bow…….old bow……….. Old bow…. Shift to C string position….new bow….. finally with motion of *launch rtk* allow a little finger motion in the shift for gooiness
LH: ….still flat, juicy, fleshy fingers……………………………rotate to 4th finger balance…….back to 1st finger……………………………………………………………..preplace 8ve and rotate, mid 8ve, to 4th finger balance to prepare for upcoming 3rds RH BD: ……..⅓]/ HB/ [ ½ / ½ ]/ WB // WB // MV/sv / MV/sv / MV // HB/ try to get to frog/*rtk*/¼// mv/sv/mv/mv/sv/mv // ¼ *launch rtk*/ [⅔….. …of WB of HB (work down to frog) frg to ………..mid LH…to frg of WB LANES: md, resonant lane………………………………………………………………………………….pull in for C string resonance………………………………………………………….stay in……. SHIFTS: make sure to save enough BOW extend new bow same pos for shift down on downbow with 3rd finger extension Other: THINK RESONANCE. …………………………………………………………………………………………………………………………………………………………………………………………………
LH: keep 4th finger balance…………………………1st finger………..2nd finger (middle of ………preplace chord……………..........flatten out for juicy sound……………………… the 8ve) balance & keep mid of hand balance to retain handframe RH BD: …….. ⅓]/ WB / WB / WB *lift* // WB // 2/3RDS / to tip again // WB / ⅓ / ⅓ / ⅓ *launch rtk*// HB /HB/ [ ⅓ / ⅓ / ⅓ ] ..(of WB) think of traveling btw of WB…….. two imaginary strings for the chord LANES: bridge...slightly in from md lane……………………………………….pull in………………md lane…….slightly in………………………..bridge………release……… pull in for sexy sound SHIFTS: ARM ARM ARM ARM ARM ARM ARM ARM ARM ARM ARM… old bow…….old bow……….. Old bow…. Shift to C string position….new bow….. finally with motion of *launch rtk* allow a little finger motion in the shift for gooiness
LH: Instant release on 1st finger. Also, think in note groupings in the run, // with your 4th finger as leading tones to next string, for ease of string crossings. RH BD: [save. Save. MOVE. ] /WB /WB // *PLEASE SEE MEASURES 10 -13* WB LANES: Start closer to bridge for accent, away for release, then pull in as you rise/then pull WAY IN for top F/slightly away for E.// SHIFTS: use arm to shift even on small half-step shifts. / new bow/ // Other: Helps with clarity to mentally and rhythmically group the notes in the run into groups of 4, 4, 4, 5. //
LH: Keep enjoying being flat-fingered and gooey…………………………………………………………………………………………………………………………. RH BD: MOVE / SAVE / MOVE / SAVE / to frog// [ ¼ // ¼ // ¼ // ¼ ] OF WB…………………………….. LANES: slightly away……pull in…………………slightly away…….pull in…… md lane…………………release………………….away………………………………. SHIFTS: old bow new bow Other: SEXY TIME!!
LH: Instant release on 1st finger. Also, think in note groupings in the run, // with your 4th finger as leading tones to next string, for ease of string crossings. RH BD: [save. Save. MOVE. ] /WB /WB // *PLEASE SEE MEASURES 10 -13* WB LANES: Start closer to bridge for accent, away for release, then pull in as you rise/then pull WAY IN for top F/slightly away for E.// SHIFTS: use arm to shift even on small half-step shifts. / new bow/ // Other: Helps with clarity to mentally and rhythmically group the notes in the run into groups of 4, 4, 4, 5. //
LH: Keep enjoying being flat-fingered and gooey…………………………………………………………………………………………………………………………. RH BD: MOVE / SAVE / MOVE / SAVE / to frog// [ ¼ // ¼ // ¼ // ¼ ] OF WB…………………………….. LANES: slightly away……pull in…………………slightly away…….pull in…… md lane…………………release………………….away………………………………. SHIFTS: old bow new bow Other: SEXY TIME!!
: ---------------------------------------------------------------------------------PLEASE SEE MEASURES 26 – 30-----------------------------------------/ LH: FLAAAT FINGERSSS!! Also, laser in on intonation and balance of 1st finger for harmonics. RH BD: ¼ / ¼ (upper half) LANES: flirt with the line between resonant lane and the edgy, bridge lane for clarity of harmonics. Other: Slightly faster and lighter bow for harmonics, but make sure to keep teeth of the bowhair still resisting.
LH: released, fleshy, expressive fingers // rebalance (meaning re-release // put 1st and 3rd fingers and malleable palm. palm, elbow, bicep, shoulder) down as one unit (and on downbeat’s 4th finger G and second beat’s F block the F and Bb as a 5th) RH BD: // sv/mv/sv/ mv/sv/ mv // mv/ sv/ mv/ to frog (HB) // ⅓ / ⅓ / HB / ⅓ *lift* (from middle, mostly think of working down to frog until………..…HERE.) (frog to mid) (mid to frog) LANES: // away………………………………….slight tug…………….coming in……mid-to-close...bridge!..release…..bridge……… lane for shift SHIFTS: // old bow / new bow old bow (in the rest) Other: // Take the time you need to be drippingly sweet or “feminine.” Sudden RIP! Back to flamboyant, bold tango
: ---------------------------------------------------------------------------------PLEASE SEE MEASURES 26 – 30-----------------------------------------/ LH: FLAAAT FINGERSSS!! Also, laser in on intonation and balance of 1st finger for harmonics. RH BD: ¼ / ¼ (upper half) LANES: flirt with the line between resonant lane and the edgy, bridge lane for clarity of harmonics. Other: Slightly faster and lighter bow for harmonics, but make sure to keep teeth of the bowhair still resisting.
LH: released, fleshy, expressive fingers // rebalance (meaning re-release // put 1st and 3rd fingers and malleable palm. palm, elbow, bicep, shoulder) down as one unit (and on downbeat’s 4th finger G and second beat’s F block the F and Bb as a 5th) RH BD: // sv/mv/sv/ mv/sv/ mv // mv/ sv/ mv/ to frog (HB) // ⅓ / ⅓ / HB / ⅓ *lift* (from middle, mostly think of working down to frog until………..…HERE.) (frog to mid) (mid to frog) LANES: // away………………………………….slight tug…………….coming in……mid-to-close...bridge!..release…..bridge……… lane for shift SHIFTS: // old bow / new bow old bow (in the rest) Other: // Take the time you need to be drippingly sweet or “feminine.” Sudden RIP! Back to flamboyant, bold tango
LH: ………………………………….keep focused on the 1st finger intonation………………………………………………………..// RH BD: ⅓ / [⅓ / ⅓ / ⅓] // HB / move / save // move to/ to mid UH / to middle // to tip// -------PLEASE SEE MEASURES 33–39-------- of HB mid LH LANES:……….tug…………………………………………………………………………………slightly come toward bridge…………….. Let go// SHIFTS: old bow old bow old bow new bow//
------------------------------------------------------------------------------------------------------------------------------------------------------ LH: middle of the hand balance and constant release. Also, zero in on 4th finger for intonation from pickup to downbeat, but then on 1st finger for inton for the rest of the measure RH BD: HB / ¼ / ¼ / HB / [½ / ½ ] of HB LANES: flirt with the edgy line………………. SHIFTS:new bow new bow ARMS MOVE TOGETHER! Other: KEEP THE BOW MOVING to keep encouraging the LH to relax!
LH: ………………………………….keep focused on the 1st finger intonation………………………………………………………..// RH BD: ⅓ / [⅓ / ⅓ / ⅓] // HB / move / save // move to/ to mid UH / to middle // to tip// -------PLEASE SEE MEASURES 33–39-------- of HB mid LH LANES:……….tug…………………………………………………………………………………slightly come toward bridge…………….. Let go// SHIFTS: old bow old bow old bow new bow//
------------------------------------------------------------------------------------------------------------------------------------------------------ LH: middle of the hand balance and constant release. Also, zero in on 4th finger for intonation from pickup to downbeat, but then on 1st finger for inton for the rest of the measure RH BD: HB / ¼ / ¼ / HB / [½ / ½ ] of HB LANES: flirt with the edgy line………………. SHIFTS:new bow new bow ARMS MOVE TOGETHER! Other: KEEP THE BOW MOVING to keep encouraging the LH to relax!
L Hand: ………keep 1st finger in mind!..........................................................................................................MAJOR 4th finger focus….. 1st again……!! RH BD: …………………………………………………………………………………………………………………………………….// to tip/ [ ⅓ / ⅓ / ⅓ ] /frg to mdUH// launch!! of WB (2/3RDS) LANES: start to come in…………………………..more…….. And more …………………..and MORE!.................md lane………PULL IN!! …..md lane…pull in……. SHIFTS: old bow old bow old bow don’t shift, just // extend THINK AHEAD. Old bow roll or “pivot” 1st finger Focus on only three notes: 4th finger F, back slightly to give the aural illusion 1st finger A, 4th finger harmonic A - of a new note. and merely move the arm up the fingerboard to those three destinations. Other: YOU HAVE THE TIME YOU NEED. Settle back into the pulse. And make sure to rhythmically break down the last run into 3,3,1 for your brain’s sake.
L Hand: ………………………………………………1st finger for balance and intonation as you move up the fingerboard……………………………………………………… …………….. ALSO, make sure that the fingers are preplaced in as many double stop/chord positions as possible to eliminate any extraneous, last second “finger flinging” – a disease which detracts from speed and cleanliness by adding panic and tension in the LH. RH BD: HB / [½ / ½ ]/ HB / [½ / ½ ] // mv/sv/mv/ ~ back and forth horizontal motion over about ¼ amount of bow. of HB of HB (work from frg to md LH in first three16ths) ALSO, after releasing weight and freeing up motion of both hands on the 1st note of each group of 6, feel like you’re trying to reach the frog for the next 5 notes until you reach the 1st of the next group and release again… FINALLY, make sure to work out the BD so that you have enough bow on the last of each group to free up the arms and comfortably feel the two hands coming inward together for each shift: LH = upward arm motion; RH = upbow motion to 1st note of new group. LANES: keep flirting with the edgy line……………………………………………………………………………………………………………………………………………………………………………………. SHIFTS: old bow – keep shifting with the arm even on the itty bitty shifts. Other: It’s the horizontal motion of the bow that will keep your LH released. Also, it helps to think ahead at least six notes – think from release note to release note.
L Hand: ………keep 1st finger in mind!..........................................................................................................MAJOR 4th finger focus….. 1st again……!! RH BD: …………………………………………………………………………………………………………………………………….// to tip/ [ ⅓ / ⅓ / ⅓ ] /frg to mdUH// launch!! of WB (2/3RDS) LANES: start to come in…………………………..more…….. And more …………………..and MORE!.................md lane………PULL IN!! …..md lane…pull in……. SHIFTS: old bow old bow old bow don’t shift, just // extend THINK AHEAD. Old bow roll or “pivot” 1st finger Focus on only three notes: 4th finger F, back slightly to give the aural illusion 1st finger A, 4th finger harmonic A - of a new note. and merely move the arm up the fingerboard to those three destinations. Other: YOU HAVE THE TIME YOU NEED. Settle back into the pulse. And make sure to rhythmically break down the last run into 3,3,1 for your brain’s sake.
L Hand: ………………………………………………1st finger for balance and intonation as you move up the fingerboard……………………………………………………… …………….. ALSO, make sure that the fingers are preplaced in as many double stop/chord positions as possible to eliminate any extraneous, last second “finger flinging” – a disease which detracts from speed and cleanliness by adding panic and tension in the LH. RH BD: HB / [½ / ½ ]/ HB / [½ / ½ ] // mv/sv/mv/ ~ back and forth horizontal motion over about ¼ amount of bow. of HB of HB (work from frg to md LH in first three16ths) ALSO, after releasing weight and freeing up motion of both hands on the 1st note of each group of 6, feel like you’re trying to reach the frog for the next 5 notes until you reach the 1st of the next group and release again… FINALLY, make sure to work out the BD so that you have enough bow on the last of each group to free up the arms and comfortably feel the two hands coming inward together for each shift: LH = upward arm motion; RH = upbow motion to 1st note of new group. LANES: keep flirting with the edgy line……………………………………………………………………………………………………………………………………………………………………………………. SHIFTS: old bow – keep shifting with the arm even on the itty bitty shifts. Other: It’s the horizontal motion of the bow that will keep your LH released. Also, it helps to think ahead at least six notes – think from release note to release note.