[MUSIC].
So after you've achieved a great sautille,
or relatively good sautille like
I've taught you,
[MUSIC].
The next thing you need to learn is how to
do string crossings and use the sautille.
So I would suggest first that you go back
and look at some of the videos as far
as how to do some string crossings
cuz those skills still apply.
And I would say that basically,
because we're playing somewhere
between the frog and the middle,
we're gonna use, again,
like we did with the legato, wrist
[MUSIC]
for string crossings.
And fingers
[MUSIC]
at the frog.
We're gonna do a hybrid
usually of those two things.
And we're gonna use
a little bit of wrist and
we're gonna use a little bit of our hands.
So go back and
maybe do some exercises and review that
before actually doing some of these
sautille and string crossing exercises.
So I recommend getting Sevcik Opus 2 and
Part 5.
There are a thousand different
variations of bowings.
And when you get to the 900s,
you'll see that he offers several ones
that I think are fantastic in terms of
getting the ability to use your
sautille in string crossings.
I will just do a few of them.
[MUSIC].
So we're basically going from G
string to D string to A string.
[MUSIC].
And you can do it in different rhythms,
but try to put the metronome and
let's just get a good
sautille on a D string.
[SOUND] Then find the ones where you're
first using two strings, double stops.
[MUSIC]
I'm doing it on the G string and D string
[MUSIC]
and then the D string and A string
[MUSIC].
You don't have to use
your first finger but
sometimes I like, it sounds better.
[MUSIC]
You can do it open.
[MUSIC]
Either one is fine, okay?
And I would just practice the ones with
the double stops first, because it
really gives you sort of an easier way
to transition from string to string.
It's very obvious when we're going from
two strings, it feels more balanced.
[MUSIC].
And you can see I'm using a little bit
of fingers, a little bit of wrist.
This takes a lot of practice.
[MUSIC].
But you can see that
there's a little bit of finger motion.
But most of it still feels, for
the most part, somewhat firm.
[SOUND] I'm not just using my wrist and
fingers just sort of manufacturing
an artificial motion.
I still feel like I'm engaged with
the string [SOUND] in the way that
we talked about with a very heavy detache.
[SOUND] Whereby I'm still allowing
the bow to sort of take flight.
[MUSIC].
And again, I would suggest,
too, do it at a speed.
If you do it too slowly it won't work.
So [SOUND] find the right speed,
put your metronome on.
[SOUND] There's several speeds
that you can do it that will work.
If you do it at a slower speed [SOUND]
you're gonna have to use a little
bit more bow, a little more speed.
[SOUND] If you go a little
faster [SOUND] you're gonna use
a little bit less bow and
a little bit more fingers.
[MUSIC]
Then, I definitely recommend that you do
this with patterns that have
triplets as well as 16th notes or
32nds, duples as opposed to triples.
Do triples because the string crossings
in triplets are gonna feel very sort of
different and, at times, awkward.
[MUSIC].
I'm doing one [SOUND] triplet
on the first note on G string.
Then doing a triplet [SOUND] or
a sextuplet actually [SOUND].
And then doing the same thing but I'm
starting on the A string and going down.
[MUSIC].
I find doing triplets makes it
a little bit more awkward but yet
it really amplifies the need for
good string crossings.
And feeling the bow take flight
while moving your fingers in a way
that is able to change the string,
and your wrist as well.
[MUSIC].
You can do it also by double stops.
[MUSIC].
There's several,
several variations in this book.
I probably would suggest picking out one
or two a day, a different one each day.
And find one that kind of makes,
feel like a new technique.
Every piece that you play is gonna
feel like a different technique,
depending on where the string crossing is.
So there's no one way to do this
whereby you say, okay, I got it.
Because the next day you play a new piece
it's gonna have a different finging.
The string crossing's gonna
happen in a different place.
There's just infinite
ways that you're gonna,
infinite sort of possibilities of
what you're gonna be confronted with.
So that's why I suggest doing
a lot of different exercises and
getting the feel for it at different
speeds, with different timings,
different triplets and
duplets and whatnot.
Try that first,
before trying to do it with a piece.
Send me videos, please send me videos.
Because when I see you do them, I can very
much correct and see where you're going
wrong or what might be the sort of the key
to getting something to work a little bit
more correctly and
little bit more effortlessly.
[MUSIC]
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