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P R E P A R E F O R K R E U T Z E R
BY
NEW YORK
CARL FISCHER
1910
8CHOTT A
PUBLISHERS TO H.M. THE KINfi
LONDON, W
Copyright, 1910,
BY
C A R L F IS C H E R
i.
INTRODUCTION.
IfourTandyears
is a question in the minds of modern violinists
teachers whether one should spend three or
in preparation for Kreutzer, or, in view of
the enormous amount of material which one must study
before one has a command of the classics, whether it is
wiser to abridge preparatory work and start as early as
possible with the Etudes of Kreutzer, Fiorillo, Rode,
Gavinies, and others. I find that it is best, in the case
of students who are not going to be professionals, to
spend a long time in the study of the works of Dont,
Mazas, Sitt, Schradieck, and Sevcik, so that the founda
tion for Kreutzer may be well laid, and the necessity for
varied work of the amateur kind thoroughly and practi
cally met. I have many students who play the violin
merely as an accomplishment, and whose study will
probably cease after Kreutzer. Among such students I
may mention those who are attending secondary schools
from which they graduate at about eighteen years of age,
after which their violin study practically ceases. In
some cases I am able to make Kreutzer so interesting and
helpful that the student really desires to continue the
work seriously during college life, or to specialize as a
member of my city class. But these cases are rare, for
secondary school education, while it fits one for a certain
sphere of life, is, at best, superficial, except in its specific
value to the student who is preparing for college. Many
students who are in the High School find that two hours
i
2 HOW TO PREPARE FOR KREUTZER.
a day are all they can spare for the practice of the violin,
so it has become a serious matter with me to select only
those studies which will give to the student the funda
mentals of violin playing, a fair technic of both the bow
arm and the left hand, and a knowledge of a few useful
and well-known works, which may be used as solos when
the necessity arises. The violin is a difficult instrument,
and comparatively few students become professionals.
Hence, the wisest plan with our students must be one
which cultivates taste, creates desire for knowledge,
without being too specific, and fits into life. This implies
only such attention to technic, tone, and bowing as
belongs to good amateur work. You have often heard
the remark made, “ Mr. So-and-So is a business man,
but a very good amateur musician. ” He is fortunate, in
deed, who, instead of being a bad professional, ranks with
good amateurs.
We must make study interesting and hamper the stu
dent with as few details as possible up to the fourth
year of study. By that time character and taste are
formed sufficiently so that on entering Kreutzer there
may be no mistake as to the value of detailed professional
work, in cases of specific talent or desire for a professional
career. I would not advise any student of the violin to
choose my instrument as a profession unless time, money,
good health, and the most favorable conditions of life
are possessed by the individual. The road to virtuosity
is long and hard. Even under the best conditions of
study, very few of us gain distinction. I would modify
a plan of study to suit individual cases. Hands, fingers,
brains, are different in different individuals. A hand
which is naturally clever can do in one hour’s practice
each day what another hand requires four hours to do.
So it is with bowing; some students will always be stiff;
others have elasticity and freedom from the first. No
two brains have the same receptivity; no two individuals
have the same tonal ear. “ Many are called but few
chosen,” when it comes to violin playing, but if we all
had only the gifted to deal with, we should certainly have
IN T R O D U C T IO N . 3
very small classes of pupils. We ought to give the best
we have to those who come to us, irrespective of class,
gifts, age, or environment. I enjoy especially teaching
children the fundamentals, for they accept one’s creed
without a word, and their struggles to overcome difficul
ties might be a valuable lesson to many an older person.
The average child who begins study at eight years of age
ought, certainly, to be playing Kreutzer at twelve, if
well taught, and if practice is regular. Professor Jacob
sen, a late member of the teaching force in the Royal
High School, in Berlin, was a splendid teacher of detail.
When asked the proper time to begin Kreutzer he said,
“ I think the second year.” This is practically impos
sible in America, but the good Professor probably erred
in judgment, for it is doubtful if he ever had any student
cf the grade preceding Kreutzer. In some colleges in
which I have taught, girls of fifteen or sixteen years, who
have had some piano training, were able to begin
Kreutzer in their third year of violin study, but their
general musical preparation was excellent. There is a
great deal of violin literature which is mere repetition.
If a thing is well done, supplement it with something
more of the same kind. Truth is truth and does not
need reinforcement.
Josef Hofmann,1in his excellent book on piano playing,
offers many suggestions for students, which can be
applied to violin study as well. He does not place
technic before everything else in study, necessary as it
is to have this medium of expression. He believes that
free and individual expression, however, comes after the
great fundamental principles of playing become, in a
sense, automatic. He says there are many pianists who,
despite the greatest technic, are not artists, and while
technic is an indispensable necessity, it must not be
exalted to such a point that one becomes a dry and life
less player. “The first requisite,” says he, “ for one
who wishes to become a musicianly and artistic pianist,
1 Hofmann, Josef: Piano 'Playing. A little book of simple sug
gestions.
4 HOW TO PREPARE FOR KREUTZER.
SCALES.
TRANGE as it may seem, very few writers on the
S subject of violin playing have directed their
attention to the study of scales; and yet there is no
more important subject to teachers and students than
this one. Tone and interpretation are justly important
to the artist. Scales are the foundation of violin technic.
To be a violinist of solid musicianship, one must under
stand the best methods of playing scales in the first
seven years of study, and the logical sequence of scale
literature.
Very few writers of scales use the harmonic minor scale
as frequently as the melodic minor.
The question of positions in scale practice has, also,
been somewhat loosely treated. We ought, as teachers
and as students, to become more or less familiar with
every form of scale, with the varied bowings and finger
ings; then we should compare our scales with similar
passages in standard concertos.
There are scores of players who cannot even analyze or
write a scale correctly. The neglect of scales is a cause
of the weakness in technic of a majority of students.
One teacher says, “We find abundant examples of
scale runs in concertos; let us not waste time with scale
study. ”
Since the study of the violin is a very difficult subject,
it is of prime importance that correct intonation should
always spring from scale study. Would it not be wise
to require of even the youngest pupils a mastery of the
easier scales and the writing of the same upon paper, from
lesson to lesson?
Scales need not be tedious if taught in the right way
12
SC A LES. 13
I would not teach the minor scales till after the major
scales had been mastered in one octave.
I have found it very practical with children in the
third year of study to teach the tonic minor, rather than
the relative minor, after the major scales.
The first scale practice requires a whole bow for the
development of tone. We then pass to the forearm stroke
and the lower half of the bow. For very young children
the wrist stroke need not be taken at once, until all other
fundamental bowings are mastered. When we begin
the study of the wrist stroke, play on the open strings
with each note repeated several times, first at the middle
of the bow, and then at the point and heel. Other forms
of bowing, such as one-half note and two slurred quarter
notes in a measure, may be used. In fact, in scale bow
ings I should closely adhere to the Sevcik idea, except
as regards the staccato and lighter forms of bowing which
ought not to be taught in the first year.
There should be abundant examples of exercises in
each key and some melodies, or folk songs. In the second
or third year, the minor scales may be taught. Too
many keys complicate study. Circumstances alter the
choice of keys, especially if one has not a true ear. Scale
practice is very valuable, but do not carry it to excess.
Even my “Three Octave Scales,”1 with varied bowings,
ought not to occupy more than one-half hour of daily
practice. Let us strive to teach bow control through
scales, although the primary object of scales is the teach
ing of pitch. As to the left hand, the fingers must fall
evenly, firmly and with elasticity. Use the fourth finger
in playing ascending and descending scales. The cres
cendo and diminuendo should not be taught in the first
two years of study unless the student has a good bow
control. We must teach the fundamental principles
thoroughly, each key being mastered. The scales of
Wohlfahrt, Opus 38, appeal to me as being excellent.
1 “ Daily Exercises and Three Octave Studies,” by Edith L. Winn.
Published by Carl Fischer, New York City. Price $1.00.
SC A LE S. 17
T h e F u r t h e r S t u d y of B o w i n g .
1 — F—
s mL =--mm.---
L_ K •---
u_M •--•—
_ u. * *
1 ..
i7~R r,r L
r r L L | L [.r...- L_ 1F-..L tz u_ t__L |_|
r L [ 1. 1
L
r vrZ ..Jg r
, r ^ IJ
181 m 182 m
1
22s m 229 t n
which this bowing requires. While the martele is very
valuable to the student of Kreutzer, or the professional
player, it is not a safe bowing for the amateur. I would
therefore substitute the short staccato at the point,
beginning at No. 225. It is always wise to play the
entire exercise in each case. The development of the
third of the bow at the middle, requires the use of a set
of muscles which are connected with the forearm and
wrist movement. It is very valuable to orchestra
players, but I do not think I should give as much atten
32 HOW TO PREPARE FOR KREUTZER.
236 m 23 ~Lm
339 m 340 m
not use the fiat side of the hair for this bowing. That
belongs to the pure or natural spiccato, as it is called.
(J—108t. J— 1 2 0 .)
t LLl f T TI
617 f n 518
m ^ Bow.
No. 145 offers ho new principles. I generally hear
most of these bowing exercises in the cases of stu
dents who are preparing for the profession of teaching.
They become monotonous after the principle has been
mastered.
N u t . ( f )
nft m ( P ) 1 1 A
L A _ .... ... n u 1
m m d ^ 3 * !*- (• * I
-l- ! -N X, X X - bw- II
—1— 1- — 1- V 4 .4 . 4
145 'f * * i i
-t -t
&
i 1
1 “ School of Violin Technique,” by O. Sevcik, Op. i. In four parts.
Part I, Exercises in First Position, $1.50. Part II, Exercises in Second
to Seventh Position, $1.50. Part III, Exercises for the Change of
Positions, $1.00. Part IV, Exercises in Double Stops, $1.50. Pub
lished by Carl Fischer, New York City.
37
38 HOW TO PREPARE FOR K R E U T Z E R .
E fF
Allegro moderato.
THE STU D Y OF S E V C IK . 41
-FI
tb i.
•>
No. 57 may be used for a daily exercise of double-
stops, with great profit. Is it any wonder that this
valuable systematic practice, if wisely undertaken, gives
us such a fine command of technic, so infinitely helpful
in the study of Kreutzer. In fact, I believe that the
study of Kreutzer can be abridged by preparatory work
of this nature.
By F. W O HLFAH RT.
No. 5.
The following bowings are recommended in this excel
lent exercise.
No. 8 .
This is a valuable exercise for string transfers. Keep
the arm in such a position that the bow will lie well over
two strings at once.
No. 9.
As an example of rhythm and use of four strings, this
is a good study. Do not allow the fingers to leave the
strings until absolutely necessary. Master the musical
content of the exercise.
No. 10.
As a study of triplets and the arpeggio form, this
exercise is valuable; however, it may be omitted if
necessary.
F IF T Y E A S Y M E L O D IC S T U D IE S . 47
No. 11.
The study of syncopation is very helpful to students.
For the study of four strings it is a good one.
No. 12 .
This exercise contains several very important prin
ciples, mainly the study of half steps. Do not raise the
second finger. Slide it along the strings.
2 2
No. 13.
As an easy study of double-stops, this exercise is useful.
More practical examples may be found in Sitt, Op. 20,
Book VI.
Nos. 14-15-16.
These exercises are studies of rhythm, varied bowings,
new keys and a modification of strokes already studied.
No. 17.
This bowing is one of the most important in violin
literature, being especially useful in orchestra work.
The wrist stroke is absolutely necessary at the point of
the bow. Occasionally teach the entire measure in one
bow, following this idea throughout.
Nos. 18-19-20.
The first of these exercises is for syncopation; the whole
bow is used. The next is at the point of the bow, alter
nating slurred notes with single notes. No. 20 is not
very practical.
48 HOW TO PREPARE FOR KREUTZER.
No. 26.
Do not use varied bowings. The upper half of the
bow, each note slightly staccato, is the preferred bowing.
Occasionally vary the work by playing four notes on a
bow.
1 See footnote, page 45.
49
50 HOW TO PREPARE FOR KREUTZER.
No. 27.
As a study of the legato, combining position work,
this etude is well written and practical. Play lightly,
evenly, and with care as to intonation.
No. 28.
The upper half of the bow, two tied, two cut, is the
stroke desired. There are no complications or difficulties.
No. 29.
Contrasts of legato and staccato bowing occur here.
Use a forearm bowing. Play the etude slowly for
intonation and rhythm.
No. 30.
Use a forearm bowing, detached notes, in single
strokes. Follow this with a whole bow, two, four or
eight notes on a bow, according to proficiency. This
etude should be practiced carefully for intonation.
No. 31.
Be very careful of the rhythm in this 6tude. Cross
the strings, keeping the fingers down as long as necessary.
Play on the outer edge of the hair. Use the whole bow
as much as possible.
No. 33.
A legato etude of practical value. The keys which
Wohlfahrt uses are always easy ones in this grade of
work, as position study is the main question of impor
tance.
No. 34.
As an example of the legato and for bowing and
rhythm, this etude is useful. The whole bow is neces
sary.
No. 35.
Play the etude in the upper half of the bow. Detach
the notes. After mastering it tonally, play three notes
or six notes to a bow. Include other bowings if desirable,
as the etude is an easy one.
No. 36.
We now give our attention to changing positions,
rather than continuous work in one position. Do not
slide into the new position by a disagreeable portamento.
Play slowly, with taste and ample tone, remembering
that an affected style is unnatural.
Nos. 37 and 38.
These etudes follow in logical sequence and are both
interesting and useful. Use the bowings indicated; in
the first case a whole bow is desirable. In the second,
legato bowings are preferred, the upper half of the bow
being the most natural.
52 HOW TO PREPARE FOR KREUTZER.
No. 45.
A smooth running legato in the upper half of the bow
is desired. Broaden this stroke out toward the close of
the etude.
No. 46.
If intonation seems difficult, play this etude in groups
of three notes. In passages of this kind remember that
the last finger used leads into the new position:
F IF T Y EA SY M E L O D IC ST U D IE S , S3
No. 47.
The first two notes of the first measure are to be played
near the point of the bow, to insure lightness and bril
liancy of the up-bow staccato. The last two notes of the
measure are in the lower half of the bow. Follow this
idea throughout the etude:
DUET-PLAYING.1
HE first steps in duet-playing are under the teacher’s
T guidance. The duets by Pleyel, Op. 8j Gebauer,
Op. io, Book I; and Mazas, Op. 38, are very interesting
and practical. The child learns to read quickly at sight,
and the first rules of orchestral bowing are presented in
such a manner that great precision and freedom of bow
ing are obtained in early study. Many pupils, who are
either too timid to play solos in public, or who have no
strong musical aptitude, fit into duet-playing surprisingly
well, especially if they feel that the teacher is at hand to
support. For early work, in addition to the compositions
mentioned, use a “ Mazurka,” by Beaumont; a “ Sere
nade,” by the same composer; “ Twelve Easy Melodic
Recreations, ” by Dancla, Op. 187; “ Dreamy Moments, ”
J. Ehrich, Op. 32; “ Slumber Song,” C. Ersfeld; the
“ Fritsche-Saenger Album,” “ La Cinquantaine,” Gabriel
Marie; “Sounds from Home,” Jos. Gungl, Op. 31, and
“ Laendler,” Op 361. For very little folks the “ Easy
Little Fantasies,” in the first position, on popular songs
and melodies, by Kron and Saenger, are useful. Give
special preference to German folk songs. “ Cinderella
March” and “ Hope March,” by Papini, are practical.
“ Musical Reflections,” byHermannSchroeder, and “ Easy
Fantasies, ” by Wohlfahrt, Op. 83, fit into a plan of study.
For more difficult works, use Three Pieces — “ Sere
nade, Barcarolle and Pizzicati,” by Pache; “Three Little
Symphonies,” by Dancla, Op. 109, preceded by the
“ Symphonie Concertante, ” No. 4, in G minor, Op. 98,
1 All duets, solos, etc., mentioned in this special chapter on “ Duet-
Playing ” are contained in the Carl Fischer catalogues, in new and specially
revised editions.
54
D U E T -P L A Y IN G . 55
and “Twelve Easy Melodic Recreations, ” Op. 187, which
more properly belong to the first grade. “ Six Duettini,”
Op. 18, by Godard, belong to the later preparatory
period just before Kreutzer and during the study of
Kreutzer, yet many more advanced pupils use them.
The “ Ave Maria,” by Bach-Gounod, is always useful.
The Handel “ Largo,” “ Two Barcarolles,” Op. 19, No. 6,
and Op. 30, No. 6, by Mendelssohn, are well-arranged;
also “ I would that my Love.” The works to which I
have been referring are for two violins and piano, for
public use. There are many violin duets very useful for
pupils, the teacher playing the second violin part.
Three “ Duos Concertants,” Op. 57, by De Beriot, are
for advanced pupils. “Twenty Progressive Exercises,”
Op. 38, by J. Dont, are excellent. For varied practice of
technic, “Three Duos Concertants,” Op. 178, by J. W.
Kalliwoda, and Moritz Schoen’s “ Modern Duets,” Op.
13, are worth considering. For further work consult the
excellent catalogue of Carl Fischer, New York (“ Selected
Classic and Modern Music ”).
IX.
SIXTY ETUDES.
By F. W O HLFAH RT.
SIXTY ETUDES.
By F. WOHLFAHRT.
Op. 45. Book II. 1
IV.B.
No. 34.
This is one of the best Etudes in the set for the study
of bowing. The forearm stroke, detached, is best at
first. After this, use the following bowings:
UH. U.H.
No. 35.
Begin the etude thus:
F -7 p B ------------- =------ rr-i -------------- 1
-fT I N 3 3 3 t m 1 d H
*-•-
/
Be very careful of intonation and rhythm. Avoid
accentuation of the first note of a measure with which
the previous measure is connected by a slur. Practice
this etude slowly and evenly until the time element is
perfected.
Nos. 36 and 37.
No. 36 requires the upper half of the bow; (1) single
detached notes; (2) two notes tied; (3) four notes tied,
two notes tied. No. 37 is to be played in the upper half
of the bow.
No. 38.
No. 38 requires a forearm stroke. Avoid the short
^ ^ staccato. Play slowly for intona
tion. Be very careful not to play
*=4 passages of this kind in a jerky
and irregular manner.
No. 39.
This etude should be played with a whole bow, a per
fectly free bowing, and moderately fast. For compassing
four strings freely, use a slightly higher altitude of the
bow arm. Do not transfer across the strings with a
limp, undulating movement of the wrist. Play on the
outer edge of the bow hair.
No. 40.
This etude is only practical when the pupil is studying
some piece like the “ Gnomentanz,” by Goby Eberhardt,1
which requires hammered bowing at the point. The
1 Published in a newly revised edition by Carl Fischer, New York
City.
S IX T Y ETU D ES. 61
No. 46.
While this etude is somewhat difficult, do not accent
the triplets. A broad free bowing, whole bow, is neces
sary.
No. 47.
For pure cantabile playing do not omit No. 47. Con
nect tones well at the point and nut of the bow. Make
the change from position to position with care, striving
not to force the portamento.
No. 48.
This style of bowing is admirable for the development
of the forearm, or for the running legato at the point.
Do not accent.
No. 49.
Play this etude as a legato study: (1) Three notes to a
bow, upper half; (2) six notes to a bow, whole bow;
(3) double each note, wrist, middle of bow.
No. 50.
Pla^ at the point of the bow staccato only after the
£tude has been learned with a broad forearm stroke.
Tied notes should be played with a running legato stroke
in the upper third of the bow. A free wrist and forearm
can be cultivated with this etude. The upper arm,
elbow, forearm and wrist act together with suppleness,
not independently.
S IX T Y ETUDES. 63
No. 51.
Parallel Etudes like No. 9, Kreutzer, should be played
by the teacher, that the pupil may see the value of
studies for the development of the legato and for strength,
flexibility, and evenness of finger action. The whole
bow, with equal pressure, is recommended.
Nos. 52 and 53.
These etudes may properly be made to supplement
more specific trill and double stop study.
No. 54.
Owing to difficulties of intonation, this etude is some
times omitted. It is practical during the study of
chromatics.
No. 55.
A free stroke in the upper third of the bow is recom
mended. This can be a broader stroke as the arm and
wrist become more free. Play the etude at a rapid tempo.
Nos. 57 and 58.
These are the only remaining etudes that I teach. In
57 use a whole bow, the sixteenth being a wrist stroke.
No. 58 is an excellent legato study with the whole bow.
XL
STUDIES IN A LL T H E POSITIONS.
By J. W EISS.
STUDIES IN A LL POSITIONS.
By J. W EISS.
No. 20.
A careful examination of the “ Etudes” of Sitt, Dont
and Mazas will reveal connecting links in the study of
fundamental principles of bowing and fingering. The
whole bow is to be used in this excellent legato exercise.
Avoid accentuation of groups until the musical content
of the exercise is mastered. Also strive to keep the bow
well over two strings and anticipate string transfers.
This insures a fluent legato. As the exercise offers diffi
culties tonally, it should be played with four notes to
a bow, eight notes following only when the musical
content is mastered. In four string arpeggios, cross the
strings with a wide circle of the arm and play on the
outer edge of the hair.
No. 21.
Many exercises which seemingly are to be played at
or near the point of the bow, are quite frequently, owing
to the nature of string changes, played much more easily
ST U D IE S IN ALL P O S IT IO N S . 69
STUDIES IN A LL POSITIONS.
By J. W EISS.
TECHNICAL STUDIES.
By H A N S SIT T.
TECHNICAL STUDIES.
By HANS SITT.
No. 17.
No. 17, while less practical, is very helpful to the
student from a point of intonation, as well as position
work.
No. 18.
No. 18 is a legato study as well as a study of position.
The fact that Sitt desires one to use the exercise on
different strings is very helpful.
76 HOW TO PREPARE FOR KREUTZER.
No. 19.
No. 19 is an example for fluency in position work.
It, like the last one mentioned, is very valuable for the
acquiring of a fluent and rapid technic. The only
difficulty to be anticipated is the slight inequality in
the legato, produced by changing the positions. This
must be overcome.
No. 20.
No. 20 is in a very excellent key and considerable
fluency can be obtained from its practice.
No. 21.
I do not use etude No. 21 except in the cases of students
who have a fine technic and excellent intonation. It is
a matter of prime importance that sometime during
violin study, the subject of chromatics should be con
sidered. I would not, however, force this upon the
student until he is prepared for it. I therefore omit it
at this point, though No. 23 is sometimes useful in con
nection with certain phases of work.
No. 24.
No. 24 consists of various exercises in scales. I would
be very careful about intonation. The scales of Sevcik,
Book II, exercises for the development of the left hand,
are a little more practical.
No. 25.
No. 25 is a splendid example of the study of arpeggios.
No. 25, while a little out of order in its technical difficulty,
is a good etude.
Nos. 26 and 27.
I frequently use Nos. 26 and 27 for the study of the
legato.
T E C H N IC A L S T U D IE S . 77
TECHNICAL STUDIES.
By H A N S SITT.
No. 31c.
This exercise combines the positions with double
stopping. One must have studied the various positions
and be able to move with ease and certainty into each
new position. Although the exercise is a difficult one,
the position changes are well worth mastering. The
two fingers representing the fundamental double-stop
in each measure should seek their places at once.
No. 32.
This exercise is useful in the acquiring of a fluent tech
nic. The fingers should be well-arched over the strings
and should remain in place until changes are necessary.
Play the exercise slowly, until it is fluent and even as
regards the grouping of notes. Intricate passages should
be played over and over until mastered. For many
reasons this exercise is very practical.
No. 33.
I do not use this exercise at this point in our study.
As a rule, the teacher should select only those exercises
of a practical nature. This one, while very practical,
should be practiced with care, as it involves the too
frequent third and fourth finger trill in principle. It
may fit in a little later.
No. 34.
Whenever double-stops are combined with positions
and string transfers, strive to secure freedom rather than
strength in the fingers. The two fingers must fall at
once into place, the upper one falling more lightly.
Practice each group slowly and evenly. The fourth
finger must be well arched and must fall in the same
plane as the third.
So HOW TO PREPARE FOR KREUTZER.
No. 35.
Throughout these exercises observe this principle:
Difficult passages must be repeated. The method of
I—l playing each run over and over, as
t outlined
Bstudien,”
in the Halir “Tonleiter-
is valuable. Play each
u measure in the middle of the
I bow, raising the bow after each
group of notes.
Follow the same plan in the
next
xt grouping of notes. »^
No. 36.
Like the preceding exercise, this one is useful for daily
systematic practice. Position changes require that the
fingers fall lightly and quickly. Vary the bowing by
playing groups of two and
four, as well as eight
notes. As this work must
inevitably become monot
onous if practice is too
continuous, select portions
TECHNICAL STUDIES.
By H A N S SITT.
W.B.
1 Hans Sitt, “ Technical Studies,” Part II, Book IV. The long sus
tained stroke producing the singing tone. The hammered (martele)
stroke. Price $1.00. Published by Carl Fischer, New York City.
2 See footnote, page 81.
82
T E C H N IC A L S T U D IE S . 83
TECHNICAL STUDIES.
By H A N S SIT T.
No. 25b.
No. 25b is best played with the upper half of the bow.
No. 26.
No. 26 is a splendid example of varied styles of bowing.
I often use it for the study of the alternate legato and
staccato. Among the illustrations which I would use,
are Nos. 7, 15, 21, and for a wrist stroke, No. 34. This
exercise is so valuable as a study of bowing that I
cannot recommend it too highly. In fact, it is much
superior to any that Kayser has written.
No. 27.
The examples offered in No. 27, page 10, are based
upon a thorough study of the principles outlined in the
Massart1 bowings. I should select different bowings
for different etudes. In this case, Nos. 19, 20, 26, and
27, are useful.
No. 28.
You will note that all these etudes are in easy keys
and do not offer difficulties of tone or pitch. The bow
ings are in common use. I should always begin with a
forearm bow cut, after that apply certain principles of
bowing to each £tude.
No. 29.
For the study of the legato, this etude is very valuable.
I would suggest that the teacher play it over with the
student before giving any forms of bowings.
1 “ The Art of Studying R. Kreutzer’s Etudes,” 412 examples com
piled by the advice of the author. Revised and translated by Gustav
Saenger. (English, French and German text.) Price 60 cenis. Pub-
lished by Carl Fischer, New York City.
T E C H N IC A L S T U D IE S . 87
No. 30.
This etude is best played in the upper half, or upper
third of the bow, though I consider it a splendid example
for the study of the spiccato if we have not sufficient
examples in the other books. I would also study care
fully the forms of bowings on pages 14 and 15.
No. 30b.
No. 30b offers no new principles, but, in case the
student does not acquire the knowledge herein contained
readily, use it as a supplementary exercise.
No. 31.
This etude is to be practiced very slowly at the point
of the bow, staccato. You will note that, while it is to
be played near the point of the bow, one might use such a
stroke as is found in the Chopin “ Funeral March.” A
similar type of bowing is found in the “ Bridal Chorus
from Lohengrin.” Other examples should be cited for
the student, although they may be played in different
time. For the study of the staccato those examples
furnished on pages 19 and 20 are invaluable. A little
piece called “ Air de Ballet,” by Paul Wachs,1 is useful
although, musically speaking, it is not a pretentious work.
No. 33.
This etude should be played with the staccato down-
stroke at the frog. It is very useful in cultivating that
stroke. I use it sparingly with students.
No. 34.
No. 34 combines the up- and down-stroke, and is quite
practical, especially in its development of the pure
staccato.
1 Published by Carl Fischer, New York City. Price 65 cents.
88 HOW TO PREPARE FOR K R EU T ZE R .
No. 35.
No. 35 is one of the best of the staccato studies, and I
should unhesitatingly use it even later when acquiring the
staccato with the “Third Kreutzer litude,” Kross edition.
If the student begins the study of the staccato in the
works of Sitt and Dont, there,is no doubt that by the
time he reaches the Kreutzer Etudes, his technic will be
ample and his staccato very brilliant.
XVIIb.
TECHNICAL STUDIES.
By H A N S SIT T.
No. 36.
This exercise opens with several easy examples of
spiccato bowing in common as well as f time. The
rate of speed naturally governs the length of each bow
stroke. At (b), common time, the stroke is slightly
longer than at (i), a passage in which each note is re
peated. Triplets are extremely difficult in this form of
bowing. (2) The spiccato is much more easily acquired
when string transfers are involved; however, definite
scale runs as at (3) are useful. In spiccato bowing,
avoid the use of the fourth finger, if it is^not quick in
its movements, as the slightest inefficiency in technic
influences the freedom of the stroke.
At (c) and (d) strive to play with equality of tone and
even rhythm. Forced accentuation is out of place in
an etude, while a piece may demand more accent because
of the nature of the accompaniment. At (e) the string
transfers demand great freedom of the arm. The string
T E C H N IC A L S T U D IE S . 91
No. 37.
Hans Sitt is undoubtedly one of the most prolific
writers of violin literature of our .time. He never forgets
the musical content of his exercises, however, and one
must master them away from the violin and bow, that is,
one must concentrate the attention on intervals, tones,
and semitones. Spiccato bowing must first be acquired
with easy exercises. The bow arm must anticipate
string changes and, as intonation is of prime importance,
it must first be obtained by playing the entire exercise
through with detached bowing, upper half. The fingers
must take their positions at once, the left hand being
perfectly relaxed. If the exercise is first mastered
technically, there will be no doubt about the perfection
of the spiccato.
Julius Eichberg used to say, “Ten etudes mastered are
better than fifty skimmed over.” That is the principle
that governed him in the teaching of Kreutzer, and no
student went from him who had not mastered the great
fundamental principles of violin playing through the
92 H OW TO PREPARE FOR KREUTZER.
No. 43.
Sevcik’s works afford few examples as fine as these
examples of string transfers combined with spiccato
bowing. The fingers must lie well over the strings and
T E C H N IC A L S T U D IE S . 95
take their positions quickly. Any inequality or slug
gishness of finger action renders the spiccato dry, jerky,
or lifeless. We might omit a few examples on page 17,
although the double-stops are practical.
No. 44.
This exercise, although full of rather unexpected
modulations, a characteristic of both Schradieck and
Sitt, is well worth consideration. The pupil is ac
quainted with the positions and extensions, and can
easily adapt himself to the technical development of
the exercise.
No. 45.
Ricochet bowing, or “thrown staccato/’ as it is called,
is produced by throwing the bow on the string, using
the upper third of the bow in the up-stroke and the
middle of the bow in the down-stroke. The bow, being
thrown upon the strings, rebounds until stopped by a
slight pressure of the third or fourth finger against the
stick, and by raising the bow from the string. In this
way it is possible to play a series of notes with one bow,
the number of notes determining the power with which
the bow must be thrown. The bow is struck on the sur
face of the hair and not on the outer edge. Examples
of this type of bowing are found in the works of de Beriot
(“ Sixth Air,” and others), also in a “ Gnomentanz,” by
Eberhardt, and the well-known “ Polonaise,” by Vieux-
temps. Another form of ricochet bowing is that used
in the four-string arpeggios in the “ Scene de Ballet,”
by de Beriot, and the “ Little Tambour,” by David.
You will observe that the thrown stroke begins with the
up-bow in the “ Polonaise,” and is played nearer the point
of the bow than the examples here given. The bow is
also thrown in the combined thrown stroke and pizzicato
in the “ Zapateado ” and other works by Sarasate. This
bowing is very useful in connection with the works of
96 HOW TO PREPARE FOR KREUTZER.
No. 47.
This study is an excellent one for the arpeggio form
and also for the ricochet. At (d), page 24, I prefer the
up-bow on the first note. Play near the point of the bow
and strike with force. We may play (e) in the same
manner. At (g) play a light spiccato stroke, middle of
the bow. No. 2 (g) is an example of the same style of
bowing as found in the “ Scene de Ballet,” by de Beriot
(four-string spiccato).
No. 48.
I usually teach this exercise with staccato bowing at
or near the point of the bow, although I modify the bow
ing. We may also play it spiccato in the middle of the
bow. It is a fine example of varied bowings, using the
spiccato stroke.
No. 49.
These preliminary exercises on two strings may be
H4pm-ss:H I
r-H-
-tr
tt etc. followed
i m - m —
by the Sevcik
Op. 2, Parts III-V. I
/ * 4/ * would suggest a few bow-
V *1—1 ' ings: (1) two notes slurred
at point, legato; (2) combining the
legato and spiccato at the middle;
(3) reverse the bowing; (4) spiccato
following a legato.
T E C H N IC A L S T U D IE S . 97
No. 52a.
A study of three and four-part chords is very useful.
The down-bow stroke gives dignity, breadth and freedom.
Such a stroke is often used in orchestra work. It also
gives the fundamental basis of arpeggio work. Note
the similar examples in Sitt, ,Op. 20, Book VI, and the
last exercise of the Fiorillo Etudes.
No. 52b.
A similar plan is followed in the next exercises. All
the varied orchestral bowings are recommended. To
the serious student these exercises are very valuable.
No. 53.
A study of chords cannot be too highly recommended.
Difficult as these appear, we must strive to give repose
and security to the hand by work of this kind. Both
this etude and No. 54 may be omitted if the teacher
feels that “ time is short ” in the preparation of a student
for the profession. Some students need more technic
than others. It is wise to meet the needs of individuals
throughout study, and stress only the great fundamental
principles. No one can be well equipped who is unfamil
iar with the great principles of bowing, for, in spite of
much argument to the contrary, no concertos can furnish
the student with the routine work of Etudes, nor can we
learn principles apart from pure technical study, to
advantage.
X V III.
17
dolce.
I should use a forearm stroke, detached. Another stroke
that I like very much is that which ties two notes when
it is a downward progression, the other notes being single
Allegro moderato.
4 II
-o
1
S
19
No. 20. I sometimes use this etude, also, in connection
with the study of the first twelve of Kreutzer. When
we do study it, however, the progressions must be mas-
Allegretto commodo.
F*F-F -F- m
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20
tered mentally, before one succeeds as an exponent of
the pure legato.
I am amazed at the proficiency with which students
play this excellent book of Dont, and while I admit
that it is very wise to abridge violin study, I cannot see
the advantage of leaving out of our plan of study such
excellent works, especially if our pupils are to have a
solid foundation for future work. I would, therefore,
again insist that Kreutzer be deferred until the fourth
I IO H O W TO PREPARE FOR KREUTZER.
P art I.
HERE is no work, except the Sevcik Exercises for
T the left hand, my own ‘‘Technical Exercises, ’’ which
are rather limited in scope, and the excellent “Ton-
leiterstudien,” of Halir, which offers so much material
for the development of the left hand as does this excel
lent “ School of Violin Technics,” by Schradieck, himself
a fine technician and master of detail. It is undoubtedly
true that Schradieck is among the foremost in the mas
tery of the great principles of violin playing, which give
to one a sure foundation, particularly of left-hand technic.
I know of no works for the study of arpeggios so com
prehensive as his. His exercises in double-stops have a
counterpart among some other authors, but they are
thoroughly useful to one who is preparing for the
profession.
Section 3, consisting of exercises in different modes
of bowing, is very useful to those who are interested in
a thorough and practical set of bowing studies, though
I find the Sevcik bowings a little more interesting with
the average pupil. Eberhardt, in his excellent method,
emphasizes elasticity more than strength. Schradieck
regards dexterity and strength of equal importance. As
in the Sevcik books, these exercises should be practiced
slowly and evenly.
The “ School of Violin Technics,” offers many examples
1 H. Schradieck, Technical Violin School. Part I, Exercises in
Different Positions. Price 60 cents. Part II, Double Stops. Price
40 cents. Part III, Bowing. Price 50 cents. Published by Carl Fischer,
New York City.
Ill
112 H O W TO PREPARE FOR KREUTZER.
No. 1 .
Place the fingers firmly on the strings, relaxing them
as well as the entire hand. Do not raise the fingers more
than necessary. Strike with firmness, but do not let
firmness interfere with elasticity. The first finger should
not press too heavily upon the string. If the first joint
of the first finger presses too closely upon the neck of the
violin, strive to keep the hand out from the neck. Do
not take a tempo too rapidly for one’s execution. Train
the fourth finger to follow with the same degree of pre
cision as the other fingers. Preserve a uniform tone
throughout, never letting the bow slide along the strings
in a slovenly manner from middle to point. In cases in
which students are faulty in intonation, or lacking in
concentration, make them memorize each line. It is
necessary for the fingers to be on the strings as much as
possible when not in use. The fourth finger moves in
the plane of the third and lies well over its string. Do
not throw the wrist out in such a case as Example 6
when using the fourth finger constantly. Strive to sing
in tone, for resonance is of much more importance than
power. Do not allow the first finger to leave the string
unless positively necessary. If it must relax, allow it
THE SCHOOL OF V IO L IN T E C H N IC S . I 13
until you are perfectly sure that the hand is free. While
it is a great advantage for the teacher to play with the
pupil, I would not do so if it is impossible to listen to the
intonation. Let the pupil play the exercise, or several
lines of it; then illustrate in cases in which the intonation
is false. This exercise is often regarded as somewhat
dry and pedantic, but all teachers must realize that
technical work must be done in detail and that it should
in nowise conflict with the true and logical development
of the highest principles of violin art. The earlier tech
nic is acquired, the more security the violinist feels.
No. 4.
This exercise, like those of Casorti,1is an excellent one
for the study of the wrist movement, the arm being kept
perfectly quiet, yet the bow must lie well over two strings
and the movement must not be a rocking one, nor must
the wrist be depressed too much for string transfers. A
wrist movement is possible, with a very slight move
ment at the point of contact of the bow upon the strings.
To obtain a beautiful legato near the heel of the bow is
not easy. Great care should be exercised in crossing
strings, and the fourth finger must remain upon the bow
stick to insure security. The fingers must take their
places before the stroke begins. There must be no lack
of decision nor connection of tones. A perfect legato
on one string is much more easily secured than a succes
sion of notes requiring string transfers involving two'
strings. For further study of this principle, one must,
of course, refer to the Casorti Bowings, or Books III, IV,
and V of the Sevcik works for the development of the
right hand, and to the excellent studies of Halir. I am
each year more impressed with the necessity of the study
of the pure legato, and, while I think that the ready left
hand has much to do with the perfection of it, I am con
fident that bow control and the regulation of finger
1 A. Casorti, “ Technic of the Bow,” Op. 50. Price $1.00. Pub
lished by Carl Fischer, New York City, in a newly revised edition.
THE SC H O O L OF V IO L IN T E C H N IC S . IIS
N o. 8.
No. 11 .
No. 1 4 .
The fifth position ought not to be difficult if a student
has learned to swing the thumb under the neck of the
violin with freedom and ease. It is very essential that
the fingers fall as vertically as possible upon the strings
and that the strings should not be pulled from right to
left in succession to produce a tone. I am persuaded
that if students are very well trained in this book, the
difficulties that beset us during the study of the first
twelve Kreutzers, are practically removed. I would, in
fact, assert that Schradieck offers us better preparation
for Kreutzer, as far as intonation is concerned, elasticity
of the hand and general technical equipment, than either
Mazas or Dont.
No. 1 5 .
This exercise carries us through five positions, and, as
it develops, seems to overlap certain principles presented
in the Schradieck work on arpeggio playing. I would
sift out from the exercise the most important progres
sions, omitting the middle section, if it seems too difficult.
In connection with this 6tude use the progressions up
and down the strings, as suggested in my “ Daily Exer
cises.” Similar examples may be found in the Halir
book. Too much technic of one kind is not wise. Mix
this with other material, so that the student may not be
hampered with too much detail.
120 HOW TO PREPARE FOR KREUTZER.
No. 16.
This exercise gives us valuable practice in the sixth
position, a subject often considered to be very difficult
for the average student. I would, however, insist upon
this necessary preparation for Kreutzer. Throughout
all the exercises use the whole bow. Even advanced
students who are quite out of practice, find this exercise
very valuable as a study of the higher positions which
are so often neglected, and, if neglected, interfere mate
rially with a finished technic.
No. 17.
This exercise is valuable on account of short position
changes in which the legato is not disturbed. The first
four examples are exceedingly valuable. Again, Schra-
dieck has departed somewhat from a logical sequence in
the development of his work. However, the key is very
practical for those who will eventually become orchestra
players, though the average student finds great difficulty
with it.
No. 18.
This exercise is in the seventh position, and therefore
laborious to the amateur. Practice each group or line
over and over until mastered. Even if these studies are
carried through two years it does not matter, if certain
fundamental principles of technic are perfected.
No. 19.
Choose from these examples those which will benefit the
student in the study of the trill etudes of Kreutzer. I
should use only two trills, striving not to accent too
sharply, as this is a disturbing element in legato playing.
If, however, they are short groups, and the trill occurs at
the opening of the group, an accent is in place, or if, as in
Example 13, the trill occurs at the opening of the second
and fourth groups, a slight accent is desirable. An ad
THE SC H O O L OF V IO L IN T E C H N IC S . 12 I
B ook I . 1
SCALE STUDIES.
By J. HRIMALY.1
l l l f e n
it J-
&
Tempo giusto.
it p •
U. H.
take up the major scales in order, three octaves. The
practice of major and minor scales in the first position
for the rapid study of legato, and with varied bowings,
followed by arpeggios, is a plan which makes an easy
and interesting preparation for the more difficult scales
and arpeggios of Schradieck. The major scales in vari
ous positions follow in logical order. Both scales (whole
bow) and arpeggios should be memorized by pupils.
The minor scales follow in the same way, and should
also be memorized and written. I do not recommend
varied bowings until the scales can be played rapidly,
fluently, and with correct intonation.
One of the most difficult as well as interesting sections
of the book is the study of major scales, beginning with
the second finger. By this time the pupil may use varied
bowings in the lower as well as higher positions. No. 5
combines the major scales, beginning with the third
finger, and the study of the staccato. In this case, as
well as in all subsequent cases, master the scale before
using difficult bowings. Scales and broken thirds on one
string for the changing of positions are valuable. There
must be no pressure at the base of the first finger, and
the thumb should be absolutely free.
126 HOW TO PREPARE FOR KREUTZER.
TEN ETUDES.
By D . A L A R D .
Opus 16.
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the beauty of the legato. In the next line swing the
bow along the string for the double legato, carefully
defining the phrasing by a slight accent on the first note
of the group. No. 3 should be played with a wrist and
forearm stroke, preferably near the point. The wrist
should be very supple. Do not move the fingers from
their places unless necessary. As intonation is of so
great importance, it would be well if the teacher played
the entire 6tude with the student before venturing upon
the accompaniment.
130 HOW TO PREPARE FOR KREUTZER.
No. 3.
This is a lovely theme, to be played, very slowly and
evenly, with the whole bow. Here is an opportunity for
the student to cultivate tone graduation. The second
I nterchange of the T hree P ositions .
No. 6 .
I find this etude less valuable than many of the others.
One finds better double-stop examples in the Sitt Studies,
Op. 32.
Andante sostenuto.
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No. 7.
For the study of the pure legato, or as an example of
a theme, with accompaniment, this etude is valuable.
Owing to the great amount of violin literature before the
public, only the most practical and enduring examples
should be used. If the student has time and is interested
in this type of work, use the etude. The whole bow is
most practical. The fingers should anticipate double
stops and string changes.
TEN ETUDES. 133
Allegro moderato
2
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No. 8.
This dtude should be played near the upper third of
the bow. It is an example of contrasting staccato and
8
134 H O W TO PREPARE FOR KREUTZER.
M elody .
F. Mazas, Op. 36, Book II.
A dagio non troppo.
I l l Corda..........................................................
3
— <g----1— I
— j- a
HI
31
No. 34.
This etude furnishes a valuable substitute for or sup
plements the similar Etudes of Kreutzer. The staccato
E xercise for S taccato P laying ,
A llegro moderato.
No. 36.
This 6tude should be played staccato rather than with
the martele at the point. Play it very slowly at first,
M artele S troke.
Firm stroke with the upper half of the bow.
36
until the intonation is mastered. In slurred passages,
swing the bow along the string from the middle to the
point. You will notice that most of these etudes are in
easy keys and also that they are not difficult tonally.
For examples of artistic bowing they are unexcelled.
138 HOW TO PREPARE FOR KREUTZER.
No. 37.
This is played in a broad style and is rather an example
of varied bowings. Play the arpeggios loosely with an
E xercise for A rpeggio B owing .
A llegro moderate.
— 9 -h ^ r - 1 2
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note being cut, and the next two tied. Be careful to
take position changes with more than one finger in the
position, in order that groups may be well defined.
No. 40.
This etude, being an example of the free style of play
ing rather than of fundamental bowings, I sometimes
omit it, though it is thoroughly artistic.
No. 41.
As an example of staccato bowing, or of the spring
U se of the A ppoggiattjra.
With the lower Part of the bow, without allowing the latter to spring too much.
No. 42.
For a swinging wrist stroke near the point, this £tude
is one of the best in violin literature. Moreover, it lies
easy for the hand, and should be practiced daily for some
time.
B owing E xercise .
At the tip, with sparing use of the bow.
No. 45.
For examples of spring-bowing, I have found quite as
useful etudes elsewhere, However, I teach this £tude
if there is time.
E xercise for Jumping B ow.
No. 46.
This dtude is rather valuable to the orchestra player,
as that peculiar free style of bowing at the heel is sug
gested. In the sixth line use the upper half of the bow.
E xercise for R aising the B ow.
Allegro moderato.
47
staccato is rarely used in the study of Bach, except in
pure dance forms where the artificial spiccato or flying
staccato is much used. For example, observe the bow
ing of the “ Sixth Unaccompanied Sonata” — the
Gavotte.
No. 48.
This dtude is omitted.
No. 49.
No. 49 is an example of pure legato at the point and is
B owing E xercise .
No. 54.
This is very useful both from the standpoint of con
struction and melody, form and bowing.
I do not teach No. 55 and rarely No. 56, unless I have
some example of the mordent in pieces. I also omit
No. 57, as it is not useful at this point in study.
F inger E xercise .
ETUDES D’ARTISTES.
By F. Mazas, Opus 36. Book III.
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ETUDES D ’A R T IS T E S . 151
No. 62.
This etude involves no new principles in its introduc
tion; hence, it is only necessary to say that the second
part is practical as a study of the artificial spiccato in
the middle of the bow. The legato passages in the third
line should be played from middle to point. Do not play
the legato within a legato with too strong pressure. Ac-
I ntroduction .
A ndante.
9-rry---- 51--------------------------------- -1—
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64
No. 65.
A tarantella is a dance form; hence, the necessity of
perfect rhythm and definite accentuation. This is one
of the most valuable etudes in the book. Play the stac
cato notes in the third line near the point of the bow,
No. 6 6 .
This is a fascinating etude. It ought to be played
with a rather hammered stroke, but a short staccato
above the middle may be used. Preserve the dance
rhythm. Play the allegro with style, forcefully and
securely. The staccato runs should be crisply played
Vivace.
......... ^
J l l l i l l l l
NiiiifliiSii
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2
No. 67.
This is a tremolo study with the wrist, at the middle
of the bow. Mark the accented passages. The exact
touching point of the bow cannot be determined when
one is playing crescendo and diminuendo. I sometimes
use this etude for the unsteady hand as an example
of clean double-stopping and for bow control, as well
as for the practice of the wrist stroke. It is valuable
in connection with the study of works like the Ries
“ Perpetual Motion.” I have sometimes used it in con
nection with Bohm and Paganini, merely for freedom of
the bow arm.
ETUDES D A R T IS T E S . 155
T remolo, with the Bow kept on the S tring , not with
S pringing B ow .
A ndante. „— s 4
jL' J l _ 1 1 1
No. 68.
I do not use this £tude, as it involves no new principles
for our consideration.
Allegro moderato.
i 56 HOW TO PREPARE FOR KREUTZER.
No. 69.
As a tremolo study, pure and simple, with springing
bow, this etude is very valuable. In fact, I consider
it one of the best in violin literature, of its kind. Play
I ntroduction . T remolo with S pringing B ow.
Poco adagio.
O _________1 3
No. 71.
This £tude illustrates a form of bowing very common
in the French School. We find the same principle in
David’s “ Little Tambour,” in the “ Scene de Ballet, ” by
de Beriot, and, I believe, in the “Souvenir de Bade,”
by Leonard, all of which, though somewhat antiquated
A llegretto.
h —# — k- h
segue
qrpz TP TP
• P - i— i—
now, are very practical for the study of bowing and for
positions, as well as for melody study. First play this
etude legato around the middle third of the bow, the
arm moving out from the plane of the shoulder. Artists
always accent the first note slightly in each group. One
may find easier examples of this bowing in Book V, Sev-
cik’s “ 4,000 Bowings.” If the spiccato is to be used, play
over the fingerboard with a flat bow and wrist stroke,
but only at a rapid tempo. The artificial spiccato at
the middle is desirable. Also, three notes tied, lower
half, and three with flying staccato, up-bow.
158 HOW TO PREPARE FOR KREUTZER.
No. 72.
Examples of the allegro in this £tude may be found
in many other works. I like to teach it at the point of
the bow, two notes slurred, wrist stroke. I also double
I ntroduction . S lurred A rpeggios.
Andante.
72
the notes of the second half of each group, so as to stress
two-string transfers, but after one has studied the Sev-
cik bowings thoroughly, any bowing becomes easy in
connection with this etude.
No. 73.
I like this form of bowing still better than the pre
vious form. Use this etude in connection with the bow
ings indicated in my “ Daily Exercises,” Book II.
A rpeggios with T hree N otes on the F our S trings .
segue.
No. 74.
This 6tude is an excellent example of staccato work
in the upper part of the bow. Accent very strongly.
Do not strive to keep the bow at regulation distance
ETUDES D ’A R T IS T E S . 159
from the bridge. This rule is variable in the study of
graduation of tone. Do not stumble in passing from posi
tion to position. Take the arpeggios quickly on all four
Andante. n r\
mrnm 1™
i— 4#Tro-*-- * rf i ^ r-— T— *—
p Is ■<$
_L— i
---9— l*||
/ " 5 t>r -6
No. 75.
This £tude is especially valuable for the mastery of
spiccato bowing around the middle of the bow. Do not
use the artificial spiccato. Let the bow bound by the
impulse given to the first note of each group. Remem
ber that the arm must keep very loose and free. Mas
ter the arpeggios mentally. As a supplement to the
Sevick Bowings, Book 6, Opus 2, the 6tude is very val
uable.
Maestoso sostenuto.
V, II 2I
J- u
l
iEE — I—
&
—-H—
E3
-v
I
* f r*f *
160 HOW TO PREPARE FOR KREUTZER.
a._u .1Ui n
/.{v I_L j | * J | ! 1segue9. “r-+-
j.JtJ J □J _ii -- —--*--- aii|
' k #T 1- • ^ irs •2 1i r-- Pm IIII
r
J
(C 1i ^ O 4
J ________
*- •J H . . if — —i—
° -j: • ” ~-4 ’ t- j !j
f __ , >__r r __ „
--J -
"Ti
75
XXV.
161
16 2 HOW TO PREPARE FOR KREUTZER.
O p. 50.
No. 1 .
This style of bowing is executed entirely by the wrist,
with short strokes, the bow being held lightly between
the fingers. The notes must be slurred very evenly and
the wrist must be elevated. Begin with the middle
of the bow and advance toward the point. While a tilt
ing of the bow from side to side interferes with a perfect
legato, the bow cannot remain entirely on the outer edge
of the hair without interfering with the stroke, hence
one should draw the bow as near the edge as possible.
The stroke is an upward and downward movement from
1 A. Casorti, “ The Technic of the Bow,” Op. 50. Published by
Carl Fischer, New York City, in a newly revised, superb edition. Price
$1.00.
163
1 6 4 HOW TO PREPARE FOR K R EU T ZE R .
No. 5.
This bowing embodies the principle of the grand
detache. The bow must remain parallel with the bridge.
Press the stick slightly between the notes and relax
instantly, drawing the bow lightly, “as if on velvet.”
This bowing, so useful in the Kreutzer, Fiorillo and Rode
Etudes, is well worth study at this point. Use these
dtudes of Casorti in connection with Dont, Op. 37-38,
Mazas, fetudes Brillantes, and the first twelve Kreutzer
Etudes.
THE T E C H N IC OF THE BO W . 165
No. 8.
A detached stroke without accent, or a smooth running
stroke, using the whole length of the bow, is practical.
Do not press with the forefinger or with the arm. A
light singing tone is the only one desired. Apply this
bowing from middle to point rapidly. When the full
bow is used the stroke is called “grand detache without
accent.”
R em ark s.
I do not use Etudes III-IV, as there are other practical
illustrations of the detached stroke, with and without
double-stopping, in parallel work in the Dont and Mazas
Etudes. I sometimes use Etude V for double-stopping.
Etude VI.
This 6tude is very useful for the development of the
wrist stroke at middle point and nut of the bow. I
generally use it before the etude in Ah, as the key is an
easier one and the fingers lie more easily over the D and
A strings. Some teachers object to both of these etudes
on the ground that the fingers are “bunched together”
too closely. For keeping the fingers on the strings, and
therefore cultivating poise of the left hand, both are
valuable. Be very careful of intonation. Play long
detached strokes, whole bow, swiftly. The wrist and
lie well over two strings, so that the movement may not
be perceptible. A rapid stroke is desirable.
No. 13.
This combined stroke of the legato, two notes tied,
and the short notes at the point of the bow, is very
difficult at first. Remember that the wrist performs the
transfers from string to string. Play the single notes
lightly at the point of the bow.
No. 14.
This bowing, three tied, one cut, is hardly desirable
unless there be perfect freedom of the wrist muscles.
Play in the upper third of the bow. There must be no
interruption in the stroke while crossing the strings.
Vary these bowings, paying special attention to two cut
and two tied at the point of the bow. If advisable,
double each note and play spring bowing at the middle
of the bow. Before doing so, however, study carefully
No. 15 with its many examples of the spring bow. Also
play single strokes, artificial spiccato, at the middle of
the bow.
No. 16.
There are so many examples of the springing stroke
on three strings in the Sevcik Op. 2, as well as in other
etudes selected from various works, that this one offers
no new problems. The difficulty of this exercise con
sists in training the fingers to follow the bow changes
resulting from string transfers. In connection with the
etude, use the Bohm “ Perpetual Motion,” easy suite.
Remember that we use the artificial spiccato, the motion
coming from the upper arm, in No. 16, however, unless
we double the notes for the natural spiccato.
No. 17.
This stroke is the artificial spiccato, or thrown stroke,
which we have just been considering. It should be
practiced with care, that the arm may follow the plane
of four strings.
THE T E C H N IC OF THE BO W . 167
No. 1 8 .
We now come to studies in staccato playing. First
use the open strings. Play strictly in time, with little
bow, at a rapid tempo. Notes unequally accented will
soon become even, if the fingers are trained gradually
and if the wrist is supple. The stroke is not a wrist one,
although the wrist is free. The movement comes from
the entire arm. Experience in different schools verifies
this assertion, even if the observation of the methods
of great artists were not conclusive.
The up-bow staccato is played on the outer edge of
the hair. The down-bow staccato is played on the inner
edge of the hair or, if a limited portion of the bow is
desired, on the flat surface of the hair. In short passages
in which the down-bow and up-bow staccato alternate,
do not play on the inner edge of the hair in down-bow
runs; use practically the same part of the bow hair for
each stroke.
No. 1 9 .
In connection with this etude, use my “Three Octave
Scales/ ’with sustained tones followed by graduated tones,
and the results will be beneficial. The sustained tone is
one of the most difficult in the world to execute properly.
The whole bow must be used, there being no pauses
between up- and down-bows. Each stroke requires one
minute. Practice with full tone, as well as with light
uniform tone.
No. 20.
The sustained tone with finger exercises combines two
important principles: technic and tone. Play lightly,
slowly and evenly. Keep the fingers relaxed, elasticity
rather than force being very desirable. For additional
exercises of this type, select some from “The Art of
Bowing,” by Emil Kross.
X X V II .
N o. 82.
GENERALLY teach this etude with the following
I bowings: — Four strokes down-bow at the heel,
broad bowing, two-string transfers, by playing the thirds
as single notes, eight times in succession. Now, modify
the bowings, like those of Sevcik, so as to give all forms
of bowing for two strings. The next form is to play three-
string transfers in the arpeggio form. I believe the
chords in this etude are much more interesting than those
of Sevcik. The pure style of legato bowing can only be
gained through this kind of practice. I sometimes make
my students memorize the etude in its entirety for the
sake of concentration.
N o. 83.
Strive to master this etude without showing any dis
agreeable features in the change of fingering so as to
Moderator
No. 84.
While the previous etude requires the whole bow, this
one may be played somewhat in the half bow. I would
not use the short staccato, as pressure upon the strings
sharpens the tone. I sometimes play the entire etude
through with a very light stroke, raising the bow at the
middle to insure clearness and beauty of quality; also
to relieve the bow arm while mastering the mechani
cal detail in the text. Afterwards play the etude as
indicated.
No. 85.
This etude is, like many in the book, in an easy key.
It may properly come before the study of Mazas; at any
Moderato.
% ■&r 1
85
rate, the set precedes Kreutzer. The pure legato is of
the utmost importance. When two notes are slurred,
stress the first and let both sing, but do not carry the
legato over into the next group. That is an important
principle in piano playing, as well as in violin art.
No. 86.
Strive, in this dtude, to keep the theme prominent.
Use the whole bow when possible. Remember to relax
the first finger when the chord reads \ after ^ ; that is
to say, the chord based upon the second finger necessi
tates relaxation of the first finger.
No. 87.
One very important thing in connection with this
etude, which, as in the previous case, must be played with
a singing tone and rather long stroke, is to preserve the
170 HOW TO PREPARE FOR KREUTZER.
the finger, rather than with the bow. Do not cut legato
runs. This is a fine study for preparation for the Fiorillo
Etudes.
No. 88.
I generally use this dtude in connection with Halir’s
double-stops in the key of Bb. It is not practical at any
other point. Use the whole bow.
No. 9 3 .
We will now pass to No. 93, which, as an example of
Halir’s method of playing scale runs, is invaluable.
You will recall that Halir passes from the first to the
second position in double-stop scale' progressions, but he
assumes that one should be able to pass from the first
to the third position with the same ease, when necessary.
D O U B L E -S T O P ST U D IE S OF HANS S IT T . 17 1
No. 9 5 ,I
I usually omit No. 95; also the studies which lie be
tween Nos. 88 and 93, although they are very useful, if
one has time to devote to them.
No. 9 6 ,
I would play this etude with single bowings, at the
middle of the bow, raising the bow for each stroke, before
using the involved bowings mentioned or suggested in
the text. A light stroke at the middle of the bow, with
single bows, is less fatiguing and complicates difficulties
less. Now it would be well to practice two slurred notes,
then four slurred and finally eight. I sometimes vary
this etude by taking the double-stops apart, as it were,
playing each double-stop over and over in single notes
for a two-string transfer. I play each double-stop eight
D O U B L E -S T O P S T U D IE S OF HANS S IT T . I7J
No. 97.
Before studying this etude, take the key of F and play
the scale in thirds, thus:
Moderato. \
9. „ -| 1 -i j -i 4 -—1— 1----
—1—q — 11—----11---- ---- 1-r-TTT -1 -i - u
---- 11—
s i s ! : * —S j --—
< t i t
----^ ----- 1
c z at * ' * f
4^ ‘ T ’
/ U m T, j 2 m # ! { t J- S II
h T • S g » me r ||
r m._.k r r 1 JL
L r L 1__ M
Lh U 11
No. 9 9 .
There are no new principles involved in this etude.
If the student is preparing for the teaching profession,
it may be well to use it. However, with the necessity
of teaching a great deal of technical literature, I find
myself unable to teach every £tude in detail.
O p . 4 0 .1
p f l l h r m n r 1
•*JJJ | | j j • _
lie easily on the strings, I would use it only when one has
mastered a good legato in the key of G. The easier
examples in the key of D major, page 57, are practical.
Do not dip the wrist too much. Play on the edge of the
hair. Use a broad free stroke. Memorize every ex
ample. I give only a few exercises at a time, as I
believe the student works with more concentration when
these few are memorized.
We now come to scale studies in thirds. I do not
recommend these to teachers until perfect relaxation of
the fingers of the left hand is secured. I prefer the key
of C before the key of Bb. Possibly these studies may
be used while one is working on the Sitt Studies, Op. 20.
C major.
§1 s i
I*
1 m
«
— t i , i t t ~r
1—|-_I—4-4.
HI =3 =3 = — I—
2 S •
j U _ _ I_ I_ I
!J i #=
' S2 SSI
=
the first note of the group with the finger of his left
hand rather than by pressing upon the bow. Left-hand
technic plays a more important part in tone develop
ment, accent, and rhythm than the bow arm plays; in
other words, those teachers who exalt bowing perhaps
fail from a technical standpoint.
Eberhardt has been opposed to the idea of practicing
with mechanical appliances, yet for reasons of his own, he
invented a fingerboard for mute practice. It serves the
same purpose as a dumb violin.
His exercises for the gliding action are extremely
valuable in the mastery of the pure legato and the
portamento. On page 23 the exercises for imparting
flexibility to the thumb are seemingly opposed to the
principle that every movement must mean something
definite, but I am reminded of certain phases of study
in Berlin, at which time Herr Markees insisted that I
practice the ninth Kreutzer etude with the thumb
gliding to and fro from the third to the first position and
back again in the rhythm of quarter notes, there being no
pressure against the neck of the violin. This is exactly
the principle of relaxation required by Eberhardt, and
to tell the truth, I have never, until recently, felt its
value.
Now, page 23 gives some work for the change of posi
tions on the G string. Eberhardt says that the thumb
must withdraw before the finger. That is quite true.
One wonders, however, if the thumb moves with the
hand or independently of it.
There are exercises for the use of the fingers in double-
stops and chords. Apply these principles to the double-
stops of Halir and the chords of Sevcik, Book II. A
principle that works well with one educator ought to be
made to fit into the system of another, if it is a good one.
Eberhardt stresses the mental grasp of intervals before
they are played. One must be very careful in connection
with exercises on page 26, to rest after extensions. I
would not advocate too long practice of octaves. The
fingers must be moved simultaneously in octave study.
GOBY EBERHARDT AND H lS SY S T E M . 205
of octaves, that is, that the first and fourth fingers should
glide along the string without undue pressure. Tenths
are not practical for the small hand, the first finger being
nearly flat upon the strings.
Now, we come to the trill studies which, indeed, are
most difficult of mastery.1 Eberhardt suggests that the
supporting finger must never press. This is a point very
important in the mastery of technic. On page 42 he
suggests the mastery of staccato bowing through the
use of Kreutzer’s Etudes.
Whatever may be said of Eberhardt’s views, he is a
student. His suggestion to hold the bow above the
strings for about an inch or so, at the middle of the bow,
is valuable and can be applied to the mastery of the
artificial spiccato, when necessary. I am not a pianist,
hence I cannot say to what extent the system is practical
for the pianist; but I see no reason why a thoughtful
study of hand and finger relaxation, according to the
physiological principles set forth by Eberhardt, should
not be practical.
Eberhardt has not invented anything entirely new,
but, like Sevcik, he has said old truths in a new way,
and I believe that he has said much for the profession.
His book, or system, is not so far-reaching, nor does it
enter into detail to such an extent as that of Sevcik.
Nevertheless, he has achieved wonderful results in the
cases of his students and in relieving his own physical
limitations.
1 Apply this principle to the trill etudes of Kreutzer, also to Rode,
first Caprice. Do not raise the finger too high, nor strike with too great
force. Trill lightly and evenly. Relaxation and freedom, not force,
are desired.
XXXI.
SUPPLEMENTARY REMARKS.
T h e r e is much discussion among teachers as to the
choice of first exercises. I do not advise the use of a
“ Method,’’ as no book of this kind is suited to the needs
of each individual. It can be used, however, supple
menting the same from time to time with other exercises
by standard writers. The “ Method ” usually progresses
too rapidly for the average pupil. Alard, de Beriot,
Dancla and David have written excellent “ Methods.”
Henning’s Practical Violin School and the revised
edition of Hermann’s Violin School are useful, especially
the latter. R. Hofmann’s Op. 31 and Op. 84 furnish
supplementary material. Hohmann’s Practical Violin
School, parts I to III, contains two-part exercises of an
interesting nature. The Mazas’ Violin School has been
referred to. It is of high standing. I am especially
impressed with the Practical Violin School of Moritz
Schoen, which, if abridged and taught thoroughly as far
as essential details go, can hardly be excelled to-day.
The first ten books are especially useful to the pupil in
preparation for Kreutzer. Vols. XIV-XVI may supple
ment Vol. V (Op. 47). I have used some exercises
from the Schubert Violin School for supplementary
work, after Hohmann, Books II, IIP The Violin School
of Bert hold Tours is much used in England. I prefer
the Hohmann books or Wohlfahrt, Op. 38. Aside from
“ Methods” there are many “ Violin Studies,” among
which we may include Alard, Op. 10, Ten Melodic Studies.
Dancla’s Op. 68 contains interesting exercises for those
who are starting with the positions. I would also include
Op. 122, and possibly Op. 73 if a pupil is talented. The
David Scale Studies as well as Blumenstengel Scales
are necessary for technical preparation. While Dont’s
207
208 HOW TO PREPARE FOR KREUTZER.
G R O U P B.
co fO *0 <*0 *0
Calm as the Night....................................................Bohm................
Cradle Song, Op. 49, No. 4 ..................................... Brahms............
Berceuse, Op. 149, No. 7 ........................................ Dancla...............
Norwegian Cradle Song........................................... Ernst.................
GROUP C.
Bluette.................................................................................. Armand.............. 1
La Douleur, M elody........................................................ Boccalari............ z
Italian Melody in F ......................................................... Bohm ......... 1
Perpetuo Mobile in D .....................................................Bohm .................. 1
First Solo de Concert, B M inor.................................. D ancla................. 2
Berceuse............................................................................. Godard............... 1
Romance............................................................................. Rubinstein.......... z
M editation................ ......................................................... Grodzki.............. 2
Legende in C minor, Op. 187, No. 7 ........................Bohm................... 3
Romance............................................................................. H eitsch............... 1
Six Solos, Op. 41 ..............................................................Leonard............. 1-2
Mariposa, The Butterfly................................................ M ollenhauer.. . 3
Concertino I, I I ................................................................ Ortmans............ 1
Canzonetta..........................................................................Saenger.............. 1
Romance.............................................................................Grodzki.............. 2
Canzonetta..........................................................................Grodzki.............. 2
Suite......................................................................................Sasso................... 2
L argo......................... ..........................................................Haendel.., , „ . , z
212 HOW TO PREPARE FOR KREUTZER.
Alla Zingaresca.......................................................... Tschetschulin.. 2
Lullaby.......................................................................Donner............. 1
Reverie, Op. 71.........................................................Th. Herrmann. 2
Romance.................................................................... Henius.............. 2
Romance in G ...........................................................von Kunitz___ 1
Romanzesco............................................................... Oehmler........... 1
Intermezzo from Cavalleria Rusticana.................... Mascagni......... 1
Souvenir de Didlington............................................Papini.............. 1
Romance and Serenade, Op. 6 ............. v . ........... Nedbal............. 2
Valse Gracieuse.........................................................Saenger............. 1
Meditation, Op. 8 ..................................................... Nemerowsky... 1
Allegro Brillante........................................................Ten H av e........ 1
Romance........ .......................................................... Ogarew............. 3
Adagio, Op. 34..........................................................Ries.................. 2
Elegie........................................................................ Wollenhaupt.. . 1
Reverie....................................................................... Wollenhaupt... 1
Chaconne................................................................... Dancla.............. 1
Serenade Badine....................................................... Gabriel Marie. 1
La Sevillana, Op. 49, No. 4 .....................................Alard................ 2
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