This article should be useful for you, if, that is, you are like most violinists, and can always take a look or two on his right arm technique sharp.
You see, most players who have four great challenges when it comes to arm the bow, it just keeps holding it horizontally, and clean, unbroken transitions, changes, and coordination and direction of the rope with your left hand .
Now you might think that disagrees with me. As you can imagine, "mybiggest problem is with strong, I can all the other things. "
If this is the case, I'd say it would be wise to ensure that its distinct problems have more to do with these things to do than you think.
In fact, today I will discuss the first two challenges - keeping the bow straight and run horizontally. For most of us "straight" is understood quite well, parallel to the bridge. What is less well understood, in my experience is the need for componentsarm of the arc to facilitate the horizontal path of the arc.
Why this happens there are exactly 3 joints, we must allow them to happen - the wrist, elbow and shoulder.
Take advantage of the wrist - one of the most common non-nos that I see is an increased pulse frog. The improvement of the wrist, immediately taken up a part of your arm from the horizontal movement of the bow that is so necessary for an efficient, seamless arc.
How should bend the wrist? TheWrist must bend forward, remaining in the plan "of the movement of the boom town of the arc, while maintaining the arc in a position parallel to the bridge.
This idea of a stay in the plane of movement extends to the elbow as well. I see many players introduce unnecessary complications, his bow arm lifting and lowering of the elbow during the preparation of a full declaration.
And then we wonder why do the talk "on the string, or may have difficulty with the string fastIntersections and so on. Well, there's simply too much in progress, and everything is in contradiction of energy are always right, fed into the arc.
And finally there is the shoulder. Ah, yes, the shoulder. How fresh is the memory of my father beside me, touching the shoulder at rest and during my first years of practice.
Although relaxed, the muscles of the shoulder, however, the critical control movements of the upper arm that comes in the bottom of the bow string and duringIntersections.
I will talk to string more passes tomorrow, but now it is important to understand that even if the shoulder carries the weight of the arm and the arc must be facilitated, however, that plays a crucial role in the movement of the bow and starboard horizontal frog.
That is to say, one can not confuse the vertical movement in passages string with the lateral movement of the arm involved in participating in the bow.
This morning I still have a usefulInvestment in my practice of Kreutzer Etude # 2 on the frog extreme. You may be interested to know that you made for me to breathe the pass, from top to bottom with a bow détaché really smooth, I 'belly like a stallion in heat. You always have to relax the upper body completely, so do, and abdominal breathing is a mystery every musician should know in order to facilitate this.
ไม่มีความคิดเห็น:
แสดงความคิดเห็น