Thank you! This is so very helpful! I'm going to give this a try and work a little each day at it and see what happens! I used your idea of taking off fingers 2 and 4 from the bow hand when practicing to improve my springing arpeggios and it was amazingly helpful. Thanks for the time you spend on these!
Hey professorV: an idea I discovered today: In the upper 1/3, keep 1+2 on bow. Then, in middle 1/3, keep 1+3 on bow. Then, in lower 1/3, keep 1+4 on bow. You can do this in such a way that the hand seamlessly changes from 1+2 to 1+3 to 1+4 as it gets to the part of the bow where each finger combo is ideal. I found this very helpful, since upbow staccato seems to behave totally different depending on which section of the bow you are playing. I found that in the upper 1/3, "pulling" towards the tip while keeping heavy pressure is the predominant motion. Thus, the 1 adds the heavy pressure while the 2+wrist "pulls" the bow up. In the middle 1/3, the natural bounce of the bow can be utilized for the upbow staccato, so the 1+3 that you demonstrate in this video is ideal for this, since it's basically just teeter-tottering pressure back and forth which causes the bow to bounce naturally. And in the bottom 1/3, the 1+4 is necessary because the bouncing becomes so extreme that lots of leverage needs be utilized in order to stay in control. I also found that some degree of bow tilt is more necessary the closer to the frog we get, since tilt helps mitigate the springiness of the bow stick. Just thought I'd share!
Hi Erik Williams, great idea, I’ll try it out. I absolutely agree that the bow gets very bouncy in the lower 3rd, so I’ll have some fun trying it out. Thanks for the idea!
@@professorV No problem, if I come up with anything else I'll mention it! Oh, and on that note, when I suddenly "got" the basis of upbow staccato, it was because I realized I couldn't do a sautille initiated by up bows, like "UP down up down". I had always done "DOWN up down up." Once I was able to do a sautille with the 1st of each 16th quadruple as an up-bow, the upbow staccato suddenly made sense to my arm. Of course, controlling it at any speed and at any point in the bow is still a long ways off for me, but that was the "ah-ha" moment!
excellent explanation - three ways to approach a personal way of this strange bowing technique - thank you! I might add the difference between controlled staccato and the reflex staccato. Some people have a very fast controlled staccato and some use their muscle tension which gives a certain speed fot the staccato which can not be changed.
This video is right on time. I thought I would play with iMovie for Apple. I'm also doing Kreutzer No. 4. Perfect timing. I just uploaded my practice video just to see how it all works and then I Googled UA-cam et voila' your video. LOL. Anyhow, I do the stroke the way your way. I'm just starting with it for "Country Dance" in Suzuki Book 5. I noticed a red mark and too much pressure on my index finger. And, my bow is all over the place, that hurts the stroke too.
Hi Todd, 2 questions: 1) What you do for up-bow staccato, can it be done for down-bow staccato? 2) at the beginning of your Mendelssohn clip it looks like you stay on the strings, instead of bouncing, is it just my wrong impression because it's a fast passage? I mean are you really bouncing a little bit, or you just stay on the strings? Thanks so so much, and God bless you for all your generosity!
Alexander Markov changes his bow angle to accomplish this. Well, he uses flying staccato, looks almost magic he doesn´t make any wrist o forearm movement =O
Thank you thank you thank you. I think the rocking philosophy was what finally got my bow into a little bit of controlled bouncing.
Best wishes, Andy
Thank you for the lesson. Fantastic instruction, as usual.
Thank you! This is so very helpful! I'm going to give this a try and work a little each day at it and see what happens! I used your idea of taking off fingers 2 and 4 from the bow hand when practicing to improve my springing arpeggios and it was amazingly helpful. Thanks for the time you spend on these!
This video is magic! Thank you so much!!!
Thanks so much for your time! This was great help
Thanks Todd - a timely posting as I'm working on this very technique at the moment. Good tips!
Thanks for sharing !
It's a great lesson!
Hey professorV: an idea I discovered today: In the upper 1/3, keep 1+2 on bow. Then, in middle 1/3, keep 1+3 on bow. Then, in lower 1/3, keep 1+4 on bow. You can do this in such a way that the hand seamlessly changes from 1+2 to 1+3 to 1+4 as it gets to the part of the bow where each finger combo is ideal.
I found this very helpful, since upbow staccato seems to behave totally different depending on which section of the bow you are playing.
I found that in the upper 1/3, "pulling" towards the tip while keeping heavy pressure is the predominant motion. Thus, the 1 adds the heavy pressure while the 2+wrist "pulls" the bow up.
In the middle 1/3, the natural bounce of the bow can be utilized for the upbow staccato, so the 1+3 that you demonstrate in this video is ideal for this, since it's basically just teeter-tottering pressure back and forth which causes the bow to bounce naturally.
And in the bottom 1/3, the 1+4 is necessary because the bouncing becomes so extreme that lots of leverage needs be utilized in order to stay in control. I also found that some degree of bow tilt is more necessary the closer to the frog we get, since tilt helps mitigate the springiness of the bow stick.
Just thought I'd share!
Hi Erik Williams, great idea, I’ll try it out. I absolutely agree that the bow gets very bouncy in the lower 3rd, so I’ll have some fun trying it out. Thanks for the idea!
@@professorV No problem, if I come up with anything else I'll mention it! Oh, and on that note, when I suddenly "got" the basis of upbow staccato, it was because I realized I couldn't do a sautille initiated by up bows, like "UP down up down". I had always done "DOWN up down up." Once I was able to do a sautille with the 1st of each 16th quadruple as an up-bow, the upbow staccato suddenly made sense to my arm. Of course, controlling it at any speed and at any point in the bow is still a long ways off for me, but that was the "ah-ha" moment!
excellent explanation - three ways to approach a personal way of this strange bowing technique - thank you!
I might add the difference between controlled staccato and the reflex staccato. Some people have a very fast controlled staccato and some use their muscle tension which gives a certain speed fot the staccato which can not be changed.
Yes, the other way sideways is the way to go!
What about fast down bow staccato???
Wow, I am the first one for supporting this video!
Anyway, way to go ProfessorV!!!
This video is right on time. I thought I would play with iMovie for Apple. I'm also doing Kreutzer No. 4. Perfect timing. I just uploaded my practice video just to see how it all works and then I Googled UA-cam et voila' your video. LOL. Anyhow, I do the stroke the way your way. I'm just starting with it for "Country Dance" in Suzuki Book 5. I noticed a red mark and too much pressure on my index finger. And, my bow is all over the place, that hurts the stroke too.
Hi Todd, 2 questions: 1) What you do for up-bow staccato, can it be done for down-bow staccato? 2) at the beginning of your Mendelssohn clip it looks like you stay on the strings, instead of bouncing, is it just my wrong impression because it's a fast passage? I mean are you really bouncing a little bit, or you just stay on the strings? Thanks so so much, and God bless you for all your generosity!
My Uncle down-bow staccato is a lot easier than up-bow staccato.
does bow weight matter? I have a very light bow
Alexander Markov changes his bow angle to accomplish this. Well, he uses flying staccato, looks almost magic he doesn´t make any wrist o forearm movement =O
whats the youngest a student can start violin ?
There is no youngest age
Hora Staccato"Dinicu" Jeyla Seyidova: ua-cam.com/video/7f94tpXvQ7s/v-deo.html