Search Results for: bow division

Variation 12 – Bow divisions and lifting

Here Fintan plays bars 12-16. Notice how the bow stroke is either a whole bow… — Login to View —

Variation 9 – Zigzag bowing

Ševčík’s directions indicate that for most bars we move through the bow from the upper half to the lower half during the three-note dotted rhythm. The 1st note uses approximately half a bow, the 2nd note uses about a quarter of a bow, and the… Read More »Variation 9 – Zigzag bowing

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Variation 9 – Zigzag bowing

Ševčík’s directions indicate that for most bars we move through the bow from the upper… — Login to View —

Variation 23 – Active elbow stroke, Bach excerpt

Notice how we use the elbow to help our bow division. Every down bow starts… — Login to View —

Variation 23 – Active elbow stroke, Ševčík excerpt

Practicing on the open string helps us to focus on one technical issue at a… — Login to View —

Variation 9 – Recovery stroke, Bach Allemande

We use recovery strokes all the time to ensure that we are using the most effective part of the bow with the right bow speed and bow division. The example here is ‘Allemande’ from Bach’s Partita No.2 in D minor, bars 4-5. We need to… Read More »Variation 9 – Recovery stroke, Bach Allemande

Variation 9

This beautiful variation uses a siciliano rhythm and requires musical thought and planning. Make sure that the dotted rhythm is ‘dotted enough’ to give the melody a graceful lilt. Pay attention to Sevcik’s markings for bow division which take us through all parts of the… Read More »Variation 9

Variation 9 – Recovery stroke, Bach Allemande

We use recovery strokes all the time to ensure that we are using the most… — Login to View —

Variation 26

Variation 26 is a march with many challenges for our bow division and control of… — Login to View —

Variation 23 – Closeup

Notice the changes in bow division to help express the dynamics and musical line. SEEBow… — Login to View —

Variation 30

This whimsical, elegant variation in triplets develops Ševčík’s interest in beginning a bow stroke on… — Login to View —

Variation 28

This variation has a lovely lilting character and we need to pay attention to our… — Login to View —

Variation 23

This variation has specific bow division markings which vary according to the colour or dynamic… — Login to View —

Variation 21

This variation is a good test of bow division, bow speed and up-bow spiccato. Ševčík… — Login to View —

Variation 18

This variation requires the bow to be lifted after the up bow, so when the… — Login to View —

Variation 17

In variation 17 the sautillé is more complex than in variation 16. There are only… — Login to View —

Variation 14

Practice this variation at first with a slurred bowing on the string, to work on… — Login to View —

Variation 12

Variation 12 is an excellent exercise for developing control of the bow in the air… — Login to View —

Variation 11

For variation 11 read Ševčík’s explanation of abbreviations markings, in particular about how the comma… — Login to View —

Variation 10

This variation is one of many that develop your control while playing mixed bowings. Here… — Login to View —

Variation 9

This beautiful variation uses a siciliano rhythm and requires musical thought and planning. Make sure… — Login to View —

Variation 7

This variation uses a similar bow division pattern to No 5. To ensure good coordination… — Login to View —

Variation 5

Observe Ševčík’s careful bow division and articulation markings, especially the use of the whole bow… — Login to View —

Fintan Murphy

New Ševčík Variations AUSTA Tutorial