Detache Exercise 1 (Lower)

From Kruetzer Etudes No. 2

Play in the lower half (from the very frog to the exact middle)

Detaché Instructions
1. Play as loud as possible.
a. Bow next to the bridge (Control the "Sounding Point").
b. Keep the bow straight
c. Keep bow hair flat
d. Use the entire upper or lower half of the bow.
e. Use leverage and a heavy arm to add weight to the bow, not finger pressure.
2. Use the proper muscles and bones in the right sequence or order of motion (see
below) to go up bow and down bow - always leading with the elbow and dragging the
wrist and fingers in both directions (up From Kruetzer Etudes No. 2 and down).

Detache Exercise 2 (Upper)

Play in the exact upper half (from the exact middle to the tip)

Detaché Instructions
1. Play as loud as possible.
a. Bow next to the bridge (Control the "Sounding Point").
b. Keep the bow straight
c. Keep bow hair flat
d. Use the entire upper or lower half of the bow.
e. Use leverage and a heavy arm to add weight to the bow, not finger pressure.
2. Use the proper muscles and bones in the right sequence or order of motion (see
below) to go up bow and down bow - always leading with the elbow and dragging the
wrist and fingers in both directions (up and down).

Order of motion & leverage

is used to add pressure to the bow by turning the bones of the forearm (the Ulnas and
Radius) in or out versus squeezing between the thumb and the first finger of the right
hand and pressing to get the sound out. If you set the hand, always staying flexible in the
wrist and fingers, and turn the two bones of the forearm into the string
(counterclockwise) there is less pressure pushed onto the top of the violin and the top
plate of the violin is allowed to vibrate more. On the down bow a big sound is
accomplished by using a combination of leverage and arm weight. On the up bow we are
fighting gravity and leading with the elbow and using leverage not arm weight. Pulling
the bow this way allows you a fullness of sound not possible by just squeezing or
pressing.
The proper order of motion would be, starting at the tip, deltoid muscle used to raise the
elbow while dragging the wrist, fingers and bow, as you go up bow. For the down bow
use gravity-heavy arm and the biceps and deltoid to lower the elbow while dragging the
wrist, fingers, and bow, as you go down bow.

3 sound issues to work on with Detaché:

1. Weight

2. Bow speed

3. Sounding Point

An exercise can be used to work on each of these sound issues.

Play with a heavy bow for half the bow heavy and half the bow light.

Then 3 times heavy and light.

Then 4 times all the way to 8 times heave and light.

Do that with bow speed and sounding point and you are on your way to controlling each
of these sound issues.

3 magical bow things:

1. Dragging the bow - leading with deltoid (arm) and dragging flexible fingers.

2. The sideways bow circle - down and out, up and in a clockwise stirring to keep the
sounding point close to the bridge without pressing to keep it there.

3. Suponate (at the frog) and Pronate (at the tip)

Another great exercise for bow control is Kreutzer Etude #13 at the frog or tip.

Colle

Play the excerpt from Kruetzer No. 7. Play a small but powerful "T" consonant at the tip
by throwing the bow up-bow with the biceps (about 4 inches). Then do the same down-
bow at the frog by using the triceps to throw the bow down-bow (again about 4 inches).
Start with open strings until you get the motion right

Important Tips:

The fingers should be straight at the tip ready to be thrown up bow.

The fingers should be round (especially the pinky) at the frog ready to throw the bow
down.

Prepare the hand to be thrown in either direction before moving the bow.

Always imitate the hard consonant sound of the "T".

Play slowly with no metronome and away from the bridge

Exercise I: Martele Upper Half

Play the excerpt from Kreutzer Etudes No. 7. Start at the tip of the bow and use only the
upper half. Before moving the bow, add pressure from your bow arm so the bow sticks to
the string. Then quickly jerk the bow. You should be creating a "T" sound at the
beginning of the stroke (similar to collé only louder because you are using more of the
bow).

Important Tips:

To prepare for the up-bow, start with your fingers straight ready to throw the bow

To prepare for the down-bow, start with your fingers curved (especially the pinky) ready
to throw the bow

Always imitate the hard consonant sound of the "T"

Use your biceps to throw the bow up and triceps to throw the bow down

Play slowly with no metronome and away from the bridge

Exercise II: Martele Lower Half

Play the excerpt from Kreutzer Etudes No. 7. Start at the middle of the bow and use only
the lower half. Before moving the bow, add pressure from your bow arm so the bow
sticks to the string. Then quickly jerk the bow. You should be creating a "T" sound at the
beginning of the stroke (similar to collé only louder because you are using more of the
bow).

Important Tips:

 To prepare for the up-bow, start with your fingers straight ready to throw the bow
 To prepare for the down-bow, start with your fingers curved (especially the pinky)
ready to throw the bow
 Always imitate the hard consonant sound of the "T"
  Use your biceps to throw the bow up and triceps to throw the bow down
 Play slowly with no metronome and away from the bridge

Staccato Exercise

1. Set bow at balance point.

2. Release bow off the string to create short Staccato sound.

3. The sound should be clean and the pitch should be clear.

Tip: The Staccato sound is always from the string and is usually for slower
passage that are HEAVY sounding in nature.

Do the Staccato stroke with Kreutzer 1 and with open strings.

Up Bow Staccato Exercise

1. Start slowly with a nice "pop" or collé sound at the beginning of each up bow stroke.

2. Build up your speed faster every day and track your progress daily in the Practice
Journal.

Important Tips:

Pull to the tip on each down bow stroke. Until you are at top speeds above 120.

Listen to the last two notes of each group of up bows.

For the up bow staccato use straight fingers or the "up bow grip".

For the down bow staccato use round fingers or the "down bow grip".

For speed, try moving up bow while you are doing tremolo.

Spicatto Exercise

Unlike Staccato, Spicatto is done above the string and is dropped.

1. Find the balance point of the bow.

2. Hover over the string and when dropping for a down bow, the elbow should also fall
slightly down.

3. When retracting for the up bow, the elbow should also "fall up."
4. The overall feel is down down, up up.

5. Start slow, and build up speed by doing rhythms such as (LS, SL, LLSS, SSLL, LSSL,
LSSS, SSSL, and triplet feel and then SSSS)

Sautille Exercise

Repeat each note 8 times (Kreutzer 1)

Find the "sweet spot" where the bow bounces by itself.

this bow stroke sounds off but is really on the string. The stick bounces but the hair never
leaves the string.

Your hand has to be thrown by the big muscles (biceps and triceps).

If it is not working try these four ways to fix it.

Hold the bow with the index and ring finger (and the thumb) and throw the bow.

Lower your shoulder and raise the elbow slightly, 3-4 inches.

make sure your motion is up and down and not sideways.

you may be in the wrong spot for the speed you are attempting. Try changing the speed or
the spot of the bow.

Important Tips:

Start on the string in the middle of the bow.

Keep bow hair flat.

Let the hand be floppy thrown by the biceps and triceps.

Find the "sweet spot" by moving the bow up or down by 1/2 inch segments.

Work on getting a consistent sound and then for endurance.

Elbow higher and wrist lower.