Variation 1

#bowlift #frog #retake #colle

         The first variation challenges the player to develop flexibility and mobility of the fingers and wrist to execute the bowings at the frog. This is arguably more difficult than some of the subsequent variations, and one can argue that Ševčík placed this variation first to highlight the importance of the specific bow technique required to play it.

Be sure to play as close to the frog as possible and isolate the motion in the fingers and wrist. One interpretation of the ) symbol in this variation is to play a collé stroke. Collé translates to “stuck” or “glued” and implies here that the three eighth notes separated by the eighth note rest should be played from the string, and not from the air. Using the fingers and wrist, launch the bow into the air for each of those notes with a very short and articulated stroke and place it quickly back in the same spot along the hair close to the frog during the rest. The first three triplet eighth notes with the tenuto symbols should be played somewhat legato and on the string, in order to contrast the short lifting eighth notes in the rest of the bar.

            It can be helpful to begin practice of collé by practicing it on open strings to start, and in scales. Alternate practicing the stroke up bow only, and down bow only, then combine. Be sure to keep the stroke as a retake in the up bow only and down bow only versions. While the metronome speed is marked 116 to the quarter note, it is especially helpful in this variation to begin as slow as half that tempo and increase the speed gradually as the fast retake becomes more comfortable.

A different interpretation of the instructions and an alternate pedagogical aim could be to play the three short eighth notes off the string by dropping the bow down like a bouncing spiccato stroke, rather than starting each short eighth not from the string.

In many variations I will suggest alternative interpretations. This guide will lean toward challenging the player toward the more difficult versions of each as well as increasing the variety of bowings present. It is best practice to master all interpretations.