JAVS Summer 1998

41

students cannot believe that I actually get all of this in, as well as the preceding exercises. But I can manage to do all of this in about twenty to thirty minutes. I would expect a student just learning this routine to take significantly longer, and not to include all of the exercises on a daily basis. Remember: All bow strokes begin "from the string" and are not thrown from above the string. (The only strokes that begin from above the string are ricochet and foute.)

a. Martele Group: Forearm-Initiated Strokes with Finger Articulation (1). Slow martele with full, long bows; loud (ff); from frog to tip

(a). Start on down-bow in duplet pattern; emphasize down-bow slightly. (b). Start on up-bow in duplets; emphasize up-bow slightly. (c). Triplet patterns: emphasize the beginning of each group of three. (2). Moderato martele: marcato with short bows; loud ([to jJ) (a). Use rhythm and bowing patterns given above. (b). Play in the middle to upper half of bow. (c). Vary bow placement to the frog and upper hal£ (3). Detache: moderately loud (mfto f); moderately quick tempo (if tempo is too quick you can double or triple up each scale note); this is a smoother bow stroke than mar cato, slightly detached, and almost legato. (a). Use about three to four inches of bow per stroke. (b). Use the middle to upper half of the bow. (c). Use rhythm and bowing patterns given above. (4). Controlled Spiccato: forearm-initiated with finger articulations for clarity; for use in slower tempi and louder dynamics (a). Use the lower half of the bow. (b). Use rhythm and bowing patterns as given above. (c). Keep the bow close to the string. (d). This uses more bow than finger-initiated spiccato. (e). This allows for a great variety in length of stroke, due to the controlled element of forearm initiation. b. Spiccato Group: This stroke is still basically forearm-initiated, but there is a much greater use of finger articulation and less forearm motion. These strokes are lighter than the martele group and are generally used in quicker tempi and sofrer dynamics. (1). Hooked Bowings with Dotted-Rhythms: Begin the pattern on down-bow and then on up-bow.

Figure 10.

v v -- - - . . . . uuuu v v

(2). "Shoeshine" Bowing

Figure 11.

B

A

It· Jt-Jt- it·; It· Jt· Jt· Jt·; f