Part 2
This étude is similar in style to number nine. It should be played in the upper part of the bow, _forte_. In taking the fifth position on the last note, first measure, the first finger passes at once into place and remains there. It is a very common fault, and entirely opposed to a fluent left hand technic, to allow the first finger to be released when playing in the higher positions. Note the Halir exercises for sliding quickly from the third to the fifth position and back. One must remember that the thumb does not _press_ on the neck of the violin, also that it slides at once around the neck of the violin when passing to the fifth position. One must never press with the fleshy part of the thumb. The pressure point is below the joint, _on the bone_. Also, the chin must relieve the thumb of all care as to support.
The fourth and fifth lines should be practiced near the point of the bow, and memorized. After playing a run several times, the progression is mastered. The player should play the whole passage mentally, then place the fingers on the strings exactly as they will fall. I have often asked my pupils to write down the arpeggios as an evidence that they knew the musical content of certain études. Again we must insist that all the fingers seek a new position at once. The strings should not be pulled from side to side in the higher positions. This causes false intonation. While a fairly free forearm stroke is desired, with accentuated first notes of triplets, the staccato is not usually practical. Too little bow gives no character to the work. Too much bow causes a jerky movement of the forearm. Intonation is difficult in the half-position, hence students must play such passages many times. The fingers must be prepared for what is coming. In all étude work we must read ahead and place the fingers mentally before we come to the next passage. In the half-position work, fourth line, you will observe that the note followed by two slurred notes may be played staccato lightly near the point. A long stroke is dangerous to the freedom of the forearm. We swing the forearm, the shoulder joint being free, the arm following the wrist in passages like this:
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We also play near the point until the bow-arm is free. Single notes are played staccato, lightly. Such passages as this, requiring slurred notes, should be accented in this manner:
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The bow should be free, placed on the edge of the hair as much as possible, with a slight undulating movement of the wrist, not interfering with the legato. Contrasts of legato and staccato need not be observed, the staccato being less marked than previously.
In passages like this:
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the legato must prevail, the proper note receiving its accent. Whenever it occurs, keep near the upper third or point of the bow (the single notes being sometimes played spiccato).
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The eleventh line requires some contrast between the staccato and legato. Very short slurred notes should be played near the point of the bow. (Play single notes spiccato.)
Now we come to one of the most difficult things in violin playing, string-transfers, skipping one string. (For the development of the bow-arm at this point, Sevcik’s _4000 Bowings_, Part II, Sections III and IV, are very useful.) The arm moves freely from the shoulder, the motion being away from the side. The bow remains on its edge as much as possible. Accents, even when a note falls as a second one in a slurred passage, must be observed. _The fingers should seek their places simultaneously._ Keep near the upper part of the bow, the wrist moving freely, not being under the plane of the elbow; the fingers are relaxed, the fourth being on the bow-stick. As an example of staccato bowing and the running legato combined, this étude is very useful.
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No. 11
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Many teachers claim that this étude should be practiced at or near the point of the bow. A somewhat broader and freer forearm stroke is more useful. As in other examples previously analyzed, the staccato is not wholly desirable. The trill should be accented, and there should be no variation in the equality of notes because of the trill. Hardly more than two trills are possible. The student should read a whole measure at a glance, and place the fingers at once in position. Perfect freedom of the elbow joint is desirable. A free stroke of the wrist is necessary in short string-transfers.
After the whole étude has been played in this broad, free style, play it entirely through with short staccato bowing, about two inches from the point. In the fifth line, the arpeggios are not played in the half-position. As to position changes, remain in one position until it is necessary to move from that position. The sixth line contains the third position followed by the sixth. The fingers should fall at once into the sixth position, the entire hand moving back to the fifth when necessary, the thumb acting in unison with the fingers. Pupils must be perfectly familiar with position work. When the fifth and sixth positions are to be used, the thumb lies flat under the neck of the violin and the fingers are curved over the strings. Never move the hand or depress the fingers until the work in a certain position is finished. We now come to a passage in which we take high E in the fourth position.
Those students who have not been trained, like the followers of Halir, to play three octave scales and arpeggios, beginning on the highest note, are likely to make errors at this point. To the student of Fiorillo, however, one position should be as familiar as another.
Again, we take F♯ in the fifth position, but this is not so difficult, as we have just played G. The prevailing difficulty with players is that they continually get ready for a new position before it is time to do so, giving the hand a restless motion, and changing the position of the fingers so that they play falsely. The thumb is invariably too slow in slipping under the violin. The thumb at the middle joint must be depressed, and there must be as little pressure as possible there; the chin, resting firmly, makes freedom possible for the thumb. It is very noticeable that Kubelik has marvelous facility in taking the high positions, his fingers falling into place with surprising dexterity. He has a perfectly trained hand. As before, the player glides with the entire hand back to the fifth position, then to fourth, and lastly to the third; again, we take the fifth, then fourth, then third, second, and first positions. The thumb must be absolutely free, with no pressure at the middle joint, and always in advance of the first finger, the hand moving as freely as possible.
The transfers across four strings should be made with ease, the arm moving out to the side from the plane of the shoulder, the wrist being free. In changing positions, the finger last used moves into the new position. The secret of playing this work well lies in the _absolute freedom of the thumb_. Students may observe that in the last line the transition must be made from the sixth to the first position, the hand reaching far over on the G string, the thumb resting on its tip, yet never quite released from the neck of the violin.
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This étude is most valuable as a study of positions, while it offers no varied bowings. It is purely a technical exercise, radically opposed in style to the beautiful examples of cantabile playing offered by numbers one, seven, and eight.
No. 12.
Few of the Fiorillo _Études_ are played by the student strictly according to metronome time. Not so with Rode. His _Caprices_ are often studied abroad for three years; and, by the time the student has completed them, he plays them like finished pieces, at metronome time. Often, too, the Rode _Caprices_ are memorized, but the Fiorillo _Études_ rarely are. The Berlin school neglects Fiorillo to a certain extent, but Halir, one of its best exponents, spends considerable time in the study of them, giving to them the grace, vivacity, and lightness of the French school when the text so demands, and also striving for the breadth of the German school in pure cantabile work, as found in slow movements. For intricate bowings Kreutzer, with the supplementary Massart[7] bowings, is adequate. Fiorillo’s _Études_, as previously stated, cannot be studied in their order. Individual needs govern the teacher. Perhaps one student may be studying Fiorillo, while, also studying the more difficult trill and double-stop _Études_ of Kreutzer. Some of the Kreutzer _Études_ have never been given to me by teachers. It is equally true of Fiorillo. If I seemed to have a weak point in technic, or if my bowings were stiff and angular, I returned to Kreutzer. I was taught Kreutzer and Rode, over and over, in Berlin. Many of the Berlin teachers say: “Get technic from the standard Concertos. Do not spend too much time on technic pure and simple.” The question in the mind of the Joachim School is “How is it possible for the Sevcik followers to have a repertoire, when they are made to study technical works of such length and seriousness as those of Sevcik?”
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The twelfth étude of Fiorillo is not one in which technic is prominent. Its object is mainly the freedom of the bow-arm. The fingers of the left hand should be placed lightly over the strings, in readiness for their movement. They should anticipate a change of position. If the left hand is ready, bow technic is more easily secured. Note in the Hermann edition that the étude is marked _forte_. It should be played lightly, the upper third of the bow being used. There should be no marked contrasts of the legato and staccato; in fact, the staccato mark is not to be interpreted as necessary in such études as this, because the stroke is so free. It would be impossible to play this étude _forte_ in the upper part of the bow, and give it lightness and grace. The short staccato also gives less breadth to the stroke. In similar passages the length of bow used should be about uniform. Note the inclination to cut the second note of a group of two tied notes in anticipation of a single staccato note. This should be avoided. All violin jerking of the bow on single first notes of a group should be avoided. The student should be careful to slide the thumb well under the neck of the violin in the fifth position passages. Do not move the hand while in one position, in anticipation of the next position. Do not depress the fingers in the fifth and sixth positions before passing to the third.
In this passage avoid forced attenuation:
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Continuous syncopation should be uniformly smooth and even. Nothing is of such value to a violinist as a perfect command of the transition from the third to the fifth position, and vice versa. Many faults of technic arise from too much pressure of the thumb upon the neck of the instrument, thus giving the player no freedom, and inducing a bad habit of bending the thumb instead of strengthening it for the fifth position. If extensions are to be made, slide the thumb a little farther under the neck of the violin, and curve the fingers well.
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Note in the sixth line the fifth position passage on the A string. Many players have to move the whole hand at this point, so that the fingers may lie easy on the string. The hand should assume a position which will enable the pupil to play with ease. The newer chin-rests, which are wider than the former ones used, do not seem to enable one to hold the violin with ease. The chin should rest on the edge of the chin-rest rather than far in or on the tail-piece. The muscles at the back of the head become cramped by gripping too hard. A little piece of chamois leather placed between the left jaw and the chin-rest will prevent a bruise of the flesh, the bane of professionals.
In the ninth line we have the form of bowing known as two cut and two slurred notes. The notes that are cut are not to be played sharply at the point of the bow. They are swung lightly along the strings, using about one-third of the bow, the tempo being moderate. Again, the student must be cautioned against cutting the value of the second slurred note in anticipation of a single staccato note:
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Note the _forte_ passage in the lower half of the bow:
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This should be played in a somewhat disconnected style in the first half of the measure, with a strong accent on the first note of groups of two. The latter half of the measure falls about in the middle of the bow. A free stroke, not too short a staccato, is preferred.
The tenth line opens with an arpeggio played _forte_ with staccato and legato strokes. The next similar passage is played pianissimo, in close imitation as to style. All passages of this nature are smoother in the upper part of the bow. Avoid forced accents or any movement which interferes with free bowing:
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In the twelfth line a short legato passage is played in the upper half of the bow rather than with the whole bow. When one passage closes with down-bow, there should be no break in passing to the up-bow. Two notes slurred lie in the upper half with as long a bow as the tempo will allow. In passing from a long legato passage to a short one, it is well to estimate so well that the part of the bow desired may come at once under control. All passages requiring quick transitions on four strings should be played as broadly and with as free a bow-arm as the tempo will admit; in other words, too little bow gives no value to the passage, while a light stroke with a longer bow is made more valuable. Naturally, if the tempo is increased to allegro, we must remain near the point of the bow. When four strings are required, the bow-arm must be higher, and the distinction between a forearm stroke and a pure wrist stroke must be well defined. In rapid legato passages all pressure upon the bow-stick must be avoided.
Keep the legato work that follows in the upper half of the bow, avoiding pauses between bows, or unnecessary accentuation. Short groups of slurred notes must be played near the point of the bow. Short string-transfers are made with the wrist, and three or four string-transfers with wrist and arm, the bow never being tilted on its inner edge. Play on the outer edge of the hair as much as possible, resting the bow on two strings, or as nearly so as possible. Do not release the fourth finger from the bow-stick. Rest it at least against the stick if not on it; all work, especially in the lower half of the bow, demands this security of the hand. For string-transfers of this kind, see Sevcik’s _School of 4,000 Bowings_, Parts III, IV, and V; Casorti’s _School of Bowing_;[8] the work of Hans Sitt, Op. 92;[9] and the Kross _Art of Bowing_.[10]
FOOTNOTES:
[7] _The Art of Studying R. Kreutzer’s Études_, by L. Massart. Four hundred and twelve examples, compiled by the advice of the author. Revised, translated, and edited by Gustav Saenger (English, French, and German Text.) Published by Carl Fischer, New York. Price, 60 cents.
[8] _Technic of the Bow_, by A. Casorti, Op. 50. A standard work of its kind. Published by Carl Fischer, New York. Price, 75 cts.
[9] _Technical Studies_, by Hans Sitt, Op. 92. Part I, Exercises and Studies for the Cultivation of the Left Hand. In three Books. $1.00 each. Part II, Exercises and Études for the Special Development of the Right Hand. (Technics of the Bow.) In three Books. $1.00 each. Published by Carl Fischer, New York.
[10] _The Art of Bowing_, by Emil Kross. A practical, theoretical guide for developing the technic of the bow and for acquiring a fine tone. Price, $1.00. Published by Carl Fischer, New York.
No. 13.
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This graceful and interesting étude partakes of the qualities of the French school with added dignity. The _andante_ must be smoothly played, the portamento work being given especial value through position changes.
Strange as it may seem to the amateur, artistic phrasing begins with études; for instance, many of the _Études Brilliantes_, by Mazas,[11] furnish excellent examples. A natural crescendo occurs in the last four measures of the first line. The _andante_ is graceful and dignified, a perfect example of legato playing. Transitions from third to first position should be made without disturbing the beauty of phrasing. It would be well to analyze this _andante_ with students, pointing out simple rules of phrasing. In groups of two notes, accent the first slightly and pause between groups, closing the phrase with a slower tempo. It is of the utmost importance that rules of phrasing should be taught in études and applied to the standard Concertos. If études mean anything, all that is contained in them should be brought out. This relieves dry and lifeless study, and gives us ample opportunity to make musicians, not machines.
The _Presto_ must first be practiced slowly until a command of bowing and technic is possible. The octaves are played in the upper half of the bow, with a slight accent on the first note of each group, the groups also being slightly separated, though the bow is not raised from the strings. Keep nearer the point than the middle of the bow. Do not hold any note too long. Make phrasing clean-cut.
The fingers work simultaneously, and must not leave the strings during a passage. In playing octaves, relax the wrist inward and curve the fingers well. Keep the thumb free and in advance of the first finger. Everything depends upon the holding of the violin with the chin, not with the thumb and first finger. The bow-arm must be very free. The player should not be timid, sliding the fingers into place. _The hand and fingers move together._ The trilled notes should be played with a sharp accent, the legato being contrasted with a short, crisp staccato in the upper part of the bow, about two inches from the point. This passage should be played near the upper third of the bow.
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Notes not marked staccato are to be played freely, with a forearm stroke. Place the fingers at once in position for arpeggios. Note the suggestions of the Kross edition of Kreutzer, in this respect. By the time the student has reached Fiorillo, he must be familiar with all forms of bowing. He is now to apply himself to technic.
String-transfers must be made easily. Returning to the octaves, one must play with a free running legato in the upper third of the bow. Note the arpeggios, which must be played staccato very crisply near the point of the bow. There is a prevailing tendency among students to play the slurred legato notes with a longer bow than the single detached notes. A freer style is that of uniform length of bow throughout. When it is possible, play a long swift stroke in preference to a short one in passages of this kind:
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In a sudden transition to high D on the A string, the portamento is allowed. The stroke is a forearm one. Now we return to the octaves. If there is any trouble at this point, play the notes together until the pitch is quite accurate. There is also another advantage. In octaves the bow lies on two strings, and this is an aid to the mastery of a pure legato in a passage in which the notes are not played together. Note the almost perceptible crescendo as the octaves progress. After several measures in which the forearm stroke is used, we come to short groups near the point of the bow. In the fourth line from the end, we return to the short passage, to be treated somewhat freely.
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In passing to the seventh position on the D string, avoid a nervous jerking or undue pressure upon the bow. The portamento is naturally desirable.
The arm should be well under the violin in the octaves on the G and D strings.
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The last chords are not played like arpeggios. They must be full of decision. The down-bow is used in each case.
FOOTNOTE:
[11] _Seventy-six Melodious and Progressive Studies_, by F. Mazas, Op. 36, in three Books. Book I, Études Speciales; Book II, Études Brilliantes; Book III, Études d’Artistes. Price each, 50 cents. Published by Carl Fischer, New York.
No. 14.
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It is an erroneous idea that those outside of the French school sometimes entertain concerning the nobility of tone of that school. In cantabile work, tone-color and proportion are sought and obtained. Brilliancy, vivacity, and piquancy belong to the French temperament, but depth, dignity, and nobility are possible, even in a Frenchman. Hence it is that such exponents of the French school as Thibaut, Kreisler, and Marteau play an _Adagio_ with beauty and nobility. The German school, while essentially lacking in versatility, lightness, and elegance, as compared with the French, excels _only_ in breadth of tone, purity, and dignity. It is absurd in these days of constant comparison between schools, considering the frequent study of great artists in several Continental schools, to assume that any one of them has the only legitimate interpretation of the classics. The French-school artist plays Corelli and Tartini with more poetry and varied tone-color than the German-school artist, giving to all the classics of that period more modernity and consequent beauty than they ever possessed in their time. Again, the present use of the vibrato gives warmth to any classic. I speak of these things because one can learn to play the _Adagios_ of Fiorillo and Rode in Paris.
In connection with this étude, played largely on the G string, it would be well for the student to study such works as the Raff “_Cavatina_,” the Bach “_G String Air_,” an Air from a “_Suite_” by Johann Mattheson, and other works which will give one perfect freedom in the higher positions on one string. The G string has always been a favorite one for beautiful slow movements of Concertos. Both Bach and Paganini realized its possibilities. Possibly the student holds the neck of the violin too tightly with the thumb. The latter must be ready to move quickly into any position, the fingers being well arched in the very high positions. A perfect command of the legato and fine discrimination in the use of the portamento are desirable. One should avoid sliding up and down the strings when the phrasing does not demand the portamento. Do not hurry the movement. Pause between phrases to give added dignity. In playing very high on the string, do not press upon the strings too heavily with the bow, as the length of string is now so short that additional pressure gives a rasping tone. Practice the crescendo. Economize space in long bowing. Do not allow the fingers to leave the strings at such points.
A perfect legato can only be obtained when the fingers and bow are in perfect sympathy. A somewhat dignified trill is necessary. Maintain the proper tempo. In the last line preserve the legato even if the grace notes seem to disturb it. At the close begin the trill slowly; then increase the rate. If the student fails in the command of the higher positions, use the Halir studies daily. Freedom will soon be secured.
No. 15.
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You will observe that the older composers of technical works used easy keys. They themselves were players of the violin, and knew how to write in a violinistic manner. You will also observe that two methods of playing this étude are indicated. As a special daily exercise, in connection with this étude, I would suggest Sevcik’s _4,000 Bowings_, Op. 2, Part 2, Sections III and IV, two and three string transfers. After playing these exercises for an hour, including the Halir legato studies, pages 1 to 4, _Tonleiterstudien_, the wrist and forearm are supple for the daily work, while the left hand falls easily into line. In all technical work the left hand must be trained to anticipate the bow-arm. More depends upon the left hand than upon the bow-arm, hence the necessity of strong fingers and an ample technic.