This elegant variation presents differing challenges for our up and down bows. For the up-bow notes, we need a resonant legato sound in the first three notes. Then the slurred spiccatoA slow to moderate speed bouncing stroke. notes will need added frictionThe degree of contact between bowhair and string. to achieve a clear resonant sound in the upper half of the bow. Using the side of the hair will help with the articulation and gentle bouncing needed for the up-bow spiccato. The 3rd note needs to start clearly in the string before lifting to start the up bow spiccato that is used for the rest of the bar.
The down bows are always in the string and require thoughtful use of bow speed and friction to articulate the phrase. For instance in bars 10 and 12, the bow needs to articulate the first quaver with a dot and then re-engage the string for the 32nd notes, followed by a small rest and then the crochet that you may want to lead into the next bar.
Always practice these bow challenges on open strings. For the down-bow articulations, you could practice scales in one position with the pulsingPortato articulation within the slur, in evenly measured beats or divisions of the beat. of your down bows.
Ševčík indicates that the bow stays in the upper half for both the up and down bows, however in performance being able to use more bow (for instance from the tip to the balance pointThe place along the bow where the weight is evenly balanced. of the bow) will make a more satisfying sound.