HOLDING THE VIOLIN BOW
LEOPOLD AUER ON BOWING
and
BOW HOLD
PRE-BOWING ON THE SHOULDER
MOVING THE BOW ON THE VIOLIN
PROPORTIONS OF THE BOW
ELIPTICAL MOTIONS CREATED BY
BOW STROKES and LIFTED BOWS
Showing posts with label violin bowing on shoulder. Show all posts
Showing posts with label violin bowing on shoulder. Show all posts
Thursday, September 12, 2013
Friday, September 6, 2013
FRIDAY, SEPTEMBER 6, 2013
QUOTE:
“Every kind of music is good, except the boring kind.”
COMPOSER
GRANADA BEG. STRINGS
“Every kind of music is good, except the boring kind.”
AUTHOR: Gioacchino Rossini
MEANING OF THE QUOTE:
"Many people think that music they don’t like is boring but….
"Many people think that music they don’t like is boring but….
what is boring to one might be interesting to another.”
COMPOSER
HILDEGARD
Laus Trinitati
(Praise to the Trinity)
(Praise to the Trinity)
GRANADA ADV. STRINGS
1. SIGHT READING: RUDOLPH
2. PACHELBEL/JOLLY
INTRO. TO INSTRUMENT
2. PACHELBEL/JOLLY
INTRO. TO INSTRUMENT
Granada
1. Keyboards
a. Reviewed how to locate white key notes by musical alphabet on the keyboard
b. Discussed about proper fingering technique...
not using only one finger to play the notes of a song
c. Discussed planning which fingers are to be placed ahead of time on the proper keys before starting the song so that the players eyes can stay on the music not on the fingers
d. Students practiced at keyboards with teacher assistance
1. Keyboards
a. Reviewed how to locate white key notes by musical alphabet on the keyboard
b. Discussed about proper fingering technique...
not using only one finger to play the notes of a song
c. Discussed planning which fingers are to be placed ahead of time on the proper keys before starting the song so that the players eyes can stay on the music not on the fingers
d. Students practiced at keyboards with teacher assistance
Hillview
1. Recorders
a. Warm-up step vs skip echo matching using fingers T1/T12/T123
plus adding fingers 4 and 5working down the recorder
b. Practiced the new fingering muscle pattern fingering alone separate from the blowing to develop automatic finger movement reflexes
c. Reviewed song (by number) using skips
Turkey Trot
a. Warm-up step vs skip echo matching using fingers T1/T12/T123
plus adding fingers 4 and 5working down the recorder
b. Practiced the new fingering muscle pattern fingering alone separate from the blowing to develop automatic finger movement reflexes
c. Reviewed song (by number) using skips
Turkey Trot
d. Started Song Whacky Nutcracker March (by number) using
fingering 1, 2, 3 steps and skips
1) reviewed counting and new rhythm symbols: triplets and half notes
2) Discussed the articulation symbol: staccato
e. Started the explanation of the musical alphabet and how it works on the recorder
preparing for note reading by letters replacing the numbers
1. Violin bow hold
a. Reviewed finger placement on the bow
b. Discussed the spring of the bow where pressure is applied on to it from the musicle
above the right arm in through the pointer finger of the right hand
1) Students practiced this using their bows on their laps
c. Practiced making a rectangle (square-like) figure using the bow
and the left arm (representing the violin)
d. Used the bow on the shoulder
1) Practiced making squares, triangles, trapezoids to determine the different placements
of the bow and which muscles are used at the different parts of the bow
a) Middle to tip: square to trapezoid: using the elbow muscle to move the bow
b) Frog to middle: triangle to square: using elbow and upper arm muscle to move the bow
c) Using the wrong muscle moving the upper half of the bow will cause
the bow to go over the fingerboard creating a very ugly sound
e. Showed the class symbols for UP and DOWN bow motions
and we practiced the motions in the air
a. Reviewed finger placement on the bow
b. Discussed the spring of the bow where pressure is applied on to it from the musicle
above the right arm in through the pointer finger of the right hand
1) Students practiced this using their bows on their laps
c. Practiced making a rectangle (square-like) figure using the bow
and the left arm (representing the violin)
d. Used the bow on the shoulder
1) Practiced making squares, triangles, trapezoids to determine the different placements
of the bow and which muscles are used at the different parts of the bow
a) Middle to tip: square to trapezoid: using the elbow muscle to move the bow
b) Frog to middle: triangle to square: using elbow and upper arm muscle to move the bow
c) Using the wrong muscle moving the upper half of the bow will cause
the bow to go over the fingerboard creating a very ugly sound
e. Showed the class symbols for UP and DOWN bow motions
and we practiced the motions in the air
HILLVIEW ORCHESTRA
1. SIGHT READING: RUDOLPH
2. PACHELBEL/JOLLY
2. PACHELBEL/JOLLY
Tuesday, January 22, 2013
TUESDAY, JANUARY 22, 2013
QUOTE:
“Think more of your own progress than of the opinion of others.”
“Think more of your own progress than of the opinion of others.”
AUTHOR: Felix Mendelssohn
MEANING OF THE QUOTE:
“In the end, what only matters is what you think of yourself.”
ADV. STRINGS
“In the end, what only matters is what you think of yourself.”
COMPOSER
DEBUSSY
DEBUSSY
GIRL WITH THE FLAXEN HAIR
The Bridesmaid by Millais
GIRL WITH THE FLAXEN HAIR
PLAYED BY HEIFETZ
PLAYED BY HEIFETZ
PERIODS 1 and 2:
01. VIOLIN: BOWING ON SHOULDER
........a. SHORT REVIEW OF BOW HOLD
........b. DEMONSTRATION OF BOW LEVELS
........c. DEMONSTRATION OF BOWING ANGLES
.............1) MIDDLE OF BOW: SQUARE (proper) vs PARALLELOGRAM (improper)
.............2) TIP OF BOW: TRAPEZOID
.............3) FROG OF BOW: TRIANGLE
........d. MOVING THE BOW
.............1) MIDDLE TO TIP: USE OF THE ELBOW
.............2) FROG TO MIDDLE: USE OF THE ELBOW and UPPER ARM
........e. BOW IS PLACED IN BETWEEN THE BRIDGE and FINGERBOARD NOT OVER THE FINGERBOARD
........a. SHORT REVIEW OF BOW HOLD
........b. DEMONSTRATION OF BOW LEVELS
........c. DEMONSTRATION OF BOWING ANGLES
.............1) MIDDLE OF BOW: SQUARE (proper) vs PARALLELOGRAM (improper)
.............2) TIP OF BOW: TRAPEZOID
.............3) FROG OF BOW: TRIANGLE
........d. MOVING THE BOW
.............1) MIDDLE TO TIP: USE OF THE ELBOW
.............2) FROG TO MIDDLE: USE OF THE ELBOW and UPPER ARM
........e. BOW IS PLACED IN BETWEEN THE BRIDGE and FINGERBOARD NOT OVER THE FINGERBOARD
PERIOD 3:
01. VIOLIN: LEFT PIZZICATO CYCLE OF STRINGS
........a. REVIEWED WATCHING THE CONDUCTOR DIRECTIONS
........b. LEFT THUMB PLACED AT CURVE OF THE VIOLIN NECK
........c. PAD OF THE LEFT POINTER FINGER DEPRESSES EACH STRING 8X WITH A SPRING ACTION
........d. REPEAT ABOVE DIRECTIONS and PULL THE STRING TO THE RIGHT TO PLUCK THE STRING
.............1) PLUCKED EACH STRING 4X (DEPRESSING THE STRING DOWN BEFORE PLUCKING EACH TIME)
........a. REVIEWED WATCHING THE CONDUCTOR DIRECTIONS
........b. LEFT THUMB PLACED AT CURVE OF THE VIOLIN NECK
........c. PAD OF THE LEFT POINTER FINGER DEPRESSES EACH STRING 8X WITH A SPRING ACTION
........d. REPEAT ABOVE DIRECTIONS and PULL THE STRING TO THE RIGHT TO PLUCK THE STRING
.............1) PLUCKED EACH STRING 4X (DEPRESSING THE STRING DOWN BEFORE PLUCKING EACH TIME)
ADV. STRINGS
01. PIRATES OF CARIBBEAN
........a. WORKED ON A SPECIFIC PASSAGE TO GET SPEED
02. HOUDINI
........a. WORKED ON A SPECIFIC PASSAGE TO GET SPEED
02. HOUDINI
BEG. STRINGS
01. WARM-UP
........a. FIRST FINGER SHIFTING DO-RE-MI-FA-SOL/SOL-FA-MI-RE-DO (0-1-1-1/-1-1-1-0) ON EACH STRING
02. SONG: TWINKLE (BY MEMORY)
........a. PLAYED ON STRINGS D and A (BOW UH) and G and D (BOW LH) BOWING "HUCK-LE-BER- RY HOUND DOG" RHYTHM
..............1) USED THE SAME AMOUNT OF BOW FOR EACH NOTE NECESSITATING BOW SPEED CHANGES
03. SONG: STAIRWAY TO HEAVEN (HARMONY)
.........a. REVIEWED COUNTING
.........b. REVIEWED SOME FINGERINGS and NOTE READING
.........c. REVIEWED BOW PROPORTIONING LH (LOWER HALF) and UH (UPPER HALF)
04. SOMEBODY I USED TO KNOW
.........a. PLAYED THE SONG FROM THE BEGINNING
.........b. REVIEWED A SPECIFIC PASSAGE FOR COUNTING and FOR BOWING
01. WARM-UP
........a. FIRST FINGER SHIFTING DO-RE-MI-FA-SOL/SOL-FA-MI-RE-DO (0-1-1-1/-1-1-1-0) ON EACH STRING
02. SONG: TWINKLE (BY MEMORY)
........a. PLAYED ON STRINGS D and A (BOW UH) and G and D (BOW LH) BOWING "HUCK-LE-BER- RY HOUND DOG" RHYTHM
..............1) USED THE SAME AMOUNT OF BOW FOR EACH NOTE NECESSITATING BOW SPEED CHANGES
03. SONG: STAIRWAY TO HEAVEN (HARMONY)
.........a. REVIEWED COUNTING
.........b. REVIEWED SOME FINGERINGS and NOTE READING
.........c. REVIEWED BOW PROPORTIONING LH (LOWER HALF) and UH (UPPER HALF)
04. SOMEBODY I USED TO KNOW
.........a. PLAYED THE SONG FROM THE BEGINNING
.........b. REVIEWED A SPECIFIC PASSAGE FOR COUNTING and FOR BOWING
Friday, September 14, 2012
THURSDAY, SEPTEMBER 13, 2012
QUOTE:
“My masters are strange folk with very little care for music in them.”
“My masters are strange folk with very little care for music in them.”
AUTHOR: Johann Sebastian Bach
MEANING OF THE QUOTE:
“Music is used for some people as a symbol of status or a way
“Music is used for some people as a symbol of status or a way
to be popular and for them has little to do with the art itself.”
Waltz Op. 64 No. 2
C# Minor
(Tempo giusto)
Performed by Artur Rubinstein
with sheet music
ADV. STRINGS
COMPOSER
CHOPIN
Waltz Op. 64 No. 2
C# Minor
(Tempo giusto)
C# Minor
(Tempo giusto)
LISTENING WORKSHEET
Waltz Op. 64 No. 2
C# Minor
(Tempo giusto)
Performed by Artur Rubinstein
with sheet music
Waltz Op. 64 No. 2
C# Minor
(Tempo giusto)
C# Minor
(Tempo giusto)
Performed by Artur Rubinstein
with pictures of the pianist
This is a term that describes the rate of speed (tempo) that a piece is played at.
The literal meaning is "exact time."
GENERAL MUSIC
01. MUSICAL ALPHABET GRAPHING SHEETS
01. MUSICAL ALPHABET GRAPHING SHEETS
02. PERCUSSION INSTRUMENTS
.......a. DEFINITION OF WHAT A PERCUSSION INSTRUMENT IS
.......b. INSTRUMENTS SHOWN IN CLASS (IDENTIFIED BY HOW THEY ARE PLAYED):
............1) SHAKERS
..................a) MARACAS
..................b) TAMBOURINE
..................c) SLEIGH BELLS
..................a) MARACAS
..................b) TAMBOURINE
..................c) SLEIGH BELLS
............2) SCRAPERS
..................a) BELL TREE
..................b) CABASA
..................c) GUIRO
..................d) SAND BLOCKS
..................a) BELL TREE
..................b) CABASA
..................c) GUIRO
..................d) SAND BLOCKS
............3) HITTING or STRIKING
..................a) BELL TREE
..................b) CLAVES
..................c) FINGER CYMBALS
..................d) HAND DRUM
..................e) SAND BLOCKS
..................f) SPOONS
..................g) TAMBOURINE
..................h) TRIANGLE
..................i) VIBRATONE
..................j) WOODBLOCK
..................a) BELL TREE
..................b) CLAVES
..................c) FINGER CYMBALS
..................d) HAND DRUM
..................e) SAND BLOCKS
..................f) SPOONS
..................g) TAMBOURINE
..................h) TRIANGLE
..................i) VIBRATONE
..................j) WOODBLOCK
............4) COMBINATIONS
..................a) BELL TREE
..................b) TAMBOURINE
..................a) BELL TREE
..................b) TAMBOURINE
........c. INSTRUMENTS SHOWN IN CLASS ALSO IDENTIFIED BY MATERIALS THEY ARE MADE OF:
............1) METAL:
..................a) BELL TREE
..................b) COWBELL
..................c) FINGER CYMBALS
..................d) SLEIGH BELLS
..................e) THUNDER SHEET
..................f) TRIANGLE
..................g) VIBRATONE
............2) WOOD:
..................a) CLAVES
..................b) SAND BLOCKS
..................c) SLAPSTICK
..................d) WOODBLOCK
............3) SKIN:
..................a) HAND DRUM
..................b) TAMBOURINE
............4) COMBINATIONS:
..................a) TAMBOURINE
............5) OTHERS:
..................a) CABASA (CAN BE MADE OF METAL or GOURD)
..................b) GUIRO (CAN BE MADE OF METAL
or GOURD)
..................c) MARACAS (MADE OF GOURD)
..................d) SAND BLOCKS (MADE OF WOOD and SAND PAPER)
..................e) SPOONS (CAN BE MADE OF METAL or WOOD)
........d. INSTRUMENTS CAN ALSO BE CLASSIFIED BY TIMBRE (or BY SIMILAR TONE COLOR) EXAMPLES:
............1) FINGER CYMBALS and TRIANGLES
............2) WOODBLOCKS, CLAVES, and SPOONS
........e. INSTRUMENTS CLASSIFIED IN TWO MAIN CATEGORIES:
............1) PITCHED
..................a) PRODUCES SOUNDS or PITCHES
..................b) SOUNDS or PITCHES CAN BE IDENTIFIED BY NOTES OF THE MUSICAL ALPHABET
............2) NON-PITCHED ............1) PITCHED
..................a) PRODUCES SOUNDS or PITCHES
..................b) SOUNDS or PITCHES CAN BE IDENTIFIED BY NOTES OF THE MUSICAL ALPHABET
..................a) PRODUCES SOUNDS and/or PITCHES
..................b) SOUNDS CANNOT BE IDENTIFIED BY NOTES OF THE MUSICAL ALPHABET
........f. MANY OF THESE INSTRUMENTS ARE NOW ALSO BEING MADE OF SYNTHETIC MATERIALS SUCH AS PLASTIC
01. GESU BAMBINO
.......a. PRACTICED THE 1ST PHRASE
............1) BOWING and ARTICULATION: STARTING and STOPPING TOGETHER
.......b. PLAY THROUGH THE ENTIRE PIECE
02. BURGUNDIAN CAROL
BEG. STRINGS
BOW HOLDING DIRECTIONS
BASIC KNOWLEDGE TO HELP UNDERSTAND WHY THE WAY WAY WE HOLD THE BOW IS SO IMPORTANT
01. BALANCE
........a. BOW IS ACTUALLY HELD BY A BALANCE OF THE VIOLIN FROM BELOW AND THE HAND ABOVE
.............1) THE VIOLIN (PARALLEL TO THE FLOOR) BALANCES FROM BELOW
.............2) THE HAND APPLIES WEIGHT FROM ABOVE
...................a) WEIGHT IS TRANSFERRED FROM THE UPPER RIGHT ARM THROUGH THE MIDDLE JOINT OF THE RIGHT POINTER FINGER ON TO THE BOW
...................b) THE RIGHT THUMB ON THE BOW IS USES TO KEEP THE BOW FROM WIGGLING SIDE
-TO-SIDE
02. HOW THE BOW IS USED TO PRODUCE SOUND and TONE
........a. THE BOW SETS THE STRING TO ITS INITIAL VIBRATION BY STRIKING THE STRING FROM ABOVE
.............1) EXAMPLE: AS A MALLET MIGHT STRIKE A PERCUSSION INSTRUMENT SUCH AS A TRIANGLE
.............2) A "SPRING-TYPE" ACTION OF THE BOW ON TO THE STRING PRODUCES THIS
...................a) PRODUCED BY THE PRESSING DOWN OF THE MIDDLE JOINT OF THE RIGHT POINTER FINGER THROUGH THE USE OF THE UPPER RIGHT ARM ON TO THE BOW FROM ABOVE
..............3) "ARTICULATION" SOUND IS PRODUCED BY THE BOW "SPRING" ACTION
...................a) ARTICULATION SOUND IS SIMILAR TO THAT OF THE TONGUE TOUCHING BEHIND THE TEETH IN THE PRODUCTION OF SPEECH SOUNDS
..............4) TONE QUALITY PRODUCTION IS DIRECTLY RELATED TO HOW THIS ARTICULATION IS PERFECTED
........b. BOW MOVEMENT AFTER THE INITIAL ACTION
.............1) AFTER THE "ARTICULATION" THE BOW PRESSURE ON THE STRING IS LESSENED (LESS PRESSURE FROM ABOVE) AND THE BOW CONTINUES IN EITHER A DOWNWARDS or UPWARDS DIRECTION
...................a) DOWN BOW: PLAYER PULLS THE BOW DOWN FROM THE LEFT SHOULDER
...................b) UP BOW: PLAYER PUSHES THE BOW UP TOWARDS THE LEFT SHOULDER
.............2) BOW SPEED (DIRECTED BY THE THE RIGHT ARM) IS CONTROLLED AND STEADY
...................a) BOW SPEED IS DETERMINED BY MANY FACTORS and IS A TOPIC FOR DISCUSSION LATER)
.............3) PRESSURE ON TO THE BOW BY THE RIGHT ARM IS DETERMINED BY THE BOW SPEED USED LEARNING THE BOW HOLD BY STEPS:
01. BOW HOLD DETERMINED BY THE MIDDLE KNUCKLES OF THE RIGHT HAND
02. STEP 1: PLACEMENT OF THE KNUCKLES:
.......a. ON THE PADDING and/or SILVER PORTION OF THE BOW NEAR THE FROG PLACE THE MIDDLE
KNUCKLES OF THE RIGHT HAND FINGERS: POINTER, MIDDLE, RING, and PINKY ON THE BOW
...........1) PINKY NEVER TO BE ON THE SCREW OF THE BOW
03. STEP 2: RIGHT THUMB PLACEMENT
........a. LIGHTLY TOUCHES THE FINGER TIPS IN BETWEEN THE TWO MIDDLE FINGERS
............1) THUMB DOES NOT SQUEEZE OR PUSH HARD AGAINST THE FINGERS
........b. THUMB PLACED IN BETWEEN THE BOW STICK AND HAIR
04. STEP 3: PINKY ADJUSTMENT
........a. RIGHT PINKY FINGER ADJUSTED SO THE PAD OF THE FINGER SITS ON THE TOP OF THE BOW
............1) FINGER MUST BE CURVED NATURALLY NOT PRESSED DOWN HARD OR CAVED BACKWARDS
........b. THIS FINGER IS THE "BALANCE" FINGER
05. STEP 4: RIGHT POINTER FINGER ADJUSTMENT
........a. POINTER FINGER MIDDLE KNUCKLE CAN BE ADJUSTED TO A LITTLE BELOW THE JOINT
............1) THERE ARE 3 BASIC PLACEMENTS OF THE POINTER FINGER ON THE BOW AND USAGE VARIES DEPENDING ON THE PLAYER
..................a) FRANCO-BELGIUM: POINTER FINGER MIDDLE KNUCKLE PLACED SLIGHTLY BELOW JOINT ON THE BOW (THE MOST COMMON USAGE)
..................b) FRENCH: POINTER FINGER KNUCKLE JUST ABOVE THE FINGER TIP KNUCKLE USED ON THE BOW (CREATES A LIGHTER SOUND)
..................c) RUSSIAN: POINTER FINGER KNUCKLE JUST BELOW THE HAND USED ON THE BOW (CREATES A HEAVIER SOUND)
........b. THE FRANCO-BELGIUM METHOD IS WHAT I AM TEACHING
06. QUICK REVIEW THAT I ALWAYS SAY IN CLASS:
........a. BOW IS ACTUALLY HELD BY A BALANCE OF THE VIOLIN FROM BELOW AND THE HAND ABOVE
.............1) THE VIOLIN (PARALLEL TO THE FLOOR) BALANCES FROM BELOW
.............2) THE HAND APPLIES WEIGHT FROM ABOVE
...................a) WEIGHT IS TRANSFERRED FROM THE UPPER RIGHT ARM THROUGH THE MIDDLE JOINT OF THE RIGHT POINTER FINGER ON TO THE BOW
...................b) THE RIGHT THUMB ON THE BOW IS USES TO KEEP THE BOW FROM WIGGLING SIDE
-TO-SIDE
02. HOW THE BOW IS USED TO PRODUCE SOUND and TONE
........a. THE BOW SETS THE STRING TO ITS INITIAL VIBRATION BY STRIKING THE STRING FROM ABOVE
.............1) EXAMPLE: AS A MALLET MIGHT STRIKE A PERCUSSION INSTRUMENT SUCH AS A TRIANGLE
.............2) A "SPRING-TYPE" ACTION OF THE BOW ON TO THE STRING PRODUCES THIS
...................a) PRODUCED BY THE PRESSING DOWN OF THE MIDDLE JOINT OF THE RIGHT POINTER FINGER THROUGH THE USE OF THE UPPER RIGHT ARM ON TO THE BOW FROM ABOVE
..............3) "ARTICULATION" SOUND IS PRODUCED BY THE BOW "SPRING" ACTION
...................a) ARTICULATION SOUND IS SIMILAR TO THAT OF THE TONGUE TOUCHING BEHIND THE TEETH IN THE PRODUCTION OF SPEECH SOUNDS
..............4) TONE QUALITY PRODUCTION IS DIRECTLY RELATED TO HOW THIS ARTICULATION IS PERFECTED
........b. BOW MOVEMENT AFTER THE INITIAL ACTION
.............1) AFTER THE "ARTICULATION" THE BOW PRESSURE ON THE STRING IS LESSENED (LESS PRESSURE FROM ABOVE) AND THE BOW CONTINUES IN EITHER A DOWNWARDS or UPWARDS DIRECTION
...................a) DOWN BOW: PLAYER PULLS THE BOW DOWN FROM THE LEFT SHOULDER
...................b) UP BOW: PLAYER PUSHES THE BOW UP TOWARDS THE LEFT SHOULDER
...................a) BOW SPEED IS DETERMINED BY MANY FACTORS and IS A TOPIC FOR DISCUSSION LATER)
.............3) PRESSURE ON TO THE BOW BY THE RIGHT ARM IS DETERMINED BY THE BOW SPEED USED LEARNING THE BOW HOLD BY STEPS:
01. BOW HOLD DETERMINED BY THE MIDDLE KNUCKLES OF THE RIGHT HAND
02. STEP 1: PLACEMENT OF THE KNUCKLES:
.......a. ON THE PADDING and/or SILVER PORTION OF THE BOW NEAR THE FROG PLACE THE MIDDLE
KNUCKLES OF THE RIGHT HAND FINGERS: POINTER, MIDDLE, RING, and PINKY ON THE BOW
...........1) PINKY NEVER TO BE ON THE SCREW OF THE BOW
03. STEP 2: RIGHT THUMB PLACEMENT
........a. LIGHTLY TOUCHES THE FINGER TIPS IN BETWEEN THE TWO MIDDLE FINGERS
............1) THUMB DOES NOT SQUEEZE OR PUSH HARD AGAINST THE FINGERS
........b. THUMB PLACED IN BETWEEN THE BOW STICK AND HAIR
04. STEP 3: PINKY ADJUSTMENT
........a. RIGHT PINKY FINGER ADJUSTED SO THE PAD OF THE FINGER SITS ON THE TOP OF THE BOW
............1) FINGER MUST BE CURVED NATURALLY NOT PRESSED DOWN HARD OR CAVED BACKWARDS
........b. THIS FINGER IS THE "BALANCE" FINGER
05. STEP 4: RIGHT POINTER FINGER ADJUSTMENT
........a. POINTER FINGER MIDDLE KNUCKLE CAN BE ADJUSTED TO A LITTLE BELOW THE JOINT
............1) THERE ARE 3 BASIC PLACEMENTS OF THE POINTER FINGER ON THE BOW AND USAGE VARIES DEPENDING ON THE PLAYER
..................a) FRANCO-BELGIUM: POINTER FINGER MIDDLE KNUCKLE PLACED SLIGHTLY BELOW JOINT ON THE BOW (THE MOST COMMON USAGE)
..................b) FRENCH: POINTER FINGER KNUCKLE JUST ABOVE THE FINGER TIP KNUCKLE USED ON THE BOW (CREATES A LIGHTER SOUND)
..................c) RUSSIAN: POINTER FINGER KNUCKLE JUST BELOW THE HAND USED ON THE BOW (CREATES A HEAVIER SOUND)
........b. THE FRANCO-BELGIUM METHOD IS WHAT I AM TEACHING
06. QUICK REVIEW THAT I ALWAYS SAY IN CLASS:
MIDDLE JOINTS ON BOW STICK
THUMB IN BETWEEN TWO MIDDLE FINGERS
PINKY SITS UP FOR BALANCE AND A SLIGHT ADJUSTMENT OF THE POINTER FINGER
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