I'm stuck on this passage where the bowing is not logical at all, I seem to keep runnig out of bow. I can do the fingers easy, but I can't do the bowing very well, I get confused whether the slur is on an up bow or a down bow.

How do you practice bowing when you get stuck?

All I can suggest is practice it slowly with slow bows.

Slow bows with the same tone quality? With the same amount of bow? Different amount of bow?

QUOTE (isabelsmells @ Oct 30 2004, 08:41 PM)

All I can suggest is practice it slowly with slow bows.

If you're running out of bow, slower makes it more dificult, but you can still practise slower and quieter, to make the RH movements familiar. If the bowing is good* then maybe the music ought to go a little quicker. If the speed is right, look at the dynamic: if you try to play louder than the composer wants, you can easily use up your bow too quickly. If you are trying for the right dynamic already, then maybe you should play nearer the bridge, so as to be able to use less bow but get the required dynamic with a bit more pressure.

* Some non-string-playing composers are too optimistic.

I think sometimes it is a good idea to bow in the air, just above the strings and say aloud down or up bow. It can highlight the problem areas.
Be consistent with the bow changes otherwise it can get confusing.

Good Luck

Katie

Can you elaborate on this passage. Is this part of the Mendlessohn that you were considering playing? If so, which part, I might be able to help.

Yes, it's the cadenza, at the section at the beginning with the string crossing, my arm keeps wanting to to split each slur into two bows, one from the start of the slur to the note with the accent to the bottom of the string crossing, then one from there to the end of the slur.

However that is not what is marked, and I'm a bit stuck to say the least, as my arm keeps on desparately trying to get me to split it into two bows, when I want it in one.

The fingering is fine.