Short Bowing Method. Exercises for coordinating right-arm movements for the young violinist
Violin - Sheet Music

Violin; Methods and Music for Children

SKU: UT.DM-25

Composed by Cesare Frisina. Saddle stitching. Classical. Method book. Ut Orpheus #DM 25. Published by Ut Orpheus (UT.DM-25).

ISBN 9790215304659. 9 x 12 inches.

The present method deals with the questions of the bow, on the phase of access in the study of the instrument, by suggesting a series of exercises (or forms) fully developed. Such manner of approach is offered to the student with the aim to get him used at a constant visual concentration on the score, rather than on the instrument. During the development of the didactic units the theme of muscular memory, which is of fundamental importance in the first phase of the method logical base of the study, necessary for a correct development in learning capabilities of the student. Nearly all exercises are supported preliminary and conclusive notes, explaining the specific validity and/or mode of execution; it is pointed out that the development, on base of the fundamental worked out forms on the arpeggios is summed up in extract form in the examples listed in the appendix. The metronome indications are symbolic and it will therefore be the teacher who will use the time value, as they occur, to adopt them according to the student’s ability. In the conclusive note the application of the forms to the scales with maximum extension to he students of the advanced courses as well is suggested. It must be pointed out that the basic motivation of the present method lays in the wish to give to all the possibility to get a closer knowledge on the violin practice, involving a beneficial offer to students who find difficulties in the study of the violin, even though they are very attracted towards it.
The following briefing intends to improve the student’s ability in the initial stage to co-ordinate progressively the right arm’ s movement starting with the application of some basic rhythmical patterns on the void strings and gradually adding in the first position. Each rhythmical pattern presents its peculiarity and importance for the bow distribution in the use of different portions and consequently for the correct solicitation of the various right arm joints; for this reason it is preferable (the use of void strings) in the first stage rather than the student memorises the rhythmical pattern to repeat it with closed eyes, directing his attention on the movements that each part of his right arm is carrying out, to correctly adjust the flexion of the fundamental joints (wrist, fingers, elbow) in so doing, the possibilities of visual distractions are avoided, and the exploitation of the muscular memory is favoured, which, in my opinion is one of the fundamental components in violin study’ s technique; moreover , by means of the continuos practice of this ability the capabilities to play at sight will be sensibly increased.