Maia Bang Violin Method Part Six

Contents

• General Remarks About Bowing
• A few words anent attacking with the bow
• The firm staccato with the up-Bow
• What Constitutes the firm staccato
• Firm Staccato with the up-bow
• Etude for firm staccato
• Firm staccato with the down bow
• The nervous staccato
• The flying staccato
• How to play the flying staccato
• The undulating stoke
• pique bowing
• The attaque
• The ricochet
• Ricochet bowing
• Example of ricochet bowing
• balzate bowing
• Balzate bowing on three strings
• example of balzate bowing
• Variaties of bowing
• Geminiani's exercises
• Viotti's mute scale
• Professor auer bow
• The tremolo
• left hand tremolo
• Study in combined left hand
• Right hand tremolo
• Pizzicato
• Right hand pizzicato
• The pizzicato a la guitarra
• Alternate pizzicato
• Left hand pizzicato
• Pizzicato and arco
• Preparatory exercises
• The flautato
• The ponticello
• Ponticello bowings
• The con legno
• The legato glissando
• Sautille glissando
• Sautille bowing
• Famous glissando passages
• Sound waves
• Sound waves photography
• Passage playing
• Select passages
• Parallel fingering
• Song and the violin
• General remarks
• How to develop a vibrato
• Correct positions
• Tne overtones
• Dynamics
• Recitative playing
• The free recitative
• Measure recitative
• The tempo rubato
• With regard to style
• Phrasing
• Fingering
• Agility
• With regards to practise
• Tempo in practising
• Some rules
• Concerning the violin bridge
• Stage fright
• The true artist
• A word to the teachers
• A word to the students
• Concluding remarks