Part 3
_Allegro_ is an elastic term in the classic études. Play slowly and without stumbling until you master the content of the work, then increase the tempo. The preferred method of playing this étude is the lower one. Play in the upper third of the bow, not _forte_, at first, until freedom of the bow-arm is assured. A lateral stroke of the wrist is not necessary. The wrist should be flexible and free, however. Play a smooth, running stroke, for a pronounced staccato is likely to make the muscles of the fingers and wrist rigid, unless one has perfect command of the bow-arm and hand. The student should train himself to read ahead of the measure he is playing. Place all the fingers in position at once, whether a new position is to be taught or not. A prevailing tendency in this work is to play with a stiff arm and to use too rapid a tempo. That is not wise. Play slowly until freedom is assured. The sequence of positions should not trouble the player. String-transfers should be made on the edge of the hair, or as nearly so as possible, and there should be no “tilting” of the bow from the outer edge to the middle and then to the inner edge of the hair. Keep the forearm high enough so that the bow lies easily on two strings. Always anticipate string-transfers by practicing arpeggios on four strings, with the entire arm well arched and no break in the curve. While many short string-transfers, especially at or near the point of the bow, require only the use of the wrist, there is an almost perceptible movement of the arm from the shoulder, so that the curve described on the strings may be easy and graceful. This is one of the most important things in connection with the obtaining of a beautiful legato. A study of my _Three Octave Scales_,[12] with varied bowings, in the upper half of the bow, should be carried on during the entire study of Kreutzer and Fiorillo. Note the difficulty of easy string-transfers in the sixth measure. These are very treacherous, if one has not mastered the two suggested bowings in the first five lines. Now, let us take the passage slowly near the point of the bow, the first note being played lightly staccato, and the next two slurred notes staccato on the up bow. Do not jerk the first note of the group of three. Sometimes teachers prefer to use single detached bowings throughout the exercise. That is not desirable; in fact, all students of this work should have a thorough knowledge of positions. I do not believe in the practice of many and varied bowings in connection with Fiorillo. We have practically fixed the fundamental bowings in the first twelve Kreutzer études. At present many teachers are using the Sevcik _4,000 Bowing Studies_, and carefully teaching Mazas’ _Études Brilliantes_.[13] Sitt and Dont must inevitably aid in the mastery of bowings, as well as of position work. There is so much to learn from standard Concertos that it seems unwise, in our busy American life, to burden the student with too many études. If he can learn the great principles of violin playing from well-known works, or a few well-chosen études, he has time for the study of legitimate classics. The entire Sevcik plan is too extensive and impractical for American violin study; nevertheless, the most progressive teachers are adapting Sevcik to the needs of their pupils. We cannot teach as Sevcik teaches; our entire conditions of life are at variance with European conditions. If the preparatory work for Fiorillo is well done, we may be sure that the student will progress rapidly, and there will be no need of the introduction of many and varied forms of bowing at this point. Review with the flying staccato in the lower half of the bow, also at the middle of the bow spiccato.
Play the following measures at the point of the bow:
[Music: On 2 strings]
FOOTNOTES:
[12] _Daily Exercises_ and _Three Octave Scales_, by Edith L. Winn. Published by Carl Fischer, New York. Price, $1.00.
[13] See footnote, page 30.
No. 16.
Again, the term _Allegro_ is a somewhat elastic one. The stroke is at or near the point of the bow, the first note covering enough space so as to allow a longer bow for the three slurred notes. This group should be sharply accented. Play _forte_ throughout. Play the longer staccato groups in the second and third line near the point of the bow, using as little space as possible, until we come to the last two notes. Owing to the modulations in this étude, I frequently ask students to memorize it. We usually analyze it. There is a growing tendency among violin teachers to analyze all technical works and pieces with students. Foreign teachers rarely do so. It is a question whether the lesson should include harmonic analysis. That should be taught elsewhere. The violin teacher’s duty is to teach the pupil how to _play works_. Harmony and theory should be taught in classes. It is wise, however, to call attention to keys. All the major and minor keys should be studied. Remember the sharp accentuation on the first note, down bow, of slurred groups of three notes.
[Music]
The trill should be played with a down bow. Raise the bow slightly between octaves; also play at the middle of the bow. Accent trills. The fingering in the last three measures is as follows:
[Music]
[Music]
No. 17.
[Music]
A brief glance at this étude would naturally give one the impression that it is played in a light manner. It is, however, one of the most interesting _Adagio_ studies in violin literature. The Fiorillo études are not single detached studies. They flow into each other, as it were, naturally, and with sufficient variety as to tempo and themes to make them fascinating and agreeable. This étude leads into the more rapid eighteenth étude gracefully and with dignity. Both études are usually taken out of order, on account of their difficulty, and the Kreutzer double-stop études are reviewed. Phrases should be full of meaning, clean-cut and distinct. The fingers must fall simultaneously in double-stops. A slur within a slur requires a slight separation, but not the raising of the bow. Note the exact reproduction of the first phrase, with the position of notes inverted, in the second phrase. Note the second and third measures, second line, the short staccato being avoided.
[Music]
The long staccato double-stop passage should be played with slightly detached notes, not staccato in the extreme sense, with a slight ritard toward the close, about two-thirds of the bow being used, so that the following legato passage may be free. The next two notes slurred must be played near the point of the bow, followed by a staccato passage, as before played lightly and detached, with a free running stroke. When there are groups of two notes, the first is accented. Phrasing must be clean-cut at this point:
[Music]
Naturally there is a ritard at the close. The first part of the étude begins on the tonic triad, with the fundamental note absent. It is well to call the attention of the student to the fact that the second part of the étude opens with the dominant chord, the fundamental note being absent. There is a decided pause in the fourth measure, owing to the demands of phrasing. The student should play one phrase repeatedly until mastered. The fingers move simultaneously into new positions. They must take the position at once. In the third line the accompaniment to the theme must be lightly played, no note being carried over a rest. Do not accent in syncopated passages, nor play the note of the accompaniment too loud, giving it more than its value. In the seventh line the short notes or groups should be played almost in a recitative style. The student should think his interval at once when suddenly passing to double-stops; in the higher positions the fingers fall together. The long runs may be played more nearly in staccato style. In the third measure from the close, play the thirty-second note at the heel of the bow.
[Music]
In order to fully appreciate this étude, it would be well for the student to hear the great singers in such works as _Bocca bocca bella_, by Lotti, or _Vieni che poi sereno_, by Glück, which offer examples of pure technic and beauty of phrasing. I believe I can say frankly that I have learned more about phrasing from the study of voice than from violin study. At any rate the one aids the other, and the student must learn to play Fiorillo and Rode like an artist, giving to purely technical works a value that will materially aid him in the interpretation of pieces. Style and phrasing are so essential to violin playing that one should hear much good music, and all teachers should be able to illustrate the important principles of bowing, phrasing, and technic.
No. 18.
[Music]
For finished studies, using double-stops, études seventeen and eighteen are unexcelled. The latter, like the twelfth Kreutzer, may be played for years with profit. The student should not enter upon this study untrained. Beside the preparatory work of Kreutzer and Sitt, there are excellent double-stop exercises of Wilhelmj Hřimaly, and especially of Halir, used so little as yet in America. Halir’s idea is to teach double-stop scales in sections, beginning with the C scale. This étude should not be played rapidly. Allegretto is a diminutive term. Play in the lower half of the bow, the bow being raised for each note. The student should place the fingers simultaneously. The fingers move together. The positions must be thoroughly understood before this étude is studied. One may practice it for months with profit. Generally the upper part of the bow is preferred, with a smooth running stroke of the bow. Teachers differ concerning the manner of teaching this étude.
All staccato passages are usually played crisply, with freedom. Note the manner of playing the Halir double-stop scales with varied bowings, i.e. (1) Lower half detached; (2) Two notes tied; (3) Four notes tied; (4) Entire scale in one bow. It is always best, when a student is advanced, to study these études of Fiorillo first with the bowing as marked, not with easier forms. It is far better to play a passage over and over until correct, than to institute an easy method of bowing. A mastery of technic requires constant repetition. Take the tempo slowly at first. Always _sing_ tone and play with as broad a stroke as possible under the circumstances, so as to cultivate a broad, free style. A very light passage may often be played with detached notes, using nearly the whole length of the bow. When playing double-stops lightly, do not press upon the bow-stick; play over the finger-board, with a light loose stroke. The middle of the bow is an excellent place in which to play the double-stops, as found in étude 18 and elsewhere. For small hands I would recommend the following method of playing tenths: Draw the first finger around so that it lies almost flat on the string at right angles to the neck of the violin. Then place the fourth finger in position. It is probable also that this finger cannot be curved. The thumb is well round under the neck of the violin. It must be flat, close up to the neck. Do not release it entirely from the neck.
No. 19.
[Music: Allegretto. With the middle.]
This étude begins lightly spiccato at the middle of the bow. With the crescendo the necessity for a broader stroke arises, and we dispense with the spiccato. The following passage is played toward the middle of the bow the stroke becoming a spiccato:
[Music]
Keep in the upper third of the bow when the tied notes are alternately long and short. In the seventh line, second measure, play the staccato run at the point of the bow:
No. 20.
[Music]
As an example of string-transfers in the positions, especially upon four strings, this étude is unexcelled. Play lightly near the point of the bow. Prepare for each change of strings and for rapid position changes by reading in advance. Always keep the bow well over two strings. If four strings are to be used, raise the arm, the entire arm being in the same plane. A running legato at the point of the bow is desired.
Raise the arm out from the side, the whole arm moving in the same plane, the wrist leading. Note the great value of this étude as a preparation for the third movement of the Concerto in A minor by Bach. Short string-transfers require that the two fingers used fall simultaneously on the strings. The arm always follows the wrist. If arpeggios occur in the higher positions, place the fingers as upright as possible on the four strings. A variation in point of attack interferes seriously with intonation. Note the necessity for perfect intonation. The wrist leads in transfers, a backward dip securing a perfect legato. Do not secure it by playing on the inner edge of the hair.
If the legato is not easily played, review the eighth Kreutzer étude in groups of two notes at the point of the bow.
A study of Hans Sitt’s double-stop études[14] and Section IV and V of Sevcik’s _4,000 Bowings_ is desirable. If the étude is first played in double-stops, the student gains the habit of thinking the relation of tones, also the bow gains facility, and lies well over the strings.
A running legato passage of two notes to a bow is usually played anywhere from the middle to the point, preferably near the point, if pianissimo. A quick command of the sixth position is not easy. Two fingers, at least, should fall at once into place. The bow should lie almost over two strings at the point, or near it. There should be no visible rise and fall of the arm for two-string transfers. In moving from position to position, the legato should not be disturbed. A slight accent on the first note of each group of two gives character to the étude. In this passage, where more than two strings are to be used, one naturally moves the entire arm.
[Music]
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A slight undulating movement of the wrist, not lateral, gives freedom. Play near the edge of the hair as much as possible. Raise the entire arm for a transfer from the E string to the G, the wrist leading slightly. Describe a curve, not an angular movement. Do not turn the violin far over to the E side. Hold it lightly with the chin and let the body of the instrument be nearly flat, that is, make the angle as small as possible. If the G string is high in the air, the E will be correspondingly low, the arm close, and all legato work or string-transfers correspondingly difficult. The rule of reading ahead and placing fingers on the strings at once always holds good. As examples of this style of bowing, one may mention the Sevcik _4,000 Bowings_, Part 2, Section III, IV, V; also the Sitt _Technical Studies_,[15] 2d part, Op. 92, with the chords played as arpeggios in many ways. There are many other studies of this nature; for instance, the Kross _Bowings of Kreutzer’s Studies_, Nos. 1 and 8.[16] Naturally the student must _think_ modulations, even if he is perfectly familiar with his position work. Keep the thumb well under the neck of the violin, so as to compass four strings easily and at once. A wise plan with students who are very careless about making smooth string-transfers is to ask them to play the groups as double-stops singly in the lower half of the bow, using a light detached stroke. When playing such passages as this do not throw the wrist out, necessitating a perfectly flat fourth finger. All fingers should be arched. Marie Herites, one of the best early exponents of the Sevcik school, has a very excellent method of playing tenths, in spite of her short fingers. She brings her first finger far around, so as to fall at right angles to the neck of the violin. It lies flat in this position and the fourth falls easily into place, slightly curved. The wrist is somewhat out of position, and the thumb far under the violin, but results are satisfactory. Every one can conquer limitations of the hand. No. 20 is not a virtuoso study. It belongs essentially to a good repertoire, but it is not easy, and must therefore be practiced until perfect freedom is secured and intonation is perfect.
FOOTNOTES:
[14] Hans Sitt, _Technical Studies_, Op. 92, Part I, Book III, Double Stopping, Thirds, Sixths, and Octaves. Published by Carl Fischer, New York. Price, $1.00.
[15] See footnote, page 29.
[16] See footnote, page 29.
No. 21.
[Music]
Several editions of Fiorillo suggest varied bowings for this étude. We have practiced varied bowings with Kreutzer, Sevcik, and other works. One should be familiar with bowings before the study of Fiorillo. The content of the étude must only be considered. Use a light legato bowing near the point. The question has often been asked, “Does the thumb bend in the fifth position?” After we leave the 3d position, the thumb becomes flat under the neck of the violin. Be very careful of intonation when the key changes. At this point do not change position. It is an invariable fault of students:
[Music]
A quick transfer from third to second position must be made easily. All passages of a chromatic nature, or in which there are sudden modulations, should be played a good deal until correct intonation is assured. Owing to the great similarity between Nos. 20 and 21, it is wise to play the twenty-second before the twenty-first.
No. 22.
[Music]
The twenty-second étude is one of the most beautiful adagio studies in violin literature. It is particularly useful to those who are studying the Bach _Sonatas_ and the Spohr _Duos_. There is no need of playing the first note timidly. One should be able to _think_ A, because of the knowledge of absolute pitch. The position of the note is naturally difficult. The thumb must lie well under the violin neck, in order that the passage on the A string may be played with ease. Do not pull the A string from side to side in the higher positions. This causes false intonation. In the fourth measure use the third position, then change to second position. As to the length of bow required, the volume of notes and number on one bow govern the length, but a uniformly broad style is advocated. One serious difficulty in the étude is the command of the crescendo and diminuendo. Practice the three octave scales, single whole bow slowly, making a crescendo four times. Use the vibrato freely. Concerning high notes, play without pressure upon the bow-stick, as the tone of a short string cannot be forced. It is of the utmost importance that one should play with correct intonation. The high notes are not as strong in tone as the low notes, owing to the difference in length and vibratory quality of the strings.
We will now turn to the sixth position. The first note must not be forced. The use of the same finger for position implies the portamento. A smooth flowing legato passage is naturally to be played with a longer bow. Sudden leaps from the G string to the E must be made with a high arm and flexible wrist.
Play the bowings as marked. You will observe slurred notes in varied groups. The three notes must be played with a long bow and in as perfect proportion as the longer passage. The power to use the bow wisely is difficult to acquire. Note the passages in the seventh, eighth, and ninth positions. It is absolutely necessary that students be free in the higher positions. Different editions vary concerning the fingering in the last line. The bowing is usually uniform. The difficulty of the étude naturally makes it one of the best of its type, for the difficulties are legitimate ones, which naturally occur in the great concertos:
No. 23.
[Music]
The bowing suggested in the twenty-third étude is one of the most frequent and natural ones in concertos. It is adapted to an allegro movement, and while it may be satisfactorily played near the point of the bow, the forte would indicate a longer bow, possibly the upper third. A free, undulating movement of the wrist, with only a slight arm movement, in two-string transfers is desired. Again, the student must be cautioned against raising the fingers too quickly. All fingers must take their positions quickly and maintain them. In three-string transfers more arm movement is necessary. Do not play over the entire surface of the hair. Keep largely to the outer edge. Note that the middle note is higher than the third note of this group, hence it is wise to use this bowing:
[Music]
We return to the former bowing in the next line.
[Music]
The up-bow is not staccato, but a free stroke that will not be a decided contrast to the preceding slurred notes. In connection with this étude observe intonation carefully. Also add to the flexibility of the wrist by the use of the _Études_ of Hans Sitt, Op. 92, Book III.[17]
FOOTNOTE:
[17] See footnote, page 29.
No. 24.
[Music]
In somewhat decided contrast as to style, this étude is played with a short staccato stroke; the position work, with the fourth finger in the lead, must be free, the thumb and first finger perfectly relaxed, the violin being held firmly with the chin. Double-stops require perfect freedom and uniformity of finger action; the fingers move with the hand, and the thumb and hand move in the same plane. The octaves are played in the upper part of the bow, with as broad a stroke as the tempo permits. One should not play allegro if unprepared for the tempo.
The tenths are to be played very lightly near the point of the bow, using about three inches, at least, of the bow. Relax the wrist as much as possible, and play near the outer edge of the hair. Marked depression of the wrist makes the position of the hair variable on the strings. Again, the movement of any fingers, especially the fourth, to and fro on the bow-stick, produces an uncertain legato. Play the tenths as before indicated. The seventh line reproduces the form of the first line, the first and fourth fingers, at least, remaining on the strings constantly. The upper third of the bow is used. The tenths are frequently played with staccato bowing in the middle of the bow. This gives a free stroke, but the upper part of the bow is preferred. Make a slight accent on the first note of each group of two. Also slightly raise the bow for this attack, and swing the staccato up-bow quickly along the string. This is a somewhat free style of playing, which suits the passages of tenths and gives them vivacity rather than heaviness of character.
Now note the rapid running legato at the point of the bow:
[Music]
This is easily played, if the thumb moves freely and if the fourth finger slides along the strings. The first and fourth move together in octaves. It is also true of tenths. The followers of the French school always play chords in an arpeggio style. This is not true of the Berlin school. The followers of that school fall with force upon the strings, taking three or four notes simultaneously. For the development of such a style see Sevcik’s _4000 Bowings_, Section V (Part 3).
No. 25.
[Music]
This étude furnishes an excellent example of phrasing and style. Before beginning the study of it one might well play Halir’s runs up and down each string for the pure legato and position work. The student gains freedom in this way. Do not press too heavily on the bow-stick for the higher positions, as a rasping sound results. The crescendo and legato must not be sacrificed. Note the reappearance of the theme on the E string. As broad a bowing as possible is desired. The sixteenth notes fall about in the middle third of the bow, the thirty-second notes lying nearer the point of the bow. The fourth line begins a new form of the original theme. The up-stroke is rather a broad staccato, not a spiccato bowing. The bow is not raised from the string, but swings along the string lightly. Notes marked with a dot have variable meanings, according to the tempo of a work. In this case the short staccato would be too trivial. The following measure should be played in the upper part of the bow very firmly, gradually diminishing in the next line to a pianissimo near the point of the bow:
[Music]