Caprice number 8 is a Détaché study for the right hand (RH). It features complex string crossing, mixed bowing, and some left hand (LH) passage work. It also includes a couple of 10ths.) It is an important étude of intermediate difficulty.

STEP 1 : Make sure you are prepared to tackle this étude. Master a simple, more traditional détaché study. Kreutzer n.2, and Mazas Op.36.1 n.5 or n.6 provide suitable material. If you are still learning détaché, remember to study it slowly on an open D ( just the right hand or R.H. ).

Détaché is played mainly with the forearm. Keep the right elbow still to encourage the forearm to move freely without involving the upper arm. At first, wrist action may need exaggeration, but as détaché playing progresses care must be taken not to exaggerate it ! ( This requires the guidance of an expert teacher. )

Good quality Détaché will give the impression of a continuous, uninterrupted sound throughout the passage played. Each note is to be "sung" right up to the next note, so they seem connected. The bow feels glued to the string. Perpetual friction between bow and string is important. Beauty and sound quality is of paramount importance !

Bad Détaché, sadly, leaves the notes disconnected, with "holes of sound" in between. The bow is not "alla corda" ; a bumpy phrase lacking in fluidity is heard.

Prepare the left hand : As the 3rd finger goes down, place the 1st on the D string. ( like playing 3rds ). Also, when placing the 4th finger, make sure 1, 2 and 3 are on the fingerboard. Prepare LH throughout the study.

STEP 2 : Master a double string détaché étude. For example Mazas Op 36.1 n.21 or Dont n.5.

Joining the notes now becomes harder. The fact that the next note is on an adjacent string must not deter the " soldering " of one note to another. The RH must prepare for a smooth vertical approach to the new string gradually while the previous note is sung to its full value. This string crossing is done yet again with the forearm ! The RH will be describing circles, as the right elbow is held almost stationary between the two strings. ( As if the elbow doesn't change string ). This is to demonstrate, but hard to describe. Avoid jerky string changes.

STEP 3 : Ready to go ! Master the first bar. The string crossing is irregular, and needs to be thoroughly learnt. Go slowly....! The study is marked Moderato Assai. A steady tempo ( = 52 ) will allow the RH to develop fully, whereas rushing may lead to a lack of proper RH control. The RH movement only be learnt at a very slow tempo ( = 50 )

It's possible to play the bar on open As and Es once or twice. Keep the string crossing ( or vertical deviation ) to a minimum ( as if playing on one string ! ).

The tempo can be gradually increased without ever losing the smooth string changing action of the R.H. Smooth = Good. Awkward or jerkily = Bad. Rode was famous for his "sweet" tone. Aim for a refined tone, not a big one. (yet!). Suppleness is good! Rigidity is bad!

Step 4.

Master the first 4 bars (+ 1st note of 5th bar). Aim for a steady tempo. A smooth mechanism will make for a "flowing" rhythm. "Feel" the 4 beats per bar. N.B. Avoid losing the correct rhythmic accents (above) in bar 4. Master it on its own.

Step 5.

Master the following 4 bars : L.H. note the pattern or shape of the chord is the same throughout the bar 5. This "chord memory" for each bar is like the L.H. of a guitar strummer! (i.e.. one pattern to be recalled for the start of each new bar). Bars 6 and 8 are tricky and contain slurred string crossing, and preparatory études are needed to deal with these. i.e.. Kreutzer n°26 or Dont n°13. (harder). Save bow on the 3 note slur by concentrating the sound. It must be the same quantity of bow as a normal détaché!

Finally go for total mastery : Bar 5 & 7 = forte Bar 6 & 8 = piano : Question & Answer structure.

The dolce in bars 6 & 8 will help smoothen the tricky string changes which always threaten to chop up the flow of the music.

Step 6.

The mixed bowing section. (A mixture of détaché and slurs). A hint : On the first note of the bar don't use too much bow creating an accent which spoils the flow of music. In bar 12 perhaps the repeated fs are accents? Do this by using twice as much bow on the note to be accented. Use the same technique for the off beat accents towards the end of the etude. Learn bar 12 on its own. Note the tricky string cross * in bar 11.

Step 7.

Master bars 14 & 16 by playing them one after the other. They contain good L.H. passage work with shifting. Note how I have fingered bar 16 in the same way as bar 14! These bars require what is called Broad Détaché for R.H. "Concert style" playing (this will aid the L.H.in its ascent).

Step 8.

The Heart of the study. And the hardest passage to master. I have fingered it with 10ths where the asterisks are. Can you see why using the 1st finger (instead of the 4th) creates a problem?

Last point. The fs at the start of each sequence.

P.S. These notes were inspired by my lessons in St. Petersburg and were designed neither to challenge existing authorities nor to dictate any absolute truths. They are simply designed to be interesting and useful.

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Last modified: January 31, 2001