N.1 This is an étude that puts any violinist to the test. The
tempo indication Moderato suggests that the whole bow is to be used for
every note. The bow speed will necessarily be very high in this case, and a
considerable amount of skill is needed to keep the sound even and pure.
Using the whole bow at relatively high speed ensures the right hand acquires
freedom and lightness ( especially for the shoulder socket ) and requires a
high degree of mechanical accuracy. The study should also be studied using
about 70% of the bow ( eliminating the use of the extreme 2 inches either
end of the bow ). This temporary approach would be ideal if you are having
trouble bowing with whole bows. In fact as skills are improved more and more
bow can be used. This study therefore gradually teaches the student to use
the whole bow as if playing with a broad détaché. The 3rd and 4th mixed
bowing variations are especially difficult, as three notes are to be played
with the same amount of bow as one note ! Thus the bow will travel three
times faster for the single note. All bowing variations in this editions
should undoubtedly be played with the whole bow. When playing the 1st note
of the study ( a 3rd finger on the D ), the 1st and 2nd fingers should be
placed on the fingerboard as well. ( The 1st, 2nd and 3rd fingers actually
go down together ). The second finger is held down up to the end of the 3rd
note of this study. The harmonic structure of this piece is very clear and
pure, ensuring there be no doubt when a note is in or out of tune !
N.2 This C major 2 octave scale should be played with the top C note as an
extended 4th finger. Do not upset the hand the moment this note occurs,
rather execute the extension using the finger muscles only. If the fingers
meet the fingerboard inclined forwards towards the bridge ( rather than
vertically ) the 4th finger may extend more easily. Freedom to extend the
4th finger ensures that the left hand and the thumb are set up in an optimal
way, favoring the comfort and operation of the 4th rather than the 1st
finger. In this study the 1st bar of quavers are to be performed in the
lower half of the bow. This is necessary because the minims in the 2nd bar
require as much bow as possible. Thus a very advanced bowing stroke "détaché
at the heel" is introduced at such an early stage. The
quantity of bow used should in theory be 25% or a quarter of the bow, but in
practice may be slightly less or more ( 20-30% ). Try to master this détaché
starting as close to the heel as possible, but if playing it an inch away
from the heel produces a better quality sound, then that bowing area should
be used at least to start with. ( Even 2 inches from the heel may be
necessary for less experienced players ). Détaché at the heel will be
explained in the bowing strokes section.
N.3 A moderately slow cantabile study designed to teach the first basic
movements of string crossing. The tone must be uninterrupted as the bow
changes from one string to the next. Every minim the whole bow should be
used. Note the
2nd note of the 1st bar ( an open G ) should be executed exactly as the bow
reaches the half way mark. During the first note ( a 1st finger on the D )
the bow must describe an arc, as if approaching the G string way before it
actually occurs. In all string changes, the bow must start changing string
at the beginning of the last note ; not at the end. This bow change
preparation is essential if the player wants to avoid any abrupt or sudden
disturbance of sound as the new string meets the bow. Phrases last 4 bars,
and each phrase should end with a tasteful tapering of tone most
appropriately played at the end of the last note of the phrase.
N.4 Another cantabile study written in a typically pure and
"simple" style. Start
at the heel. Dolce meaning sweet is an important indication. The quality of
sound in this study must be superb. Do not aim for a large sound, rather
apply a moderate dosage of bow weight only to achieve as pure and
unadulterated sound as possible. Vibrato ( if used ! ) must in no instance
spoil the notes by being too noticeable. If it is used it must not be too
wide in amplitude, and must be used in such a way that it does not disturb
the purity of sound, nor bring attention to it. If a fast and narrow vibrato
is used ( with plenty of nerve ) it must be used to an equal degree by all
four fingers. If the first three fingers vibrate pleasantly, when used, the
fourth must not be placed in a dead and inactive fashion. The resulting
white or pale sound would isolate that note from the phrase. To play notes
that all belong to one phrase, they must have the same timbre colour. (
Neuhaus, the Pianist, talks about this concept in his book ). If one note
has a different sound it will become out of place and the whole phrase will
be spoilt. The net sensation of sound in this piece should be like a
"lake" of sound. Nuances and phrase shaping should be kept to an
absolute minimum, as it is clear Dancla's style is supremely refined. The
Capet quartet and indeed many French violinists of this era used vibrato
very sparingly. It is a hard test to sing a piece without any vibrato at
all, relying solely on the bow for expression and sound quality. To
summarize, it may be said that this study develops a cantabile bowing style.
N.5. An interesting détaché arpeggio study precedes this study. The
study consists of a whole bow legato section alternated with a medium détaché
section. The
détaché should be played in the middle of the bow with 50% use of the bow
at maximum. It is not a case for broad détaché, as has been up until now.
The 1st bar clearly contains left hand training material. In this and the
3rd bar the left hand should operate as gently and lightly as possible. The
fluidity of the bow should be relied upon to successfully sing these bars.
N.6 A clear rhythmic element pervades this study. It should be played in
the middle of the bow, and the quantity of bow used on the crotchet should
not be excessive. If it were it would split the bars up into disjointed
particles of music. The tempo should be Moderato, and always steady, and
there should be no tendency to rush. The quantity of bow used should be
limited and confined to quite a small area.
N.7 A mastery of string crossing is required to complete this study. It
continues from study N.3, the difference being that the notes are quavers.
The first 4 bars require a regular sequence of undulating right hand
movement. By right hand, I mean the hand, wrist, forearm, elbow and upper
arm. The undulating right hand movements must describe a wavy motion. Under
no circumstances should this ever be allowed to become angular or sudden.
All the rules about approaching the new adjacent string apply, as described
in study N.3, but, in addition, the string changing will require a more
frequent cycle depending mostly on the wrist and forearm. The right elbow
should be still and should display no vertical movement. Its height should
be placed at an intermediate level, between the D and A strings. ( On the
3rd line the string changes are between the A and E strings ) . With an
almost "fixed" elbow, the forearm will be required to raise the
hand slightly above the elbow level ( for the lower string ) to just below
the shoulder level ( to reach the A string ). In this study 4 quavers should
take up a whole bow's length. This study concentrates on legato crossing on
2 strings.
N.8 This study starts with an open E ( at
the heel ) ; not uncommon in Dancla's works. ( They did not use metal
strings in Dancla's time either ). The introduction of chromatics, and
therefore the subsequently altered placings of every finger ( except the 4th
) are explored both within the exercise and the étude. In this study, the
preparatory passage is designed to master the hardest passage in the study.
This habit of mastering the hardest passage of a composition before starting
to study it as a whole is a useful habit to get into. The horizontal motion
of the left hand during the chromatic changes are useful in strengthening
the fingers. This action compliments the more common vertical mechanics that
fingers perform. It is important to let this horizontal movement be carried
out by the finger alone. The hand itself should not be re-arranged in any
way. The détaché during the chromatic passage should be of high quality.
N.9 A waltz. All the skills learned so far are applied in a 3/4 time
context. The
bow must be divided into 3. Minims receive 2/3rds ; dotted minims 3/3 (
whole bow ) and crotchets 1/3 of the bow. It is significant that the waltz
tempo in 3 is only introduced at this point. Up until now the bow has been
distributed and divided into 1/2 and 1/4. The introduction serves to
emphasize and contrast the feeling of a 3/4 timing.
N.10 This study is best played using détaché because the tempo required
to play it marcato ( a detached détaché ) would make the music progress
too slowly. It is of course possible to play this study with a marcato ( an
on the string staccato ) in a swifter tempo, but the stroke requires
considerable practice to reach perfection. This stroke ( as the détaché
stroke ) should be executed almost exclusively with the forearm. Therefore
it is best played in the middle or slightly tending towards the upper half.
( If it were played in the lower half of the bow the elbow would follow the
hand in every move. The upper arm would be involved in every stroke. ) Even
if this study is used for staccato it should be practiced détaché at
first.
N.11 This study is similar to preceding whole bow legato studies. The
marcato or staccato in octaves in the exercise should be played without the
bow leaving the string. When the bow halts ( to create the separation
between the notes ) the string change should be effectuated. This passage
can be slowed down ( in slow motion ) to separate the different movements. (
horizontal & vertical )
N.12 Legato and marcato ( staccato ) are combined to produce rhythmical (
risoluto ) phrases. The staccato crotchet ( 1/4 ) notes are to be played up
to about 80% of their full value. The down bow double stops should be played
with plenty of bow, but with half the usual bow weight. Before the
recapitulation of the main theme there is a détaché quaver passage which
may contain staccato strokes in the middle. As the quaver notes broaden
towards the end they should be perfectly joined and linked. The last line
contains some string changing which must be practiced extremely slowly and
carefully. The bow should never leave the string. It is best to isolate
these 4 last bars in order to concentrate ones effort on them ( rather than
to just play the étude from beginning to end )
N.13 A) This study deals with the up bow staccato (
the off the string type ). On the string up bow staccato is used only by the
German schools. It is important to realize that the 2 types are opposed to
one another, and produce quite a different sound. The French type ( which
lead to DeBériot's and the Belgian School off bow picchettato or staccato )
is somewhat lighter in sound. The staccato is produced by bowing as with a
slur ( i.e. the bow does not stop or slow down in between each note, as
otherwise the result is a disjointed series of 4 notes ). The bow only plays
the string momentarily, as it bounces gently during its up bow movement. It
is more practical to bow this study not using the whole bow , but using the
bow in an area close to the middle of the bow. Use mostly horizontal forearm
movements ( as well as whole arm ). Sometimes the area of bow best suited
depends on factors such as tempo and the weight or flexibility of the bow.
The middle section with equal down bow staccato as well as up bow is well
worth mastering. In all cases try not to produce too big a bounce. The bow
should not leave the string more than 1 cm ( possibly less ).
N.13 B) The same stroke, but with an on the string conclusion to the
phrase. This contrasting on and off bow technique is well worth perfecting.
The adherence of the bow during the on the string concluding part of the
phrase is paramount. Thus, on landing the bow should not bounce.
N.14 This study should be played with small
détaché. The bow should not leave the string nor attempt to staccato or
shorten the notes. The advanced violinist may consider playing it saltato or
balzato ( off the string ) . The 1st note of each 3 détaché notes can be
played with a small accent. This occurs once down bow next up bow. When
studying this piece détaché, it is best to start very very very slowly, as
the string crossing must be incorporated into the détaché mechanism. The
bowing speed can very gradually be increased, as each previous speed is
mastered. The sound should always be legato, each note soldered and linked
perfectly to the next. This is not an easy etude, and there are many
Wohlfahrt studies in 4/4 time best mastered before this one. My favorite
section is the middle part, with 3 notes slurred ( short bow ) while
crossing strings ( a constant arc ) followed by 3 up bow staccatos (
magnificent ! )
N.15 A left hand study. Finger actions should be only slightly more
deliberate during the eight ( quaver ) notes than during the semi quavers (
sixteenths ). A small raising of the finger before it falls may help to
secure a firmer action. During the semi quavers the 3rd finger ( in the
first bar ) should be lifted to a lesser height above the string. ( Also no
preparatory additional raising is necessary ). The main quality to aim for
is an equality of notes. Some teachers would suggest dotted rhythms to train
the "trilling" or working finger.
N.16 This study contains most of the techniques already covered apart from
the acciaccature which must be executed elegantly. However I would advise
against playing them too shortly ; the deciding factor as to what speed must
be used is governed by the fact that they must sound cantabile ( as all
things should ! )
N17. In the preceding exercise the two notes of different lengths should
sound the same, even though the bow must travel at twice the speed for the
quaver to stay in the same
place. In the study itself the double stops should not be forced, rather a
generous quantity of bow must be used to set the string freely in vibration.
Excessive pressure would kill these vibrations. Keep the bow light,
therefore. The chords at the end of the piece should be played exclusively
in the lower half of the bow. The whole study should be played in the middle
of the bow.
N.18 A wonderful introduction, using chords and off string staccato. The
bow must bounce from above the first of the triplet staccato notes. The
bow must be placed on the string at the heel before drawing the chord. The
lower 2 strings must be taken together simultaneously, and bass notes should
be fully sounded. The top part of the chord must not be harshly accented as
it should form part of the chord, dependant on the lower notes to sustain
it. ( The top notes should merge with the rest of the chord ). During the
waltz the whole bow should be used in theory. In practice this can be
converted to 80% of the bow, depending on the acoustics of the room, and the
responsiveness of the instrument.
The
tempo indication Moderato suggests that the whole bow is to be used for
every note. The bow speed will necessarily be very high in this case, and a
considerable amount of skill is needed to keep the sound even and pure.
Using the whole bow at relatively high speed ensures the right hand acquires
freedom and lightness ( especially for the shoulder socket ) and requires a
high degree of mechanical accuracy. The study should also be studied using
about 70% of the bow ( eliminating the use of the extreme 2 inches either
end of the bow ). This temporary approach would be ideal if you are having
trouble bowing with whole bows. In fact as skills are improved more and more
bow can be used. This study therefore gradually teaches the student to use
the whole bow as if playing with a broad détaché. The 3rd and 4th mixed
bowing variations are especially difficult, as three notes are to be played
with the same amount of bow as one note ! Thus the bow will travel three
times faster for the single note. All bowing variations in this editions
should undoubtedly be played with the whole bow. When playing the 1st note
of the study ( a 3rd finger on the D ), the 1st and 2nd fingers should be
placed on the fingerboard as well. ( The 1st, 2nd and 3rd fingers actually
go down together ). The second finger is held down up to the end of the 3rd
note of this study. The harmonic structure of this piece is very clear and
pure, ensuring there be no doubt when a note is in or out of tune !
The
quantity of bow used should in theory be 25% or a quarter of the bow, but in
practice may be slightly less or more ( 20-30% ). Try to master this détaché
starting as close to the heel as possible, but if playing it an inch away
from the heel produces a better quality sound, then that bowing area should
be used at least to start with. ( Even 2 inches from the heel may be
necessary for less experienced players ). Détaché at the heel will be
explained in the bowing strokes section.
Note the
2nd note of the 1st bar ( an open G ) should be executed exactly as the bow
reaches the half way mark. During the first note ( a 1st finger on the D )
the bow must describe an arc, as if approaching the G string way before it
actually occurs. In all string changes, the bow must start changing string
at the beginning of the last note ; not at the end. This bow change
preparation is essential if the player wants to avoid any abrupt or sudden
disturbance of sound as the new string meets the bow. Phrases last 4 bars,
and each phrase should end with a tasteful tapering of tone most
appropriately played at the end of the last note of the phrase.
Start
at the heel. Dolce meaning sweet is an important indication. The quality of
sound in this study must be superb. Do not aim for a large sound, rather
apply a moderate dosage of bow weight only to achieve as pure and
unadulterated sound as possible. Vibrato ( if used ! ) must in no instance
spoil the notes by being too noticeable. If it is used it must not be too
wide in amplitude, and must be used in such a way that it does not disturb
the purity of sound, nor bring attention to it. If a fast and narrow vibrato
is used ( with plenty of nerve ) it must be used to an equal degree by all
four fingers. If the first three fingers vibrate pleasantly, when used, the
fourth must not be placed in a dead and inactive fashion. The resulting
white or pale sound would isolate that note from the phrase. To play notes
that all belong to one phrase, they must have the same timbre colour. (
Neuhaus, the Pianist, talks about this concept in his book ). If one note
has a different sound it will become out of place and the whole phrase will
be spoilt. The net sensation of sound in this piece should be like a
"lake" of sound. Nuances and phrase shaping should be kept to an
absolute minimum, as it is clear Dancla's style is supremely refined. The
Capet quartet and indeed many French violinists of this era used vibrato
very sparingly. It is a hard test to sing a piece without any vibrato at
all, relying solely on the bow for expression and sound quality. To
summarize, it may be said that this study develops a cantabile bowing style.
The
détaché should be played in the middle of the bow with 50% use of the bow
at maximum. It is not a case for broad détaché, as has been up until now.
The 1st bar clearly contains left hand training material. In this and the
3rd bar the left hand should operate as gently and lightly as possible. The
fluidity of the bow should be relied upon to successfully sing these bars.
Under
no circumstances should this ever be allowed to become angular or sudden.
All the rules about approaching the new adjacent string apply, as described
in study N.3, but, in addition, the string changing will require a more
frequent cycle depending mostly on the wrist and forearm. The right elbow
should be still and should display no vertical movement. Its height should
be placed at an intermediate level, between the D and A strings. ( On the
3rd line the string changes are between the A and E strings ) . With an
almost "fixed" elbow, the forearm will be required to raise the
hand slightly above the elbow level ( for the lower string ) to just below
the shoulder level ( to reach the A string ). In this study 4 quavers should
take up a whole bow's length. This study concentrates on legato crossing on
2 strings.
The
bow must be divided into 3. Minims receive 2/3rds ; dotted minims 3/3 (
whole bow ) and crotchets 1/3 of the bow. It is significant that the waltz
tempo in 3 is only introduced at this point. Up until now the bow has been
distributed and divided into 1/2 and 1/4. The introduction serves to
emphasize and contrast the feeling of a 3/4 timing.
Therefore
it is best played in the middle or slightly tending towards the upper half.
( If it were played in the lower half of the bow the elbow would follow the
hand in every move. The upper arm would be involved in every stroke. ) Even
if this study is used for staccato it should be practiced détaché at
first.
(
the off the string type ). On the string up bow staccato is used only by the
German schools. It is important to realize that the 2 types are opposed to
one another, and produce quite a different sound. The French type ( which
lead to DeBériot's and the Belgian School off bow picchettato or staccato )
is somewhat lighter in sound. The staccato is produced by bowing as with a
slur ( i.e. the bow does not stop or slow down in between each note, as
otherwise the result is a disjointed series of 4 notes ). The bow only plays
the string momentarily, as it bounces gently during its up bow movement. It
is more practical to bow this study not using the whole bow , but using the
bow in an area close to the middle of the bow. Use mostly horizontal forearm
movements ( as well as whole arm ). Sometimes the area of bow best suited
depends on factors such as tempo and the weight or flexibility of the bow.
The middle section with equal down bow staccato as well as up bow is well
worth mastering. In all cases try not to produce too big a bounce. The bow
should not leave the string more than 1 cm ( possibly less ).
small
détaché. The bow should not leave the string nor attempt to staccato or
shorten the notes. The advanced violinist may consider playing it saltato or
balzato ( off the string ) . The 1st note of each 3 détaché notes can be
played with a small accent. This occurs once down bow next up bow. When
studying this piece détaché, it is best to start very very very slowly, as
the string crossing must be incorporated into the détaché mechanism. The
bowing speed can very gradually be increased, as each previous speed is
mastered. The sound should always be legato, each note soldered and linked
perfectly to the next. This is not an easy etude, and there are many
Wohlfahrt studies in 4/4 time best mastered before this one. My favorite
section is the middle part, with 3 notes slurred ( short bow ) while
crossing strings ( a constant arc ) followed by 3 up bow staccatos (
magnificent ! )
same
place. In the study itself the double stops should not be forced, rather a
generous quantity of bow must be used to set the string freely in vibration.
Excessive pressure would kill these vibrations. Keep the bow light,
therefore. The chords at the end of the piece should be played exclusively
in the lower half of the bow. The whole study should be played in the middle
of the bow.
The
bow must be placed on the string at the heel before drawing the chord. The
lower 2 strings must be taken together simultaneously, and bass notes should
be fully sounded. The top part of the chord must not be harshly accented as
it should form part of the chord, dependant on the lower notes to sustain
it. ( The top notes should merge with the rest of the chord ). During the
waltz the whole bow should be used in theory. In practice this can be
converted to 80% of the bow, depending on the acoustics of the room, and the
responsiveness of the instrument.