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STU D Y K REUTZER
A D E T A IL E D , D E S C R IP T IV E A N A L Y S IS OF
H OW TO PR AC TICE T H E S E S T U D IE S , B A SE D
UPON THE BEST T E A C H IN G S OF R EPR E
SE N T A T IV E , M O D ERN V IO L IN P L A Y IN G
BY
E D IT H L. W IN N .
NEW YORK
CARL FISCHER
1916
Copyright , 1910,
BY
CA RL F IS C H E R
Jlultua iEtrfjherg,
THE SOUNDEST TEACHER OF KREUTZER
AND ONE OF THE MOST THOROUGH MUSICIANS
I HAVE EVER KNOWN.
PREFACE.
ETUDE NUMBER i.
Adagio sostenuto.
i III a " ........................................................................
7 L.H. 8 Tip.
1 1 Tip. 1 2 Tip.
1 3 Tip.
2 2 W.B.
86 Tip.
>
HOW TO STUDY KREUTZER. 5
2 7 Tip.
30 Stacc. Tip.
• • ^ • • • • • • A •
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31 Stacc. Tip.
6 HOW TO STUDY KREUTZER.
Spicc. M.
N ote: — Other forms of bowings may be introduced at the discretion
of the teacher.
ETUDE NUMBER 4.
HOW TO STUDY KREUTZER.
ETUDE NUMBER 5.
Allegro moderato.
ETUDE NUMBER 6.
Moderate* e sempre mariellato.
simile.
/ U .H .
ETUDE NUMBER 7.
A llegro assai.
- • 1— 1— 1— r H t i l l 9 - 0-
ETUDE NUMBER 8.
A llegro non troppo.
Tip.
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33 34
20 HOW TO STUDY KREUTZER.
Note: — The martele and grand detache should not be taught until
the forearm and wrist are supple.
ETUDE NUMBER 9.
1
Allegro moderato.
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The first bowing used should be a forearm one, each
note being slightly detached from the next. Make the
wide string transfers on the outer edge of the hair, the
stroke being from the shoulder, the arm moving towards
the plane of the new string. While the wrist generally
leads in string transfers, the curve of the arm should not
be disturbed. The teacher should observe whether the
bow remains parallel with the bridge, in the main. The
sixteenth notes should be played with a forearm stroke
rather than a lateral wrist stroke, as this gives more
breadth of style.
Memorize each group of arpeggios. In the second
line, take the fifth position instantly, the thumb lying
well under the neck of the violin, the fingers being
bunched, as it were, slightly toward the left in order to
give the proper arch, and to enable the student to play
with firmness and precision. Any position or form of
bowing which causes the student to play on all portions
of the hair of the bow is detrimental to freedom and
decidedly awkward. I should never reach for a high
note with the fourth finger and then draw the rest of the
24 HOW TO STUDY KREUTZER.
A
If students are sufficiently musical, and aiming to be
professionals, the musical content of this dtude should
be thoroughly understood, and they should write the
fundamental chords upon which these arpeggios are
based.
ETUDE NUMBER n .
Andante.
4 4 4 ^
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f - P » m *— P P • • m Hi
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I have found the eleventh etude one of the most
valuable in violin literature. For the study of the
legato and change of positions it is without an equal.
It may seem unfortunate that it is written in the key of
E major, but I believe this enhances its value. The
legato should never be disturbed by the shifting from
string to string, for the relative positions of the fingers
should at once be considered. I sometimes oblige
students to practice this etude mentally without the use
of the bow, in order that the shifting fingers may be
closely watched. The thumb should be absolutely
free from the neck of the violin, all the weight being taken
by the chin. The thumb and hand move together.
26 HOW TO STUDY KREUTZER.
ETUDE NUMBER
Allegro moderato.
E
m
as
7 7
HOW TO STUDY KREUTZER. 33
words, we play two trills and a turn. The turn is made
with a wrist stroke and is not a sharp staccato, as that
would cramp the wrist.
Play slowly, using the upper third of the bow. The
fourth finger requires special strengthening. Practice
over and over the measures in which we use the fourth-
finger trill in the third position. Fingers and hand
should be perfectly relaxed, the thumb following the
hand in the higher positions with absolute freedom.
We do not use varied forms of bowing nor complicated
position work. Intonation should be carefully watched,
as a student invariably uses a whole step instead of a
half step, or vice versa, in the trill.
The sixth line is especially difficult of intonation.
Practice the measures separately. The fingers should
not leave their positions till absolutely necessary.
Note in the seventh line this passage in the fifth position:
/
I would say here that I usually take Etudes 19 and
20, and occasionally Number 21, before Etude 18, my
reason being that the short trills should first be mastered.
By this time the fingers have gained great endurance.
The trills on the G string, however, are very difficult.
Observe that the accenting of a trill gives it more
brilliancy and not less freedom. The position changes in
the second measure should be made by sliding the first
finger along the string to the new position. In the fifth
measure be very careful to accent the trill and maintain
it throughout its entire length. Play all trill exercises
slowly until the technic is clean.
A good trill is not mastered in a day. That is mainly
the reason why I would supplement the Kreutzer trill
dtudes with other works; for instance, the Etudes bril-
lantes1 of Mazas, preferring the Adagio movements,
or possibly the Duos of Viotti.2 In this etude it is of
great importance that there be strong accent and fine
contrast between the staccato and legato bowing. I
1 See footnote, page vi.
2 Duos Concertants, by J. B. Viotti, Op. 20 and Op. 29. Published by
Carl Fischer, New York. Price 50 cents each.
36 HOW TO STUDY KREUTZER.
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This dtude is only valuable as a supplementary trill
study. The rhythm is more easily mastered than in the
first two or three trill etudes. If the upper half of the
bow is used, one must be especially careful of intona
tion and accentuation of the first note in every group of
four. Practice the up-bow accents, which are usually
inclined to be faulty. Relax the pressure upon the bow-
stick as soon as possible after the trill note. I would not
use new forms of bowing, as the etude is only valuable
from a technical standpoint. I would now review all
trill 6tudes, in connection with a study of the porta
mento and of tone graduation as found in the slow
movements of such concertos as the Rode Eighth and
Seventh and the Viotti Twenty-third and Twenty-eighth.
Perhaps it would also be a wise plan to take some of
the slow movements in the Viotti and Spohr1Duos.
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v-i
This 6tude, numbered 34 in the original edition,
requires skill in the accentuation and a command of
the staccato. It should first be played in the middle
of the bow, with single strokes and uniform tone, the
bow being raised for each stroke, the movement coming
from the shoulder. This is a dangerous bowing, as I
have before indicated, unless one has a flexible fore
arm and a perfect mastery of the wrist. I would,
HOW TO STUDY KREUTZER. 55
however, use this bowing somewhat in this etude in
single strokes, then master the double-stops with the
same bowing, except that the notes are slurred. Play
about half-way between the middle and the heel of the
bow, raising the bow after each group. Master the
content of the etude before striving for a mastery of
accentuation. The Viotti bowing, so-called, is indis
pensable for solo and orchestral playing, but it does not
add to the value of one’s tone if practiced too much.
It is hardly necessary to define the principle of the
artificial spiccato at this point. I would vary the prac
tice of the etude by using the upper third of the bow
in short staccato strokes, accentuation being reserved
until this point in our study.
Frankly, there are a great many etudes of Dont, Sitt,
and Mazas which are more difficult and less practical
than those of Kreutzer. I do not believe in eliminating
the study of Kreutzer, but I would select etudes which
suit the skill and development of the player, supple
menting this work with the best etudes of the com
posers previously named.
The second notes of the slurred notes must receive, in
most cases, the greatest bow length; otherwise, I have no
further comment to make upon the etude, except that
in cases in which the student has a very free wrist and
forearm stroke he may be allowed to play firm martele
strokes at the point of the bow.
U .H . Tip. U .H .
W .B.
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