Thanks. I see some instructors suspending the bow hair above and off the string in order to deliver a colle derived motion called the brush stroke as you mention. But you start on the string and dont rely on a primarily finger extension and retraction.
Any finger motion is passive in true spiccato stroke, and the forearm leads. Finger motion is more visible in some players than others and it's really a reaction as part of the momentum. However, an exercise, it's often recommended to practice developing the flexibility and strength of the fingers by doing colle bowstroke. In colle (which is different from spiccato, but not unrelated) the fingers participate more. It also starts on the string.
A lot of great info! One thing I've noticed from teaching spiccato is that teaching the student to work WITH their bow, and understand how the bow should work with the natural "springy-ness" of the string, and not try to force the bounce, is the key to understanding the basic technique of spiccato. I've actually taken to having my students mimic a cello bowhold, where the fingers are more draped over the frog, thus removing as much squeezing and direct control from the fingers, which forces them to work with the nature of the bow. I've gotten great success from this method of teaching spiccato.
That's really awesome! A nice bow camber and natural feel is the way to go - I agree! Thanks for sharing your experience :) I might try this myself with some students ;)
I had to play the Prokofiev Classical Symphony excerpt in a live professional audition. The extent of how soft those pianissimo passages must be executed on stage is ridiculously difficult. (you literally feel like you have to breathe while walking on a 10 ft high tightrope while fighting all the nerves and hope you don't fall off in front of the audition panel closely watching your every move*) 🥶
Thank you very much for your brilliant explanations on spiccato. As far as bow technique is concerned, can you some day a make a video on tips on dynamics (crescendo/decrescendo) please.
thanks a lot for this great video. i was wondering if the wrist of the bow hand should be flexible or if the majority of the flexibility comes from the fingers
Thanks , will practice ...
Thanks. I see some instructors suspending the bow hair above and off the string in order to deliver a colle derived motion called the brush stroke as you mention. But you start on the string and dont rely on a primarily finger extension and retraction.
Any finger motion is passive in true spiccato stroke, and the forearm leads. Finger motion is more visible in some players than others and it's really a reaction as part of the momentum. However, an exercise, it's often recommended to practice developing the flexibility and strength of the fingers by doing colle bowstroke. In colle (which is different from spiccato, but not unrelated) the fingers participate more. It also starts on the string.
A lot of great info! One thing I've noticed from teaching spiccato is that teaching the student to work WITH their bow, and understand how the bow should work with the natural "springy-ness" of the string, and not try to force the bounce, is the key to understanding the basic technique of spiccato.
I've actually taken to having my students mimic a cello bowhold, where the fingers are more draped over the frog, thus removing as much squeezing and direct control from the fingers, which forces them to work with the nature of the bow. I've gotten great success from this method of teaching spiccato.
That's really awesome! A nice bow camber and natural feel is the way to go - I agree! Thanks for sharing your experience :) I might try this myself with some students ;)
I had to play the Prokofiev Classical Symphony excerpt in a live professional audition. The extent of how soft those pianissimo passages must be executed on stage is ridiculously difficult. (you literally feel like you have to breathe while walking on a 10 ft high tightrope while fighting all the nerves and hope you don't fall off in front of the audition panel closely watching your every move*) 🥶
That is, in my opinion, on my top 5 (if not #1) most difficult orchestra excerpts for violin auditions! Particularly, the first movement.
@@Violinna Yes, it was the 1st page, 1st movement.
Super super super lovely playing fantastic
It's great to hear what your goals are for playing spiccato - and how you help students find that sound, too.
All about enjoying the process! :)
Very informative and useful !
Thank you so much !😊
From Iran 💐🌷🌹
You are such a wonderful teacher..thanks...🌹
Thank you very much for your brilliant explanations on spiccato. As far as bow technique is concerned, can you some day a make a video on tips on dynamics (crescendo/decrescendo) please.
Noted!
Oh wow. I wish I could play Violin - but I think about starting this very soon. Love the sound. Thanks for sharing and greetings, Jimmy
Go for it!
thanks a lot for this great video.
i was wondering if the wrist of the bow hand should be flexible or if the majority of the flexibility comes from the fingers
Hi Corine, this is such an excellent question - I will actually make a separate video for this! (Too much to type)
@@Violinna thanks a lot. Looking forward❤
@@corinepeeters4899 Hope this helps ua-cam.com/video/4wRHHDJLab0/v-deo.html
Great tips Inna, I struggle with getting a good clean sound, so your video was very helpful, thankyou.👍😁
Glad it's helpful! Keep going!
Your teaching style is so unique and full of value! With love from Livi!
Thanks Livi!
Great tips, many thanks!
You're very welcome!
Thanks
You're welcome!
Thank you so much for making this video! Your tips are very helpful ❤❤❤
You're most welcome - so glad they are helping you! Thanks for watching :)