The Best of Technique Contents 1 2 Bowing LEFT-HAND AGILITY AND PRECISION

1.1 Bow control 2.1 Articulation and intonation Movement in the bow hand and wrist Left-hand articulation BORIS KUSCHNIR ()...... 8 GRIGORY KALINOVSKY (violin)...... 44 Bow transitions at the frog Mastering intonation JEFF BRADETICH ()...... 11 ANTONIO LYSY ()...... 47 Bow control and son filé SIMON STANDAGE (violin)...... 15 2.2 Thumb position Bow distribution Beginning thumb position on the double bass JACOB ADAMS ()...... 18 CHRIS WEST (double bass)...... 50 Thumb position 1.2 Bow strokes KARINE GEORGIAN (cello)...... 53 The collé stroke KURT SASSMANNSHAUS (violin)...... 21 2.3 Scales and shifting Martelé Shifting RICTOR NOREN (viola)...... 24 PHILIPPE MULLER (cello)...... 56 Martelé Shifting MARIANNE PIKETTY (violin)...... 27 LOUISE LANSDOWN (viola)...... 59 Spiccato Navigating the fingerboard LAWRENCE WHEELER (viola)...... 30 HELEN CALLUS (viola)...... 62 ‘Firm’ staccato Two-octave scales and arpeggios ALEXANDER SHONERT (violin)...... 33 MICHAEL FRISCHENSCHLAGER (violin)...... 65 Left-hand pivots and the crab fingering system 1.3 String-crossings FRANÇOIS RABBATH (double bass)...... 69 String-crossings Functional fingering ROBERT JESSELSON (cello) ...... 37 LEO PHILLIPS (violin)...... 72 Beginning bow curves for double bass CAROLINE EMERY (double bass)...... 40

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3 4 RHYTHM TONE PRODUCTION

3.1 Jazz 4.1 The left hand Jazz rhythm First steps in vibrato MAX GROSCH (violin)...... 76 LENNEKE WILLEMS (violin)...... 86 Strum bowing Vibrato TRACY SILVERMAN (violin)...... 79 PAUL KATZ (cello)...... 89 Vibrato 3.2 Contemporary music ROGER TAPPING (viola)...... 92 Tackling rhythm in 21st-century repertoire Sympathetic notes GABRIEL PRYNN (cello)...... 82 HENNING KRAGGERUD (violin)...... 95

4.2 The right hand Contact points NATASHA BROFSKY (cello)...... 98 The singing bass DAVID HEYES (double bass)...... 101 Tone production BRUNO GIURANNA (viola)...... 104

4.3 Both hands together Creating a resonant cello sound LYNN HARRELL (cello)...... 107 Expressive technique PAULINE SACHSE (viola)...... 110 Left- and right-hand coordination JULIE ALBERS (cello)...... 113 Pizzicato CHRISTOPH RICHTER (cello)...... 116

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5 6 DOUBLE-STOPS AND CHORDS REDUCING TENSION AND FATIGUE

5.1 INTONATION AND ATTACK 6.1 POSTURE Double-stops Technical foundations LIONEL HANDY (cello)...... 120 MIMI ZWEIG (violin)...... 130 Chords and double-stops: the left hand Natural playing, inspired by the Alexander technique HARTMUT ROHDE (viola)...... 123 TOMAS COTIK (violin)...... 133 Tartini tones Developing a ‘cello vocabulary’ for more effective practice MINNA ROSE CHUNG (cello)...... 126 AMIT PELED (cello)...... 136

6.2 RELAXED HANDS The left thumb JULIE LYONN LIEBERMANN (violin)...... 139 Independence and flexibility in the left-hand thumb GWEN THOMPSON-ROBINOW (violin)...... 142 Independence and flexibility in the right-hand thumb GWEN THOMPSON-ROBINOW (violin)...... 145 Playing with a relaxed fourth finger ROS STEPHEN (violin)...... 148 Left-hand finger movement on the double bass ALEX HENERY (double bass)...... 151 Playing the double bass with little hands THIERRY BARBÉ (double bass)...... 154

6.3 uSING THE BACK Using the back muscles while playing HILLEL ZORI (cello)...... 157 Back muscles, weight, and flexibility in the right hand DAN STYFFE (double bass)...... 160

6.4 PEACE OF MIND Performance anxiety and memorisation BRIAN HODGES (cello)...... 163

INDEX...... 166

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