Wohlfahrt Op 45 Etüden ~ n 3

Compare the above bowing illustration to the two below. One must practice slower and slower, but obviously, as the speed decreases, so does the amount of bow used increase, in order to keep the tone singing with a natural emission.

Of course, we must practice, once again, every note twice in order to really maximize our quality of playing. At an even slower tempo, we must use even more bow, to get a very broad détaché :

Concentrate the bow : Now, let's say you want to concentrate your sound and carrying power, by concentrating the bow. Well keep the slower tempo, AND use less bow, thereby augmenting the adhesion of the bow hairs to the string, while having to sing each note for just as long. This picture shows a very small détaché, ideal for keeping the bow on the string and maximizing the adherence in fast tempi. It is also a good preparation for balzato or bouncing bow strokes, such as spiccato. Refer to the détaché article.

Tempo : There are many tempi one should go through to build up one's détaché. Check you study precisely with the following metronome markings. You can play without the metronome provided you are quite accurate and create a reliable beat in your head ! Click on the links below to hear the examples of how to practice, and note that the tempi played here are exactly as marked ( 60 / 70 / 90 ).

semi-quavers = 60 = each note twice
semi-quavers = 90 = each note twice
quavers = 60 = each note twice
quavers = 90 = each note twice
quaver = 90
crotchet = 60
crotchet = 70

You can listen to the midi file (or import it into a notation program for printing) played at crotchet = 70. If you are importing, note that the study is in 2/4 and in G major.

 

 

 

Send mail to leonid@globalnet.co.uk with questions or comments about this web site.
Copyright © 2000 Westbury Park Strings
Last modified: January 31, 2001