Appreciate your insights given, but would love you to address cross-string Sautille bowing, as required for the Dvorak Concerto, first movement. Demonstrate please maintaining the bounce, the integrity of each note, this while adding that magical quality of "crispness" to each (flying-by) note, so that none of the arpeggiated notes suffer for lack of weight, while none scratch for having pushed with too much weight. In other words, how in the bloody hell did Jacqueline du Pre manage to play that Sautille bowing as were her bow a cat's "roughened tongue that is licking smoothly across three strings. No single note was sacrificed, but she was able to grab each note, provoke it, release it and move on while seemingly utilizing a "shimmering" forearm. Plus, she was able to compel an immediate effect with impeccable rhythmic assurance.
Scherzo in third Suzuki book is mostly sautille. An easy way to start…
Appreciate your insights given, but would love you to address cross-string Sautille bowing, as required for the Dvorak Concerto, first movement. Demonstrate please maintaining the bounce, the integrity of each note, this while adding that magical quality of "crispness" to each (flying-by) note, so that none of the arpeggiated notes suffer for lack of weight, while none scratch for having pushed with too much weight. In other words, how in the bloody hell did Jacqueline du Pre manage to play that Sautille bowing as were her bow a cat's "roughened tongue that is licking smoothly across three strings. No single note was sacrificed, but she was able to grab each note, provoke it, release it and move on while seemingly utilizing a "shimmering" forearm. Plus, she was able to compel an immediate effect with impeccable rhythmic assurance.
thanks for the tips, they are very useful
Great to know that! Please, feel always free to contact us with any questions or ideas you may have, I will be glad to hear from you.