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| Mazas Étude Op.36 n.7 : AndanteNumber 7 is a classic cantabile study. Many passages will be limited to one string, using one's natural bow and arm weight to produce a deep, sustained tone, while applying vibrato (which is very much linked to the other arm , i.e. bowing friction). In order to produce a legato phrase, every note must have the same consistency (or tone), otherwise it would stand out, and break the continuity of that phrase. This means that, by and large, bowing speeds and vibrato character should always be consistent throughout each phrase. Obviously the phrases will have some shape, with lighter sounds finishing off the phrase. The study of this technique can really boost the tone grasping abilities of the student who searches for beauty and depth in his/her tone. One must master all parts of the bow ; likely weaknesses are at the heel, because this is one of the hardest parts of the bow when it comes to applying weight and leaning on the string. It is paramount that the little finger feels a massive participation in the bow hold, for it helps connect the whole arm to the tone at the heel. It also helps reduce the weight so that the correct amount is applied at the heel without spoiling the tone. The weight, touch, and participation of both hands should match. It will be found that a firmness in fingering will permit not only a free vibrato, but also a freely flowing bowing arm. There is also a special technique which increases the activity of the left hand in soft passages ( by using a small, fast, nervous vibrato, high in "nerve" content ) and thus permits extremely light yet reliably smooth bow movement.
This first phrase must bring out the bass tone, special to the G string. The following bar, the D string tone can be somewhat lighter in shade, as the music then moves into a higher register on the A string which must have quite a different feel from the opening G string sound, with much greater lightness and breadth of bowing. In general the D and G strings are to be played with weight, producing a rich, round and deep sound, while the A and especially E string are to be bowed with lightness and transparency.
In the 6th bar, illustrated above, one must take care to draw out the notes in the group, so that they are "lazily" distributed, in a relaxed and even manner between the F and the G in fourth position. One must not play the group with brilliance, because, like all notes in this study, they must form part of the cantabile phrase, and must not destroy it by standing out.
Above : In bar 9 I give a slight deviation from the original bowing (according to Galamian) in order to facilitate a shift up into 5th position which greatly enhances the elegance and tone of this passage. Again we are keeping phrases to the same string, thereby making the uniformity of tone across the phrase easier to obtain. Do not use too much bow on the B and C notes (crotchets) above. Remember to distribute you bow carefully, according to the phrasing and expression desired. In most bars in this study you might have noticed that the bow is drawn down and up ; down in the first half of the bar , and up in the second half. Never ignore the bowing and remember what goes up must come down!
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