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Dancla Op. 73 Études
Downloading the Sheet music Download sheet music for study number Study n. 3 is a wonderful study on heel playing with double stops. The lower half of the bow should be used, and there is frequent use of horizontal up bow staccato, to be played on the string. The left hand fingering and chord stopping should fit into the right hand bowing. Play and use the lower half of the bow with a slight pressure only. Study n. 4 is a normal study in staccato ( spiccato ) and détaché use in the middle of the bow. Spiccato is used for piano passages, while détaché is used for firmer phrases. The détaché should be very joined. The 2nd beat of bars 3, 4, 5, and 6 should be played down bow, as indicated in bar 7. On the E string use a more ample or broader détaché bowing stroke, to project the transparency and clarity of the E string tone. Study n. 5 is a great study for double stop legato bowing. At first play this study with 1 crotchet ( quarter ) note per bow ; then as your skills in smooth string crossing and continuous bowing improve play half a bar per bow. Make sure you do not skip the slow phase of study. Playing slowly ( but in time ) is the only way to assure smooth ( and not angular ) string changes occur in the bowing. Always use half the amount of bowing pressure as you would on one string when playing on two strings. This is a universal rule in double stopping. Study n. 7 relies on a correct and accurate maintaining of tempo and rhythm throughout. Start the study above the middle ( towards the tip, though not quite at the tip. ) On the string staccato is required - lightly and with the forearm. The 2nd bar of line 4 is to be played up bow, and piano as marked. I suggest from middle to heel here, but whatever part of the bow you chose - do not retake the bow for each double stop. This is another fundamental rule in up bow staccato. This study is rich in its variety of left hand technical features - trills, light passage work, and double-stops ; all these features to be played with a refined use of the bow. Perhaps one of the most demanding studies in this set. Study n. 8 is to be played in 5th position. A very even and smooth legato bowing is required with perfect mastery of round string changing. The must be no abruptness to spoil or disrupt the phrasing. In the first bar ( and in general ) keep the 5ths with the 2nd finger. The 1st finger must also be kept down all the time as this is the "anchor" finger. Study n. 9 is the equivalent of number 8, only in second position. Again leave the 1st finger of the left hand down, and play half a bar per bow in order to master the right hand. Keep the speed of the bow constant in all legato studies. Be especially careful not to accelerate the bow at the heel or the tip, before changing direction. Indeed the bow must actually slow down before changing direction. Distribute the notes with the left hand perfectly so that the whole bow is used. When bowing with one bar per bow, the bow should therefore be at the middle half way through the bar. Even bowing is vital. Study n. 13 is an excellent piece of writing to free and mobilize left hand finger action. Play with extreme lightness in the left hand finger action, as this is the successful route to an agile technique. Lightness and deftness in position changing is also a technique to be mastered here. This type of study ( in which the preparation of legato bowing must not be forgotten ) is perfect for warming up left hand fingers quickly, with delicacy and sensitivity. Always rest the hand if you have over worked or forced the finger action. Never force the vertical dropping of the left hand. Study n. 16 is a work on mixed bowings, which all stem from détaché, really. Do use a fairly concentrated détaché at the middle, with limited use of the bow. This will help keep the right hand forearm only into play throughout the study. The 2 détaché notes should should as joined or attached as the 2 slurred ones. An overall impression of evenness and continuity must prevail throughout the piece. Study n. 17 is a study in left hand finger extensions. Keep the left hand 2nd 3rd and 4th fingers very light, but the first finger must be firmly anchored to the board to help free the upper fingers. The semi quaver ( 16th ) note writing ensures that the left hand is kept mobile and never in the same fixed ( extended or not ) position for long. Remember never to force the hand, and at the slightest indication of fatigue rest the fingers. They should be ready to play again in only a minute or two ( if you haven't completely abused them ! ). Study n. 19 is a very useful work for both hands. For broken arpeggio - legato work. String changing and legato bowing should be very smooth and "velvety" as Dancla writes. The left hand has much work to be done in finger preparation ( for string crossing ) as well as economy and accuracy of intonation. Any intonation faults are immediately apparent as the basic chord is usually the same throughout the bar. The word Chanterrelle denotes the E string ( the singing string ) . Study n. 20 is nearly all in double-stops, the exceptions being short left hand passage work phrases. The preparation of the right hand in dealing with cantabile and correct timbre is as important as the left hand preparation. This and indeed all the studies in Dancla's Op. 73 are masterpieces well worth learning by heart. True mastery of an elegant and refined style can only come by learning these studies by heart. No violinist should tackle Paganini Caprices, Brahms's Concerto and indeed many of the great composers' masterworks before achieving elegance, style and refined sonority in the main French studies. Such studies ( by Kreutzer / Rode / Gavinees / Dancla ) and indeed the French concerti by Viotti, Rode , Kreutzer and later DeBeriot, and others, constitute the backbone and discovery of "high technology" in both hands, as regards violin playing and classical music.
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