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Kreutzer Étude n.15 in B flat
There are several methodical stages one should go through before expecting a high quality trill mechanism. Many of these stages involve a strict tempo control ( as does so much technique ). Below ; my first concern would be to achieve equal bowing of notes, or more specifically to make the up bow note fit in to the same tempo as the down bow note. Now I do recognize the fact that the first note is somewhat staccato, closed or shortened, but the up bow note should not be prolonged in order to fit all those trilling notes. So, my first method of bowing study would be at a moderato tempo to sing (play of course) the following :
When the bowing hand feels secure, regular and autonomous, one my add the resolution to the un-trilled note ; see below. Also, some editions notate the first note as being a short one by adding a comma to show that it is stopped or staccato. The figure here below is an example from a Russian edition, and it shows which 2 notes really belong to each other ( the 2nd and the 3rd, the 4th & 5th, etc. ).
Now let's look a little bit more closely at how to produce a good fast, light and regular trill - brilliant yet elegant on every way ! For the vertical finger mechanism to be efficient, one must exercise the lifting of the finger. This is because one must work against gravity by lifting, yet a finger falls of its own weight because of gravity - there is no need to force it down ! The lifting of the finger can be exercised by a rapid spring like lifting of the finger from the base joint. The motion must be at amazing speed, opening up (breathing) the hand and finger and liberating any stiffness or inertness in the muscles. A little exaggeration of the finger height can ensure the correct action, though ultimately the trill is composed of minute reflex actions, which are fast because they are small, light and "in miniature". Occasionally one might try a little more firmness in say holding down the 2, if the 3 is doing the trilling, The 3 will feel light and liberated precisely because the 2 is anchored down well. Well the problem in this study is that the 2 is then obligated to resolve the trill ( we must respect Kreutzer's plan ), so if it is anchored then it may be reluctant to come away in time. Therefore the resolution, with particular attention to the light, "electric" lifting mechanism of the base anchoring finger ( the 2nd to start with ) should be studied apart :
Note that the second finger springs up twice - thereby ensuring a light mechanism - one that moves at the speed of light ! Be careful to use your finger only ! This may seem odd advice, but many players needlessly involve their wrist, forearm, shoulder muscles and more for a simple trill ! Such un-economic use is harmful to one's playing style and posture in many ways. The knuckles of the hand must not move, nor the wrist nor the thumb... just the finger, on its own must do all the necessary work. Please follow the link to vertical finger mechanism. The finger is the lightest component, and other heavier components should not be involved in such a delicate task as trilling. Our next step is to simplify the trill...here we can use several methods like the 2 dotted rhythm method, and the previous one with the vertical lifting of the finger made clear. Below is a good plan for a simple, even trill :
There are other simple trills that should be studied, each one, for its rhythmic variety can instill evenness and equality in the finger action. Also practice the whole study with the following trill patterns : One must also remember to vary the tempo, and volume of sound, almost to the degree of experimentation. Certainly the dynamic f for forte must not be followed during several of the preparation exercises. In fact mp would be a wiser dynamic, in order to encourage the lightness and agility of the trilling finger. When your fingers are tired or ache, stop immediately. This study will not be conquered by brute force ! Lastly, measure your progress daily... a good previous days work in the correct fashion will bear its fruit the following day, as one starts practice again. After several days work in succession, again, the fingers may give in to overwork or tiredness - and this is the moment to switch to a cantabile study or a concerto or even put the violin down to rest for an hour ! If you continue to work stubbornly through pain, your fingers will seize up and you will surely suffer ! I think it was Szigeti who said .."Treat the violin right...and it will treat you right ! " |
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