William Fitzpatrick - advanced violin expert
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What's the difference between Sautille and Spiccato, and other bow strokes?

How to master two of the most important violin bow strokes

Released on January 1, 2014

  
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Ali on June 24, 2015 @9:18 am PST
Hi William, you really inspire me. I've learned more from you than some of my teachers. The videos on shifting and the rotation of arm were fantastic.

I have one important question: there is a great contradiction regarding vibrato amongst teachers about the direction of your impulses and its natural rebound. Half of the teachers say the impulse is away from you and the rebound will come naturally towards you, the other half say you should do the impulse towards yourself and the rebound will go away from you. Could you clarify this for us?

Thanks in advance.
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William - host, on June 27, 2015 @11:08 am PST
Hi and great idea for a video! But till then ... towards the scroll! Thanks!
Peter Farnbank on May 26, 2015 @8:44 am PST
Hi William,
I watched with interest your demonstration of the spiccato volante on Youtube. This is the mainstay of G Dinicu's Hora staccato. I think you explained beautifully the difference between sautille and staccato.

The spiccato volante (especially downbow stroke) must be the most difficult stroke for advanced players and it's one I'm trying to perfect, and I do use the left forefinger "tremour" than the right hand rolling motion. Can I ask...?
(1) Does a lot depend on the bow itself? Its springiness? And hence how tense or new the hair should be? And also the quality of the bow? Or should a good player be able to use any bow of any quality to produce this stroke?
(2) In the Jascha Heifetz example (Youtube - https://www.youtube.com/watch?v=Mag2mc5Vva0 ) I notice that on the downward stroke he twists his right hand into a reverse attitude, as if to give his forefinger more leverage. Is this practice you would encourage? (Heifetz as you know has a right hand attitude where the fingers are almost straight and pointing way away from him. So when he executed this stroke, the reverse attitude is very apparent).
Any comments/views would be greatly appreciated.
Thanks,

Peter
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William - host, on May 28, 2015 @8:14 am PST
Hi and thanks for the comment! I think its to long to post here so I will do a video that I hope answers your questions! Thanks so very much!
seamas on July 30, 2014 @7:58 am PST
This is fascinating. Have you ever discussed the comparison of articulation and expressive techniques with a wind player? I am a recorder player seeking to extend my technique onward in time from the baroque by using ( in part) the violin 1 lines from Mozart symphonies starting at #1 and going 'on' from there. I would appreciate any comment you may care to make. Kind regards seamas.
popi * VSM MEMBER * on April 2, 2014 @4:24 am PST
Hi,
I think this light sautille is applicable for all of Beethoven sonatas..?As far as I played..ex the Rondo final of the G Major sonate..is sautille the bov stroke...isn't it?
Regarding Romantic sonates, such as faure n1 in A M, for the scherzo mouvement I use sautille but not as you show here..my bow leaves the string but very little..Others I regarded use even spiccato I think..but is very fast for a spiccato...!
Thank you for the video Professor
Regards,
Popi
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William - host, on April 3, 2014 @11:14 am PST
Thanks for your support!
Dennis Bogden * VSM MEMBER * on February 28, 2014 @11:30 am PST
How to finger and practice flight of the bumblebee
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William - host, on April 3, 2014 @11:14 am PST
As there are many chromatics it would be too wordy to say this here but will put it on my list of videos to make...
Diler on February 15, 2014 @3:33 am PST
Hi professor,
Just would like to thanks you very much for those grate demonstration about bowing technics and using 2&3 also 1&3 finger presure to improve bowing scale but I would like to know how do we need to use a Pinky finger and what mostly we used it for or whet is it major duty! Is just likeostly balancing also who's about the bow angels position on the strings when need to play ff or pp!
Thanks again and that's the best bowing lesson I have ever watched, sorry if my massage is too long. Hope also it make sense
Thanks so much and wish you have a grate day,
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William - host, on February 27, 2014 @2:47 pm PST
Thanks!!!
Charlie Corbin * VSM MEMBER * on January 22, 2014 @9:01 am PST
Enjoyed your explanations. I'm 80, started trying to play at 72. I've never figured out how to reliably use vibrato. Any thoughts to get me going would be much appreciated. Perhaps you already have a video on that?
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Linda Reinhart on February 26, 2014 @12:08 pm PST
Did you get a reply to this? I, also, resumed playing in my early 70s and found my vibrato missing. I have tried various instructors' methods, but have only had success with "finger vibrato", which I am finding (with usage) is gradually moving into my hand and arm.
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William - host, on February 26, 2014 @8:24 pm PST
Hi! I missed this entirely! Sorry! The next series will begin a discussion on this question.
Linda Reinhart on February 27, 2014 @11:37 am PST
Oh, good. In talking to others who have started or resumed playing as elders, I find the muscles for vibrato are sadly unresponsive.
Charlie Corbin * VSM MEMBER * on February 26, 2014 @3:26 pm PST
No, Linda. I haven't received a reply. Sorry.
Charlie
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Fabrizio Ferrari - moderator and CEO, on February 26, 2014 @4:19 pm PST
As a reminder, the following video by Lora Staples could help with vibrato:

http://www.virtualsheetmusic.com/experts/lora/vibrato/
Fabrizio Ferrari - moderator and CEO, on February 26, 2014 @4:15 pm PST
Dear Linda and Charlie, I think Prof. Fitzpatrick must have missed Charlie's question. I have just sent him a reminder, so I am sure he'll jump into the conversion right away. Thanks for your comments!
Linda Reinhart on February 26, 2014 @6:55 pm PST
Thanks, Fabrizio. That and bowing are my current focus toward playing more beautifully.
Linda
Fabrizio Ferrari - moderator and CEO, on February 27, 2014 @10:41 am PST
You are very welcome! Please, feel always free to post any questions or suggestions you may have. We'll be always delighted to hear from you. Thanks!
Charlie Corbin * VSM MEMBER * on February 27, 2014 @12:19 pm PST
Thanks to all. Fabrizio's referral to Lora's video was huge. It is an excellent video. I learned a lot already and can see I have a lot of work ahead of me. I also look forward eagerly to William's next series. Thanks again.
Fabrizio Ferrari - moderator and CEO, on February 27, 2014 @2:44 pm PST
You are very welcome Charlie! And I am very glad to know you found Lora's video so useful, that's great news. Yes, stay tuned because I know William is working on very exciting videos... by the way, if you have any specific requests such as a specific video about any specific topic, piece, etc, please post your requests on these comments. We are here listening! Have a great day :)
Chen, Yiu-sion * VSM MEMBER * on January 21, 2014 @3:23 pm PST
Hello! Professor ,
May I ask how to practice the upstroke and downstroke staccato? Thanks!
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William - host, on January 22, 2014 @9:52 am PST
Hi! The simplest way is through your scales. As we do 1 note to a bow, 2 notes, 3 notes, etc... use this organization to practice up and down bow staccatos.
Emad Yousif on January 8, 2014 @11:35 am PST
Dear Mr Fitzpatrick
I play the violin even though Im a late starter I have a question about the flagoöler and I wish if I crrosspond with you through e mails.
Best Rgards
Emad Jamil
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William - host, on January 9, 2014 @9:56 am PST
Hi! Would love to answer your question but unfortunately I am currently unable to answer questions via email, but again I would be very happy to answer any questions here on the site.
Heidi Kath, Australia * VSM MEMBER * on January 5, 2014 @9:00 pm PST
Hello Professor,
Very enlightening, your teaching about pressure points on the bow for different techniques, and now after all this time of playing I have to revise old habits. What about Bach, do the same rules apply, and could you please advise me what sort of bowing would I use for the Double - Presto, of his Partita Nr.1.
Thanking you,
Heidi Kath, Australia.
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William - host, on January 9, 2014 @10:37 am PST
Hi! There are 2 ways that come to mind for this passage. One would be starting on an up bow which would lead you to the middle of the bow with a brush stroke (ie.Tip——< >——Frog) or down bow, starting from the middle of the bow, which would lead you to the upper third of the bow (ie.Tip—< >———Frog) and would be clearly on the string. As for the question about Bach in general it really depends on the passage. I hope this answers your questions.
Heidrun Kath * VSM MEMBER * on January 11, 2014 @4:13 am PST
Thank you, Professor. As a final comment, would I be correct to observe that using 2nd and 3rd finger as pressure point considerably frees up your wrist.
Regards,
Heidi Kath.
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