Tango Breakdown Complete Revised

8/11/2019 Tango Breakdown Complete Revised

1/13


2/13

DEFINITION OF TERMS:

WBwhole bow

HBhalf bow

LHlower half of bow

UHupper half of bow

*rtk*retake

Medium/resonant lane or md laneone in which you can most comfortable produce the most naturally warm, ringing sound with easeAwaynear the fingerboard

Tugpull of the bow in, toward the bridge

Imaginary stringan imaginary line which runs up and down the fingerboard between the two sounding strings when playing double-stops

--------------

A CAUTIONARY NOTE:

What you will find here is what I call my personal skeleton of ZimbalitsTango. That is to say, what I have written down in this document

is a record of all of the technicaldirectives which I have spent hours in the practice room slowly ingraining into both my mind and body

(muscle memory)until every motion and thought has become habitual. However, since performing a piece EXACTLY the same way every

time one plays it is never the goal for any musician, this state of habit is meant ONLY to be a stable foundation upon which one can fall

back upon during any performance for physical comfort and ease along with technical confidence and consistency. Please note that it is

the conscious, purposeful, and delightful(!) deviations FROM this foundation which can make a performance come alive and breathe. The

purpose of developing a safety net of a solid game plan is merely to help lend the confidence needed to take those risky deviations in

performance and ultimately to enjoy creating a version of the piece which is unique to each performer.

I gladly offer whatever of these technical directives that any reader would like to take in and make his or her own, but I also challenge

readers to take the time in the practice room to create their own personal, unique skeletonsas each violist is built differently on so many

different levels (physically, mentally, musically).

ONE FINAL GENERAL THOUGHT:Overall, the three BIG technical ideas that help the most in playing this piece are 1) Thinking, hearing, and visualizing intonation AHEAD of the right hand. Thats right. You know EXACTLY where those notes lie

on the fingerboard, so give your brain a head start and NAIL them every time!

2) Staying balanced in the right arm and keeping bow arm motions simple - moving back and forth along each strings horizontal

plane (or imaginary strings horizontal plane if its a double stop), and therefore eliminating extraneous motions which can

lead to tension and therefore inaccuracy.

3) Bow division (or bow planning) within these horizontal planes in order to remain relaxed and released and therefore

comfortable whilst creating a vibrantly resonant and expressive sound. When the brain has a plan, it gives up the need to

panic during any hard spots.


3/13

L Hand: release flat fingers move hand balance toward second finger

RH BD:

[(/ )/ (/ )

]/*rtk* // 5/5 of WB //from tip:(/ ) //save/move down/save // move/save/ mv //frog to / / /to frog/*rtk*

of 2/3rds bow of 1/2 bow mid UH (~2/3)

LANES: md lane/ slight tug.//resonant md lane // AWAY // tug/ away /tug for G//away/md lane

OTHER: Different sound and character. Take the time to sing!!

L Hand: Flat, fleshy fingers and leaning more toward 1stfinger hand balance for warm, vibrant, expressive sound.

R Hand: Flat hair. Middle of the hand balance & pivot pt.

BOW DIVISION: frog to mid UH // save/Move to TIP/WB /WB // ( / ) / (/ ) /*retake*

of WB of HB

LANES: resonant lane // --- /closer to /pull into /away// medium lane/ slight tug toward bridge

bridge bridge

SHIFTS: shift on new (up) bow

OTHER: Shoulders back, ribcage released and open, & shoulder blades hanging for open and resonant sound.


4/13

L Hand: [FOR ARPEGGIOS - Balance on 2ndfinger for more rounded/arpeggio hand frame, / flat fingersmore 1stfinger balance.

but also retain 1stfinger awareness for shifts.

Also helps to think of notes directly AFTER each shift (3rdfingers).]

RH BD: [ / / ]/[ / / / ] // / /mv/save/mv/WB/ WB // ( / ) / (/ ) /*rtk* of WB OF WB of HB of HB

LANES: md lane../closer and closer to bridge/// away/big tug/ away // medium lane/ slight tug toward bridge

SHIFTS: Think of the motion of both hands moving in the same direction and speed together for fluidity. Shift with the ARM not the fingers or wrist.

Shift to high A on NEW bow.

L Hand: release For double-stop: preplace LH &

balance between 1stand 2ndfingers

RH BD: [(/ )/ (/ )] /*rtk* // 5/5 of WB //from tip:(/ ) //save/move down/save // move/save/ mv //frog to / / /to frog/*rtk* of 2/3rds bow of 1/2 bow mid UH (~2/3)

For double-stop: balance on

imaginary string

LANES: md lane/ slight tug.//resonant md lane // STAY tug for G//slightly away/md lane

SHIFTS: Shift at end of Bb, up bow before retake

Other: KEEP THE ATTITUDE!


5/13

L Hand: (see measures 27 and 28 above) // VERY flat fingerseven rotate elbow under vla for

complete expressive change in sound

RH BD: / / / // rds / [ / ] //mv /save/ mv/ [ / ] // 2/3rds / mv/save/mv // mv/save/mv / to frog/ HB

mid UH to frog//frog-mid UH *slight lift*

LANES: .........../slight tug/back to slightly away from md lane/(tug)/slightly-away-md lane/md resonant lane!

SHIFTS: (see measure 27 and 28 above) new bow shift on 1stfinger preset

in upward

lift of bow

Other: /Sudden switch to fiery/expansive character.

L Hand: balance between fingers of each double-stop........preplace 1 and 3 in rest, return to 1st

finger balance..........................return to balancingbut with 4thfinger balance. between double-stop fingers

RH BD: 2/3rds / *lift / // / / / // rds / [ / ] //mv /save/ mv/ [ / ] // HB / /

to get to LH* of rds to middle of HB

LANES: md lane......../(tug )/start to pull in../(tug)/ back to md lane/ slightly away

SHIFTS: Shift to A/C double-stop on NEW bow Shift to G/Bb, Bb/D, and A/C double-stops on OLD, up-bow motions.

(Shift during the rest, while the bow is still moving upward).

Other: / Sweet, playful

character switch!

- For sound and character of the 16 ths it helps to feel like youre always trying to reach the frog, but never quite can until the downbeat of 27.

- A good way to practice the first note of bar 27 is to first take out the Bb/D double stop and practice nailing the C/E with a comfortable 4th

finger balance.After youre comfortable with this, then add the grace note, making sure to keep the same balance; this may feel quite uncomfortable for the hand at first,

since youre playing 1/3 with a 2/4 balance, but in the end will allow for a higher consistency in accuracy.


6/13

LH:

4thfingerbalance btw fingers..balance btw 3 and 4!!...back to 4thfinger balance..

balance and intonation focus For intonation on the super release

(think of the C# to E for intonation octave, it helps to think of the 1stfinger

and the let other fingers follow) as an auxiliary shift note and allow a slight arpeggiation

between the 1stand 3rdfingers (a nanosecond chord break!). This allows you r brain

to process two individual notes, nailing the 1stfinger and then having time to slap down the 3rd fingerbut

after a while you do it so quickly that it ends up sounding like youre sounding both notes at once.

RH BD:[ / ]/[/]HB/HB //[ / ]/ [ / ] //WB / WB / SAVE //mv/sv/mv/mv/WB/ HB // see measure 36

of HB,*lift at frog* of HB mid UH to frog

LANES: md laneslight tuggradually come into the bridge as you climbback to resonant md lane

SHIFTS:

New bow/ old bow/ old bow // old bow new bow

Where possible, try to feel the whole hand moving as a unit, moved by the arm, between each double stop. Sometimes it helps to imagine the balance point

in the left hand as following the simple and straight line of the strings up and down in order to avoid extraneous motion that can cause intonation problems.

Other: NB: Even if the right hand is perfectly in tune, if the bow is not balanced happily and released with the weight from the shoulder blade resting on the

imaginary string between the two double stops, the notes will sound out of tune. So, a good way to practice this section would be without the left hand , in

order to learn bow division and right arm balance.

LH: 4thbal/1stbalance/preplace!..incredibly fat, flat fingers again..keep 1stfinger in mind for intonation..

RH BD:[ /]/[/] *rtk*/ // WB // frog [ / / ] // [ + LIFT] /frog to mid/ mid to frog*rtk*/ // 2/3rds / [ / / ]

of HB of HB of HB of HB of 2/3rds

LANES: md ln/pull in/ md ln // close to bridge// md resonant lane.slightly pull in..stay slightly above

md lnSHIFTS: old bow old bow


7/13

L H: RELEASE!!! (hand/arm/back/chest)

play with fingers so flat youre almost putting down your first knuckle to guarantee a fat,juicy sound way up high on the C

RH BD: *rtk*/ (frog to mid UH)/ *rtk*/ // WB // WB //to md UH/ to frog // [ / ] // [~ / ~]

WB WB

LANES: slightly above md ln..awaypull inWAY in!!!! ..

SHIFTS: new bow // new bow

Use left ARM ARM ARMhorizontal

motion that works together with the right arm up-bow motion;

let your hands/arms work together

Other: Make sure to not force the sound on the high notes. At the very top, opt for a faster, more released right arm to create resonance, rather than

gripping or crunching down while trying to push the sound out.

LH: back to arpeggio frame/balance..// definite 1stfinger balance

RH BD: [ / / ] // /try to reach/ [ / ] / try to reach/ [ // ]WB // tip to mid/ sv /mid to//FRG*rtk*/ / [ / / ]frog to mid UH frog*lift* frog to mid frog*lift* (to mid UH) (mid UH to frog)

LANES: .still close to bridgereleasepull inrelease//..md lane.pull in.

pulled in by ring finger on frog

SHIFTS: 1stfinger extension *keep thinking / new bow new bow

ARM, even in the small shifts

to keep the hand position constant*

Other: // quick character switch to playful/flirtatious. // BOLD! DEMANDING ATTENTION!


8/13

LH: //lean forward into 2ndfinger/middle of the hand balance.KEEP THIS BALANCE/HANDFRAME NO MATTER WHAT!........back to flat fingers

(dont bother trying EXTREME RELEASE. and open, released,

to play a blocked 5th, just hop the 1 over to the G 1stfinger balance

after the C)

RH BD: WB // HB / HB / HB // HB*lift* / 2/3rds / [ / / ] // WB //mid LH&try get to FRG/WB // WB / ..

(frog to mid UH) of 2/3rds (make sure to save enough bow of WB.

for the G/Bb, in order to shift to the A/C

in the up-bow) Practice this shift at first with a huge slurp on the up bow

all the way up to the A/C and once youve reached the A/C, only THENplay a down bow. This will teach your body to coordinate the motions of

the two hands comfortably togetherand allow the right hand to

encourage and demonstrate simplicity of motion to the left hand.

LOTS OF BOOOOOW FOR THESE DOUBLE STOPS TO RESONATE!!

And HOLD ON FOR DEAR LIFE TO THAT IMAGINARY STRING BALANCCCCEEE!!!

LANES: slightly closer than md lane for high double stops..bridge!!! ......flirt with the edgy lineaway/releasemd.

SHIFTS: shift up to C in the NEW BOW follow motion of/ OLD BOW think of 1stfinger as extend

silence that is still the up-bowshift auxiliary note to 3rdfinger C

downbow motion with the ARM!.............

Other: Practice singling out and target practicing each double stop in order to teach your brain the exact location or destination for each shift. RELAXED

balance of the left hand is UBER important for sound and consistency whilst teaching yourself these destinations.


9/13

LH: .still flat, juicy, fleshy fingersrotate to 4thfinger balance.back to 1stfinger..preplace 8ve

and rotate, mid 8ve,

to 4thfinger balance

to prepare for

upcoming 3rds

RH BD:

..]/ HB/ [ / ]/ WB // WB // MV/sv / MV/sv / MV // HB/ try to get to frog/*rtk*/// mv/sv/mv/mv/sv/mv // *launch rtk*/ [..

of WB of HB (work down to frog) frg to ..mid LHto frg of WB

LANES: md, resonant lane.pull in for C string resonance.stay in.

SHIFTS: make sure to save enough BOW extend new bow same pos

for shift down on downbow with 3rdfinger

extension

Other: THINK RESONANCE.

LH: keep 4th finger balance1stfinger..2ndfinger (middle of preplace chord..........flatten out for juicy sound

the 8ve) balance & keep mid of handbalance to retain handframe

RH BD:

.. ]/ WB / WB / WB *lift* // WB // 2/3RDS / to tip again // WB / / / *launch rtk*// HB /HB/ [ / / ]

..(of WB) think of traveling btw of WB..

two imaginary strings for the chord

LANES: bridge...slightly in from md lane.pull inmd lane.slightly in..bridgerelease pull in for

sexy sound

SHIFTS: ARM ARM ARM ARM ARM ARM ARM ARM ARM ARM ARM old bow.old bow.. Old bow. Shift to C string position.new bow.. finally

with motion of *launch rtk* allow a little finger motion in

the shift for gooiness


10/13

LH: Instant release on 1stfinger. Also, think in note groupings in the run, //

with your 4thfinger as leading tones to next string, for ease of string crossings.RH BD: [save. Save. MOVE. ] /WB /WB // *PLEASE SEE MEASURES 10 -13*

WB

LANES: Start closer to bridge for accent, away for release, then pull in as you rise/then pull WAY IN for top F/slightly away for E.//

SHIFTS: use arm to shift even on small half-step shifts. / new bow/ //

Other: Helps with clarity to mentally and rhythmically group the notes in the run into groups of 4, 4, 4, 5. //

LH: Keep enjoying being flat-fingered and gooey.

RH BD: MOVE / SAVE / MOVE / SAVE / to frog// [ // // // ]

OF WB..

LANES: slightly awaypull inslightly away.pull in md lanerelease.away.

SHIFTS: old bow new bow

Other: SEXY TIME!!


11/13

:

---------------------------------------------------------------------------------PLEASE SEE MEASURES 26 30-----------------------------------------/ LH: FLAAAT FINGERSSS!!Also, laser in on intonation and

balance of 1stfinger for harmonics.

RH BD: /

(upper half)

LANES: flirt with the line

between resonant lane and the

edgy, bridge lane for clarity of harmonics.

Other: Slightly faster and lighter bow for harmonics,

but make sure to keep teeth of the bowhair still resisting.

LH: released, fleshy, expressive fingers // rebalance (meaning re-release // put 1stand 3rdfingers

and malleable palm. palm, elbow, bicep, shoulder) down as one unit (and

on downbeats 4thfinger G and second beats F block the F and Bb as a 5th)

RH BD: // sv/mv/sv/ mv/sv/ mv // mv/ sv/ mv/ to frog (HB) // / / HB / *lift*

(from middle, mostly think of working down to frog until..HERE.) (frog to mid) (mid to frog)

LANES: // away.slight tug.coming inmid-to-close...bridge!..release..bridge

lane for shift

SHIFTS: // old bow / new bow old bow (in the rest)

Other: // Take the time you need to be drippingly sweet or feminine. Sudden RIP! Back to

flamboyant, bold tango


12/13

LH: .keep focused on the 1stfinger intonation..//

RH BD: / [ / / ] // HB / move / save // move to/ to mid UH / to middle //to tip// -------PLEASE SEE MEASURES 3339--------of HB mid LH

LANES:.tugslightly come toward bridge.. Let go//

SHIFTS: old bow old bow old bow new bow//

------------------------------------------------------------------------------------------------------------------------------------------------------ LH: middle of the hand balance and

constant release.

Also, zero in on 4thfinger for intonation

from pickup to downbeat, but then

on 1stfinger for inton for the rest of the measure

RH BD: HB / / / HB / [ / ]

of HBLANES: flirt with the edgy line.

SHIFTS:new bow new bow

ARMS MOVE

TOGETHER!

Other: KEEP THE BOW MOVING to keep

encouraging the LH to relax!


13/13

L Hand: keep 1st finger in mind!..........................................................................................................MAJOR 4thfinger focus.. 1st again!!

RH BD: .// to tip/ [ / / ] /frg to mdUH// launch!!

of WB (2/3RDS)

LANES: start to come in..more.. And more ..and MORE!.................md lanePULL IN!! ..md lanepull in.

SHIFTS: old bow old bow old bow dont shift, just // extend THINK AHEAD. Old bow

roll or pivot 1stfinger Focus on only three notes: 4thfinger F,

back slightly to give the aural illusion 1stfinger A, 4thfinger harmonic A -

of a new note. and merely move the arm up the fingerboard to

those three destinations.

Other: YOU HAVE THE TIME YOU NEED. Settle back into the pulse. And make sure to rhythmically break down the last run into 3,3,1 for your brains sake.

L Hand: 1stfinger for balance and intonation as you move up the fingerboard ..

ALSO, make sure that the fingers are preplaced in as many double stop/chord positions as possible to eliminate any extraneous, last second finger flinging

a disease which detracts from speed and cleanliness by adding panic and tension in the LH.RH BD: HB / [ / ]/ HB / [ / ] // mv/sv/mv/ ~ back and forth horizontal motion over about amount of bow.

of HB of HB (work from frg to md LH in first three16ths)

ALSO, after releasing weight and freeing up motion of both hands on the 1stnote of each group of 6, feel like youre trying to reach the frog for the next 5

notes until you reach the 1stof the next group and release again

FINALLY, make sure to work out the BD so that you have enough bow on the last of each group to free up the arms and comfortably feel the two hands

coming inward together for each shift: LH = upward arm motion; RH = upbow motion to 1stnote of new group.

LANES: keep flirting with the edgy line.

SHIFTS: old bowkeep shifting with the arm even on the itty bitty shifts.

Other: Its the horizontal motion of the bow that will keep your LH released. Also, it helps to think ahead at least six notes think from release note to releasenote.

Documents

Tango Breakdown Complete Revised