Var20 – Var29

Ševčík’s 40 variations make us work through a wide range of off-string bowings. Here in variation 20 he challenges our control of up-bow and down-bow… Read More »Variation 20

For the ricochet we drop the bow onto the string and lift it again on the last note in order to be able to start… Read More »Variation 20 – Ricochet

This variation is a good test of bow division, bow speed and up-bow spiccato. Ševčík indicates that the first beat of bars 1, 3 and… Read More »Variation 21

This variation asks for a spiccato bowing and at tempo is best executed by using a brush stroke in the middle of the bow. As… Read More »Variation 22

This variation has specific bow division markings which vary according to the colour or dynamic of the phrase. For instance bars 1-8 have a strong… Read More »Variation 23

Notice the changes in bow division to help express the dynamics and musical line. SEEBow division

Notice how we use the elbow to help our bow division. Every down bow starts at roughly the same place in the bow (around the… Read More »Variation 23 – Active elbow stroke, Bach excerpt

Practising on the open string helps us to focus on one technical issue at a time. Notice how the elbow movement keeps the bow close… Read More »Variation 23 – Active elbow stroke, Ševčík excerpt

This variation is an excellent challenge, testing rhythmic precision and clarity of articulation. The off-beat up-bow spiccato can start on or off the string (although… Read More »Variation 24

This variation requires a fluid control of ricochet (marked jeté by Ševčík) and up-bow spiccato. Ševčík indicates to lift the bow at the end of… Read More »Variation 25

Variation 26 is a march with many challenges for our bow division and control of ricochet. In bar 4, we need to move from the… Read More »Variation 26

A clear sautillé stroke needs a precise left hand as the fingers need to lift and fall at just the right time. Practice the left… Read More »Variation 27

This variation has a lovely lilting character and we need to pay attention to our bow division and bow speed and phrase our lines with… Read More »Variation 28

As with all passages of mixed bowings that combine slurs and separate notes, for example in Mozart’s violin concertos, use a short bow on  the… Read More »Variation 29

Ševčík gives specific directions to lift the bow after the second slurred note. Every technical task in an absolute sense takes time. For instance a… Read More »Variation 29 – When to lift the bow