In this lesson, we learn about producing a big, soaring rich tone without the use of consonants. As Schween explains, legato playing requires a careful concoction of vertical playing with horizontal motion. She advises us to sink into the flexible part of the string with arm weight, and not to lock our right hand fingers.

In this lesson, we study concepts of slow bow, bow distribution, and excising any habits in the bow that create bumps in the smooth bow. Professor Greensmith gives us exercises he uses to work on a very long, slow, smooth bow. As he says, "If you practice enough of the super slow bow, you will get a true legato." We are also encouraged to take small fragments from the solo, chamber, and orchestral repertoire and study these to develop your sense of legato. Professor Greensmith encourages us to find a liquidity in the hands and to listen to recordings of great singers to study the legato.

In this lesson, we learn principles about legato--Italian for bound--and how we can apply these principles to the music we play. Lelchuk shows us that one way we can detect how true our legato is is by playing passaged without any vibrato. This way, we can isolate the bow. We also learn to watch our bow, and how that in itself can show us if we are falling into any bad habits. We study examples from Brahms and Haydn as illustrations to practice a real legato.

In this lesson, we learn about connecting one note to the next, called legato. Inbal Segev teaches us about using arm weight to carry the sound through the bow, and all about the pronation of the right hand. We also learn that being loose and having relaxed shoulders is key to producing a big, full, rich tone.