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Saint-Saëns
Concerto
No.1 in a (TopTenQ&A#6)
shifting
principles
(TopTenQ&A#8)
tactile
memory (TopTenQ&A#8)
speed
(TopTenQ&A#8)
shIfts
"clean"
(TopTenQ&A#8)
sitting
well
(JoyBooksML1,see B,)
shoulder (right)
raising
(Teaching Studio)
sound (see also Tone)
deep
(Teaching Studio) (JoyBooksML2,see
A.Ex3)
(JoyBooksML4,see D.E.&F,) (JoyBooksML5,see
Part II: A.2.)
pinched
(Teaching Studio)
pressed
(Teaching Studio)
thin,
shallow (Teaching Studio)
Sounding Point
of
harmonics (TopTenQ&A#2}
speed (left hand)
practice
methods (Musical Gym)
Spiccato
motion
(TopTenQ&A#9)
refining
(TopTenQ&A#9)
on a
scale (TopTenQ&A#9)
stretches(extensions)
without
pain (TopTenQ&A#5)
string levels
seven
tracks (JoyBooksML4,see C.)
thumb (right)
opposable
(JoyBooksML2,see B.)
tone (see also sound)
choked
(Teaching Studio)
production
(Teaching Studio) (JoyBooksML5,see
Part II: A.B.&C.)
resonant
(Teaching Studio)
rich
(Teaching Studio)
strident
(Teaching Studio)
tonal
imagination (JoyBooksML5,see Part I: D.)
well-nourished
(JoyBooksML4,see J.)
your own (JoyBooksML5,see Part I:
B.C.&D.)
Tone Factors (left hand)
three
basic Tone Factors (JoyBooksML5,see Part II:
A.1.2.3)
Tone Factors (right hand)
Bow
Speed (JoyBooksML5,see Part II: A.3.)
Depth of Sound (not Pressure) (JoyBooksML5,see
Part II: A.2.)
Sounding Point (contact point) (JoyBooksML5,see
Part II: A.1.)
Bow
Hair (Amount of) (JoyBooksML5,see Part
II: A.4.)
mixing
the Tone Factors (JoyBooksML5,see Part II:
B.)
tone production
four
basic factors (JoyBooksML5,see Part II:
A.1-4.)
Vibrato
continuity
(TopTenQ&A#4)
evenness
(TopTenQ&A#4)
motion
(TopTenQ&A#4)
relaxation
(TopTenQ&A#4)
speed
(TopTenQ&A#4)
wrist (right)
movements
(JoyBooksML2,see B.Ex14.) |
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