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22

As Jomiddnz points out, there's pizzicato. You could also bow one string and pluck another at the same time. But if you want both notes played with the bow, and don't want the bow to catch the strings in between, the only way is by playing on the top and bottom strings with the bow under the strings. Here's an example (OK, the only example I've found): the ...


14

IANAMPT (music physical therapist), so take this as encouragement rather than direction. I would not let any physical disability short of losing your arm :-) stop you from trying to learn the cello. Find a decent teacher who can either work with you directly or refer you to a music-oriented physiotherapist to figure out a functional bow grip position ...


12

Just to be pedantic, you could pretty easily bow the open G and A strings together by holding the D string depressed just above the bridge.


9

Just to add to the other answers, there's this unusual technique where you loosen the hair of the bow and play with the stick of the bow under the violin, but the hair wrapping over it. This allows you to play three or four strings simultaneously. To play only two non-adjacent strings, I guess you'd need to somehow mute the string(s) in between. I never ...


7

If you really want to work on your bowing, do it without involving the left hand. If you are fingering notes, part of your mind will always be thinking about the left hand. By eliminating it, you can learn to handle your bow hand better, and it carries over once you add the left hand back in. The single most useful thing will be to practice long tones. When ...


7

Looks to me like the player is interspersing conventionally bowed notes with left-hand pizzicato notes. This is similar to the pull-off (ligado) technique on guitar, but has a quite different sound. I only watched the clip once, but it appears that the passages that combine bowed and L.H. pizzicato are executed as follows: a note is fingered with the little ...


6

Long-tones. All the time. Extremely slowly. Always. Meditate on your open strings with long tones until they are perfect and serene and the bow only does what you want only when you want it. Long tones. Only when you can play your long tones in this way can you have control over all of the music you play. When I say "long", I mean "long" as in you sit with ...


6

There are only two possible kind of vibrations with a string fixed at both ends: Plucking; the vertical impulse leads to a transversal vibration twisting, leading to a torsional vibration To get the string to twist, rosin is applied to the horse hair so that it can grip the string. You need something soft as an attempt with a stick will show and also some ...


5

While I have not played cello, I do (too infrequently) play upright bass. For upright, there are different ways of holding the bow. First is French, which is more palm down. And German which is more palm up. I have played both ways, and for me I prefer the German style bows. I feel that it gives me better control and is more comfortable for my hand, ...


5

Absolutely, but it's harder on a modern instrument As RedLitYogi says, the convex bridge (not the fingerboard!) affects your ability to play more than two adjacent strings. A tight bow means you can only normally hit two notes at once. Historically this was not the case though. Baroque instruments had a shallower curve to the bridge, and they also used ...


5

The are defined in the introduction. The arrows mean "full bow" and the other symbol (which is fairly standard) means "at the frog". See the picture for the full set of symbols - apologies for the poor quality.


4

Disclaimer: not a teacher. This is just what my teachers have had me do. Get a teacher. Violins are hard to learn. You have so much more control over all aspects of sound production on a violin compared to a piano or a guitar (particularly a piano) that you also get a million more ways to do it wrong and make a horrible noise. As with all instruments, the ...


4

This is a violin, not a piano. There is a large number of degrees of freedom for all of the playing action. You don't just strike a tone and it's there. You have to control it from start to end with a bow that has completely different weighting and leverage depending on its ever-changing point of contact. Getting all movements to work well and smoothly ...


4

given that the eighth notes are so short anyway(tempo is quarter note = 138 BPM) "Staccato" literally means "separated," not "short." A staccato eighth note at 138 BPM will still need to be shorter than a regular eighth note at 138 BPM - what matters is the separation of the notes, not the actual duration of the pitch. Personally, I would add the staccato ...


3

Try this exercise (I believe it has been suggested to me on this site elsewhere): set a timer for one minute get a camera to record yourself in such a manner that the camera is looking parallel at the violin start your bow at the frog as the timer starts continue to drag it all the way to the tip but FILL THE WHOLE MINUTE WITH ONE BOW (you can always start ...


3

Absolutely; you just write a little marking to indicate to the performer when to switch between pizzicato and regular bowing. In the score, we use the call arco to signal that the performer should bow regularly. It's similar with brass instruments: a composer tells them to use a mute, and then a composer tells them when to quit using the mute. Note that ...


3

You most likely know this, but just in case: the instruments of the string choir (violin, viola, cello, bass violin) all have convex fingerboards. This makes it much easier to bow a single string than it would be if the strings were all on one plane as they are in guitars and lutes, etc. That is why the answer given in 13 seems to be the best. (Paganini ...


3

Yes, I agree that you are probably right. The arrows mostly likely indicate using the whole bow. I have been a professional double bass player for about 40 years and I have never come across those symbols. They are not standard. If the second symbol does mean play at the frog, it is slightly unusual since it is a pp passage and would be more comfortable ...


2

Jerky bowing comes down to a lot of things. One thing is that the balance of the bow is strikingly different at the tip and the nut. At the tip, you put pressure on the bow with your index finger with the thumb as pivot, middle and ring finger stabilizing the bow and the pinky on the screw giving a countercontrol for the pivot. All fingers are curved, no ...


2

That certainly is a rarely used term! I found one definition via Google Books, "Encyclopaedic Dictionary of Music edited by Hugo Riemann," as same as "appogiando," meaning "leaning against. These terms are applied to notes which are connected to others -- syncopations and suspensions - and are synonymous with 'col portamento di voce' musicwithease ...


2

You've answered your question yourself: what you call the "standard method" really is the standard method, unless indicated (or desired) otherwise. But yes, all the other bowings you picture do exist: you can play each quarter note with a downbow, or play two down and two up, and so forth. Each different bowing has its own sound and its own musical purpose....


2

The bow hold varies slightly between the various "schools" of teaching. My Moscow Conservatory trained instructor preferred her students to have the weight of the hand constant and even on the first finger, between the first two knuckles, and the rest of the hand as completely relaxed as possible. With this style, depending on your pinky length, the pinky ...


2

You probably don't mean "legato" as much as you mean "arco" (namely bowed as opposed to plucked). Yes, using pizzicato and arco next to each other is quite possible as violinists don't necessarily put aside the bow when doing pizzicato. Paganini even combines bowing with simultaneous left-hand pizzicato (of course, this needs careful consideration of ...


2

No. It is physically impossible unless you play it pizzicato.


2

If you used two bows you could achieve the result. It would be rather tricky to hold them both, and only short strokes would be viable without some extremely dexterous right-hand work (or perhaps a bowing action which moves the bow along the strings more than across them - which wouldn't sound great), but would be more versatile than the under-the-strings ...


2

Cellist dropping in here. There are all sorts of mechanisms we have to use to ensure that the bow doesn't continue to play a note after it's over, doesn't start a note until it's time to start, and of course make a nice clean transition between notes. When reversing direction on a single string the main concern is avoiding a "skritch" which is generally due ...


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