DailyTechniqueHour

AriaFestival201Z

BowChangesOnopenStrings 5minutes
smooth6hangeattipwithnoclick 10xeachstring
smoothchangeatfrogwithnoclick 10x
(passivefingers)
Smoothchangeattipwithaclick 10x
smoothchangeatfrogwithaclick 10x

ｍ．
２
Down-bowExercise
、
２ ｍ。
Fourths 、
。
２ ｍｍ
2-fingerScaleS,allslrings
・
RightHandFingerseXerciSe: ２ 、ｍ

Kreutzerl3orDont5atfrog

4thfingershapeexerciSelOOx 3min

-break-1min

RolandVamosFingerIndependenceexercise 20min

-break-1min

Schradeick#1changestringsevery6exercises ５min

AmajorScale 1３min
FOuroctaves-separatebowsnamingnewnotes ３ｍ ●
ｍ
Accelerationexercise ４ｍ ｏ
ｍ
Arpeggiosequence ６ｍ ・
ｍ

4minutes
GalamianTmrdsExerciseslur2

total:60mm

-GFulkerson
July2011
 FulkersonBow-ArmClass

Welcome・ThiscursewminndaysteachyoutheDetachestroke,whichisthe
mundmionoftheGalamianbow-amLThisstrokeisanarmweightstmkeusedmran
sustainedPlaying,asweUasmanyofthe-strhngstrokes.Itisideamysuirdneededh
romanticconcmtiWherepmjectionisanissue,andisabsolutelyessentialira
satisfactoryperfbrmanceoftheBrahmsWO""Cｂ"Cey.ID.

nneDetadlestroMasanoljectoforganmdpedagogicalstudydamsmdnemundingof
theParisCons"vatoIyml795.Kreutzr,Ga凡ｸinies,Rode,Mazas,andBaillotwror
exmcisebooksmordmmPachittosmdenishomallsocialclasses,especiallynose
homienon-arismCraticclassesw伽hadbeenexcludedhomviohstudybemrethe
FrenchRevolutionThatbowaarmtraditionnourishedihxoughthel9mcenturyheadlined
bythemmousParisConservatolyviolinistsVieuxtmmps,WieniawskiandYsaye・My
racherlvanGalamianleamedthishaditionthroughstudywithLuci"CapetmParisin
thel920s,andhebroughtittotheUnirdStamswhenhearrivedinl937・Itwasavery
powermmol.Galamian'sstudaltsmcludednotonlytheconcmtviolinistsdominating
dleSZmgemtilelal960sandl970s-makPmlman,PinclBsZukrman,KyImg-Wha
Chung,MichaelRabin-butalsoagenaationoforchestralmusiciansandteachers,allof
ｗ加mowealargeportionoftheirsuccessmlhenuidityandpoweroftheirbow-arms.

UPonMr・Galamian'sdeanlinl981,theteachmgmantleintheUnmdStatesfellto
DorothyDeLay,meofGalamian'searliestStudemsinNewYork・MissDeLay
revolmonizdlhestudyoftheleahand,eSpeciallyofinmnationstandards,butshewas
lessinmesMinc叩'蛇thanexCndingMr.Galamian'sbowmenlods,andherstudents
haveadecidedlydi丘歓entaWroachtoSbund.Asaresult,theGalamianbow-armis
cuITentlytaughtonlybyaprominembutaginggroupofsecond-gena通tionteach"s.
ListingeveryGalamianstudemcurrentlyteachingwouldreql血redocmral-levelresearch,
butanab眈巳viaCdlistincludin"acherSatmmjprmmenmmsicschoolsmightjPclude
DavidCemne,JaimeLaredo,DOnaldWeilmsEin,1JamesBuswwem,AniKavahan,Ida
Kavafian,RobertLipsett,SylviaRosenbmg,GregoryFulkerson,KennethGoldsmith,and
DanielHeiftz_

IdonotexPecctthatyouustundertakeafimdamentalchangetoyourplaying.Icomider
thisstroMmbeavaluableadditimltoyourtechnicalarsenal・IEachashoke-based
aWroachwherethestrengthsofeachtraditioncanbeincorporatedintoaviolinist'stotal
mchnique.Forthiss拉叱e,youwillneedmuseaFranco-Belgiangrip,andmkeepthe
elbowbelowthewrist,butfbroth"unrelatedstrokesyoucanandshouldkeepwhat
Cun巳ntlyworkshryou.
 BasicPrinciples
OfthevariousnormalactivitiesthattherightarmpeIforms,twomotionsstand
outasofparticularrelevancetotheissueofmovingthebow.Thefirstisanatural
swmgmgthearmfromtheshoulderjoint,causinganohjectinthehand(suchasa
bow)tomoveinacrescentshape.Atslowspeeds,thismotionleadstoastrokeofgleat
eleganceandrefinement,especiallyassomemorablydemonstratedbyJosefGingold.

Thesecond,equallynaturalmotionismovingthehandmastraightnne・The
associatedmovementsoftheshoulderjoint,upperarm,elbow,fOreann,andwristcan
seemquitecomplexwhenlookedatinisolation,butthetotalityofthismotionisquite
natural,andispe㎡Ormedeverydaybyallofus・Someexamplesincludemakinga
punchingmovement,pickingupanoqectfromatable,orshiftinggearsonastickshift
car・Itisthismotionthatisusedtodrawthebowinastraightpath・Ifwewishto
gaincontroloverthesoundsproducedbythatmotion,weneedtoexaminethismotion
thoroughly.Thereisalwaysapossibleriskinspeakinganalyticallyaboutmattersmeant
tobeunderstoodinanintuitiveway・Inthiscase,however,analyticalunderstandingis
criticaltoanaccurateintuitiveunderstandingbecausethesuhjectivefeelingofthis
motionmgggwiththespeedofitsaction.

Weusebothmotionsdescribedabovetoplaytheviolin,anditisimportantto
makeadistinctionbetweenthetwo.Inordertoemphasizethedifferences,itishelpfulto
thinkofthedesiredstraightbowmotionaspelformingacrescentinthereversedirection
oftheswingingone,asinthefOllowingdiagram:

＝
SLれiJ&u､JG
ＣＲＥ豆．Ｅ尚〒 》
部 岬 ０­
AbitofgeometricimaginationwillconvincethereaderthatthisReverSeCreScent
retainsallthemotionsofthestraightbowmotioninaslightlyexaggeratedfOrm.

Inordertousethismotiontomakeapleasingsoundontheviolin,thestudentmustalso
payattentiontoseveralotheraspectsoftheinteractionbetweenthebowandthestring.
TodaywewillstartwithfOur:BowAngle,SoundingPoint,HairAngle,andAnnWeight.

BOwAnglereferstotheanglethemotionlessbowmakeswiththelineofthe
bridge.Wedistinguishthreepositions:1)BowParalleltoBridge;2)FrogClQSgrtqthe
bridgethantheTip,orlN;and3)TipclosertothebridgethantheFrOg,orOUT.The
ternfS"in'!and!iout'¦comefromtherelativepositionofthehandrelativetotheparallel
position.The'louti!positionisalmostneverused,althoughstudentsoftentrytoplayin
fhatpositioninamisguidedattempttobeconscientious.

SoundingPointreferssimplytotheplacewherethebowtouchesthestring.Itis
generallyreferredtointermSQfitsdistaPcefr9mthgbri4:e・Sometimesteacherswill
ffertoPlayingfarfromthebridgeasusingaLowSoundingPointTheSoundingPoin(
isthemajordetenninantoftonecolor.Toachievecontrolovertonecolor,onemustpay
attentiontoSoundingPointthroughouttheentirebowpath,andnotjustatthebeginnings
andendsofstrokes・Inthisconnection,itwillbenotedthattheReverseCrescentactsto
keepthesoundingpointconstantthroughthestroke.
HairAnglereferstothetiltofthehairl℃lativetoanimaginalyplaneofthe
strings.ThistiltfOgetherwithpressurecontrolsthewidthofthehaircOn"ing_thestring,
andthusdirectlyirifluencesthetone.Therearethreepositio":Hathair,Hair.Cllrved
Towardtheplajer,andHairTurnedAwayfromtheplayer.Theclearesttqnei"aVvn
withthethilineSthairwidth,soaflathairangle,whichgivesthewidesthairWidth2is
onlyusedinpassageswhereconsiderationsofpoweroverwhelmconsiderationsof
clafityTheihealiIairAnglefOrmostviolinplayingiPto"VPthellajrtoWdti9
PlayEr,sothatanimagin"linefromthemiddleoftheSickthroqghihenliddlepfthe
iiaifpointstothebase3fth6bridge.Incentainspecializejstrokes(suQhas.dolyntboW
stacdato),theHairAnglemaybe7urnedawayfrOmtheplayerasrequiredbythehand
motions.
IPreferasamatterofgooddisciplinetokeepthehair3ng!eConstantthr9U;hou(
astroke.SomeschoolSadVObiieflattenihgthehairanglenearthetiptp.compensalefO!
therelativelighmessofthebowintheupperhalf・ThiSisconsistentwithmypractice.If
thehairangl&verbeCbfiesMiPietelyiiat,however,thereisachangeoftonecolor,
whichissubtlebutaudible.

TheconceptofArmWeightiscentraltothisstudy・AprerequisitefOrAm
WeightisaRelaXbdIIMahM̅P6SitioninwhichthefingerSrest9nth9b9WlWIhou(
squdezingorimpartingm&56=5fyrPfE=mraThisisnotapfoblemYvhentheb"jS
restingonthestringsorisinaverticalpositionintheair・Butasthebowassumesamore
horiz5htalpositionlnthe̅aif,IMMit̅mmmeedtofindawayofsupportiqgthebow
withthehaildinarelaxedwayAbitofexperimentationwillenablethestujen(.t9
balancethebowonthemuniMidgUMMV5feSistancefromaprOna!ed.andClnryed
littlefimgenThispositionalloWSfemtMUustmentswhichoccurinthebowstroka

Toincreasethefrictionbetweenthebowhairandthestring,onemustuse
Pressure.Theactualenergycomesfromatinyrotationofthearm,transnmQdthrougi
theindexfinger,usingthe̅fhumbasafulcrunf(Somepeople,especiallyviolists,uSejle
middlefingerfOrthis,whichcanbeappropriate､forceftai,istrokes,butnotthiggne).The
pressuremustbetransmittedinsuchdWajthatthestickflexestothecenteroftheiair,
notofftooneside.Themaximumpressufeeverusedontheviolinisthatwhichmakes
thesticktouchthestringthroughthehair.Itwillbeimmediatelyapparentthatthelast
threefingersofthebowhandareunnecessaryfOrtransmittingPreSSure.Pressureshould
notbelocalizedinthefingers,becausethefingerandthumbmusclesarenotstrong
enoughforsustainedexertionofthattype.Bufbychangingthepositionoftheannand
allowingthethumb-indexunitto塑昌皿thetorquewecanabhieVethesamepressurewith
muchlesseffOrt.Thetwobasicapproachesarel)bySuspendingthearmandusing
pronationandsupinationofthefOrearm(usefuifOrarticulationandcertaintypesofoff-
the-stringstrokes)and2)allowingtheviolintosupportsomeoftheweightoftheonly
partiallysuspendedupperann.ThisiscalledArmWeight,notbecausethearmweighs
more,butbecauseinthispositionthestudentwillbeawareofthearmfeelingheavy.

』
 FulkersonBow-AnnCourse--summer201Z
IntroductoryLecmre:BasicPrinciplesofBowmgStIaight
KeyConcepts:ReverseCrescent;BowAngle;SoundingPoint;HairAngle
Pressure:RelaxedHand;ArmWeight

BowGripExerciSeS:
Ａ・ItsyBitsySpider
l・Holdthebowveltically.graduallyworkyourfingersupthebowuntil
youareholdingitatthetip.Thenreturntothefrog.
２.Thesame,butholdthebowparalleltotheground.
B.Fingermovementexerciseonatable(likecoll6)
C.Holdbowatbalancepoint.Rotatebowuntilpalmisup.
CheckThumb/Index/Pinkyposition(thumbhalfwaybetween)
Makethethree-fingerstructurestrongwithoutbananathumb.
D.Balancethebowwiththethumbandthecurvedpinkyonly

RightHandExercisesfOrthefirstsession(nosound):

１.Placebowonthestringatthefrog・ChangethebOwanglefrominto
outusingonlythefingers.Nosound.

２.Placebowonthestringatthetip.Changebowangleusingtheann.

３.Placebowonthestringatthefrog.ChangetheHairAnglebyrolling
thebowinthefingers.Dothesameatthemiddleandthetip.

４.Placethebowonthestringatthemiddle.PreSsthesticktothestring
throughthemiddleofthehairusingonlythepronationmovement.
Aimatthebaseofthebridge.Release.

5.Placethebowonthestringatthetip.Usingonlythepronanon
movement,Pressthesticksothatittouchesthehairinthemiddle.
ReleaSe.Dothisalsoatthefrog.

６.PlacebowonthestringinthemddleatfivesoundingpointS:
I.OvertheFingerboard(SulTasto)
II.AwayfromtheBridge(Low,Piano)
III.Normal(Medium)
IV.NeartheBridge(FoIte)
V.VeryCIosetotheBridge(Aggressive,High,Heroic)
Dothesameatthetipandatthefrog.

７.Placethebowonthestring,useArmWeight,nosound.Gothrough
thenotesofKreutzerEtudeno.7:
a)Atthemiddle
b)Atthe廿og
c)Atthetip
d)AlternatingrandomlybetweenFrog,Middle,andTip

Ｉ
p､２
FulkersonBowArmCourse

Sessionn:MovingtheBowFast,onedirectiononly
KeyConcepts:Direction;Out;In;openelbow;movefi･omhand
SmdyMaterials:Kreutzer7:a)repeatedupbowstiptomiddle;b)upbows
middletofrog;c)downbowsfi･ogtomiddle;d)downbowsmddletotip
--bothliftingbowwithfOllow-throughandwithconstantweight

Sessionlll:BowChanges
KeyConcepts:Rebounds;Clicks;Pronationofhandattip
StUdyMaterials:Kreutzer7:2bowstoeachnotewithbigwaitsinbetween(#11)

SessionlV:AlternatingStrokesandBowDistribution
KeyConcepts:Bowdistribution
StudyMaterials:Amajorscalealternating2slurredand2sePalate
Kreutzer7:A5printedstartinguPanddowninthemiddle

SessionV:StrmgChanges
KeyCon&pts:C5ntinuousDetach6;thetwoStringChangeqrclgS;
RelationshipofCirclestoDirection;theAPcelQratiqJe¥e!℃ise
SmdyMaterials:Kreutzer.7:bowings#18,#20(singledirectiqnCircles)
AmajorscalealternatingsluffedandseparatewithacCerratiQn
exerciSeupto6(UsethePatterninGalamianishardbackBook)

SessionVI:BasicDetachCatmoderatespeeds
KeyConcepts:PulledSound;ElboWbelowwrist;RelationshipOfMalteleto
Detach6;Findingthemostco_ordinated(orrelaxed)solution
StudyMaterials:
Kreutzer7:allrhythmicallyevenbowings(nochangeofbow.sPeedS)
AInajorscalealternatingslurred/separate-accelelationexe!℃iseupto8

SessionWI:FasterDetach6withchangingBowspeed
KeyConcepts:ChangeofamounfofUirectioilatdifferentspeeds
(usemorewhenfaster)
StudyMaterials:Kreutzer7:rhythmicallyunevenbowings(#l4and21-29）
Amajorscalealternatingslurred/Separate_accelerationexerciseto24

SessionVIII:BrilliantDetach6
KeyConcepts:Brilliance;Backwardsbowing;Changingsoundingpoints
StudyMaterials:
Kreutzer7:bowingswithstopsinthem
Kreutzerl2

SessionIX:Review

SessionX:BOw-ArmExams
Demonstrationof:ArmWeight,StringChangecircles,Amajorscaleacceleration
exercise,andKreutzerl2
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