Faire attention au changement d'archet
Lesson time: (9min 0sec)
Course preview
This lesson is part of the course The Secrets of Tone Production Partie 3 : Exercices fondamentaux de sonorité (suite)
Watch a preview of the full course below.
Lesson transcript:
Music Lesson
Bow Technique
The last part of the bow, before you change from up to down or down to up, is the place where you have to be extra careful. The danger is that you play forte again just before the change of bow, at the heel or at the point.
Remember:
- The last pattern in the bow then becomes heavy, light, heavy instead of heavy, light, which is what you want.
Practice Focus
Is this a good thing to practice?
Is this?
That was good.
Yes. Can you focus on non diminuendo?
- So it goes forte, piano.
- That's it.
- Forte, piano.
Awareness of Dynamics
What you need to be aware of is playing:
- Forte, piano.
- Forte, forte, piano, piano.
Right. Now then, what we need to achieve is a totally pure sound at the beginning of the bow. For instance, this one coming up here.
- That's it. That's it. Yes.
The thing is, if you think about it, if the bow doesn't move, however hard you press, you will not make a single sound. The only sound that can come is when the bow is moving.
Bow Movement and Sound
So when you're beginning with the heel, you're moving the bow too slowly and too heavily, and you get the...
There, now, there.
Now, can you do the same thing in forte?
Because we want to go:
- Forte, piano.
- Forte, piano.
- Forte, piano.
Now here, be careful. Well done.
Thumb Position
I do think you should bend your thumb in:
- Forte, piano.
- Forte, piano.
Still more subito. That's it. Now do the same on the up bow. No, on the up bow, you...
Diminuendo.
And again, you can see these things visually. You can see the wood is down like that. It gradually comes up on the up bow, whereas on the down bow, it springs up.
- Forte, piano.
- Now here, careful there.
That's what you need to do:
- Piano.
- That's it.
- Forte, piano.
- Bravo.
- Piano. Bravo.
- That's good.
Key Points to Remember
The place to be careful is the end of the up bow before going to the down. You don't want to suddenly go heavier or faster.
Well done. Now release.
- Careful, careful.
- And forte, piano.
- Release.
Yeah. You know, Oliver, you don't want to go too fast because there is the speed exercise, which is different from the pressure exercise.
So remember:
- You don't want to just go like that.
- You want to go heavy and then light.
Practicing Changes
Good. Now do two in one bow.
You see? You see just there, the change?
Can you just practice once?
- Light, heavy.
- Light, heavy.
Just right at the heel.
Right here?
Yeah, that's it.
Try it here.
- Light, heavy.
Can you get that at the heel? Get it as good at the heel as you did it at the point?
Yeah. Okay.
Continuity in Sound
Then forte, piano. Keep it carefully there.
- Forte, piano.
- Careful here.
- Forte, forte, piano, forte.
That's it. Now do two in one bow.
Stay a little nearer the bridge.
Turn around this way.
- That's good.
- Forte, piano.
- Forte, piano.
- Forte, piano.
Advanced Practice
Now three:
- Do come back to the heel because you're not using all your bow. Yes.
- Forte, piano.
- Forte, piano.
- Forte, piano.
- Forte, piano.
That's it. Try four, four.
- And keep it continuous.
- Heavy, heavy.
Do come right to the heel next time.
- Heavy, light head.
- Now 6:
- 1, 2, 3, 4, 5, 6.
- Keep a continuous sound.
That's it. Very good. Now coming up is 8.
- So you go 1, 2.
- Keep it continuous.
- That's it. Go right down there.
-
- 1, 2.
Now do 9:
- 1, 2, 3.
That's the way.
Do 12:
- 1, 2.
Okay. - 1, 2, 3.
- 1, 2, 4.
Threes are 12.
- So 1, 2, 3.
- Three foes is 12 even. Aha.
Rhythmic Consistency
Don't give a big accent on each of the four.
- Group of four.
Look at this. Listen to this. - You hear the groups, but make it even.
Yes.
You don't want to do things like 1, 2, 3. Just even here.
- Just seamless.
- Do 16. Do four fours.
So one.
- Yeah, do start right here.
- One.
- 1, 2, 3, 4.
Heavy.
- Let's go heavier, Oliver.
- 2, 3, 4.
- Yes.
Final Exercises
Can you do five?
- 1, 2, 3, 4, 5.
- Happy.
- Heavy.
Each one:
- You want to hear each one against this background.
That's it.
4, 5:
- 1, 2, 3, 4, 5.
Well done.
Okay, well done.
About the instructor

Simon Fischer mène une carrière remarquable et variée de concertiste, de pédagogue et d'artiste de studio. Il s'est produit dans le monde entier en récital et a enregistré trois Sonates de Brahms, un enregistrement salué par la revue Gramophone. Simon est reconnu comme l'un des professeurs d'élite au monde. Il est professeur à la Guildhall School of Music et a occupé des postes à la Yehudi Menuhin School, la Wells Cathedral School et la Purcell School, et a été pendant 15 ans professeur invité à la Royal Scottish Academy of Music. Après avoir étudié à Londres avec Yfrah Neaman et à New York avec Dorothy DeLay, l'approche de Fischer réunit les meilleurs éléments des traditions violonistiques française, russe et américaine. Les publications de Fischer exercent une grande influence sur l'enseignement du violon. Rédacteur pour la revue The Strad depuis 1991, ses articles mensuels ont conquis un lectorat dans le monde entier. Publiés par Edition Peters, ses ouvrages techniques Basics and Practice (traduit en coréen, italien et allemand), Scales et The Violin Lesson, ainsi que le DVD The Secrets of Tone Production (désormais disponible en streaming via MusicGurus), sont devenus des références sur de nombreux continents. Son livre et DVD Warming Up a été décrit par la revue The Strad comme « 23 pages d'or technique à l'état pur ». En 2014, Simon Fischer a reçu le prix de la European String Teachers Association « pour saluer une contribution à l'enseignement des cordes à l'échelle d'une vie ». Dans son cours en quatre parties Secrets of Tone Production, Simon te guide pour apprendre à connaître ton instrument, puis pour travailler pas à pas ses exercices fondamentaux de sonorité, afin de produire un son plus riche, plus maîtrisé et plus beau au violon. read more




