Variation 10
This variation is one of many that develop your control while playing…
This variation is one of many that develop your control while playing…
For variation 11 read Ševčík’s explanation of abbreviations markings, in particular about…
Variation 12 is an excellent exercise for developing control of the bow…
Ševčík indicates that we can play this variation either loudly at the…
Practice this variation at first with a slurred bowing on the string,…
This elegant variation needs musical thought and offers opportunities to take time…
This variation uses sautillé with four bows per note, which allows time…
In variation 17 the sautillé is more complex than in variation 16.…
This variation requires the bow to be lifted after the up bow,…
Ševčík in his attention to detail often marks clearly when the bow…
Here Fintan plays bars 12-16. Notice how the bow stroke is either…
When playing martelé we look for a clear ‘click’ at the beginning…
This variation 13 with its many open strings is an ideal chance…
So often coordination issues are caused by the left-hand finger placing the…
To play Ševčík’s Variation 13 at the heel of the bow use…
Practice your round bow on simple chords in G minor or G…
Playing 3 separate bows per note on your arpeggio allows for more…
As with all bow strokes it is useful to practice this stroke…
As with all technical challenges, separate out the different components and practice…
After practicing the spiccato stroke on its own, add in the variable…
Notice how the technical impulse matches the musical line. Just as the…
The whole technical unit can include many things. For the left hand…