Here we are talking about 'Hooked' bowing again so here's a reminder - the key to this is to first focus on the 'gap' or 'stop' between to the two notes. Make a deliberate attempt to 'stop' the bow moving before completing the stroke. Previously you gradually closed the 'gap' but here it isn't necessary. This is just an economic use of the bowing technique which can be helpful from time to time.
Key Points: Pieces 77 & 78
Pieces 77 uses semiquavers differently from before. Here we have 1 on its own which has to be played slickly and quickly.
Piece 78 uses the semiquaver in a special way to indicate a synchopation in bar 4. Because the semiquaver is tied to the following quaver it makes it one note which in effect is played 'early'. If you try playing it without the semiquaver by playing the note squarely on the beat it makes the tune sound a bit lifeless.
Piece 77 switches you back to a key signature of 2 sharps and so once again the 2nd fingers go forward returning to the standard position on both the A string and the D string. Make certain you are playing them in tune and not flat.
Piece 78 has all its 2nd fingers back on both the A string and D string. This is because the 2 sharps from the previous piece have gone. There is key signature but it has no flats and no sharps.
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