I am studying Seitz concerto 2 (third movement) piece with 16th notes for 12 measures in a row. some measures are in staccato. What section of the bow is best for playing these? top, middle or lower third? Also, the susuki tapes for this piece is playing near 120 in the metronome. Is that the target speed one should attain? I still can't keep up with the tape. I'm playing close to 100 for now. I'm self taught at the moment.

When I watch TV programs of an orchestra I see the bow sometimes being played at the lower third on of the bow for fast notes.

I'm not sure, I can't really imagine it sitting here at the computer for some reason, I'd have to go and get my violin. The only advice I can give is don't use a huge amount of bow as that makes it difficult!

I can't think which Seitz piece that is at the moment. I know it's in Bk4 but which one...I'll check at work later and let you know about what part of the bow.

I can play sixteenth notes - want to hear one?

I feel comfortable playing those 16th notes at the middle of the bow. It would have been easier if each note was either a push or a pull but when in one beat the first two notes are played in one stroke and the next two a stroke each there are sections in the measure especially when you change strings when the syncronization of the fingers and the bowing causes a snag in the flow of the music. I am sure I'll get it with more practice. I am just finding an easier way to get there from those who have been there. And yes, using shorter strokes will definetly help.

Excuse me, in the Susuki book 4, it is called concerto no. 5 first movement. but in a piece i downloaded from a website it is called Pupil's concerto No. 2 by F. Seitz.

Lighter and rapid staccato strokes are usually played with the upper third or half of the bow, and let the bow bounce, but if you want a bit more power (something more like martele strokes), then you need to be using the lower half to dig into the strings a bit more.

If you are using the bow at the frog, rapid up and down bow strokes are quite difficult, but not impossible - use the momentum of the bow and let it bite and bounce naturally on the string, but you need to keep the bow arm, wrist and fingers relaxed to achieve this.

Rapid seperate bows, which aren't to be played staccato, should also be played with the upper half of the bow. Keep the bow arm wrist and fingers very relaxed for this.

Thanks AmandaL for your reply and tips on bowing.

Yes I agree with you about using the upper third for rapid notes. I am not a sight reader for 16th notes in the allegro mode. What helps me most is to memorize the tune first by repeated listening. Then I play it slow and build speed with constant practice. Once I got the bowing and the fingering memorized, then I work on the speed until I can keep up with tape recorder. I am almost their with this Seitz piece. I find learning like exercise, daily practice makes progress faster. And a week of no practice drags down he skill built up previously.

I need to be able to sight read pieces with 16th notes and wonder how long of daily one hour practice I have to devote before that will finally happen.

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I need to be able to sight read pieces with 16th notes and wonder how long of daily one hour practice I have to devote before that will finally happen.

How long is a piece of string?

Just keep sight reading, is the best advice. The more you do the easier it gets, but with rapid notes make sure the bow is always under control first, It's very easy to lose co-ordination between the left and right hands in fast passages.

Glad to hear you do regular practice just make sure it's all conctructive practice - although it sounds like you've got things pretty sussed.
While at music college, I was told that for every week you do no practice at all, it will take three days to get back to where you left off. I even know of musicians who take their instruments on holiday with them!