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Franz Wohlfahrt Elementary Studies Op.54
Suggested Edition : Peters Nr.3328, edited by Hans Sitt
 | N.1. A typical détaché study in C
major.  Perform in the middle of the
bow. Take care never to exceed the indicated tempo : Allegro Moderato,
otherwise the quality and substance of this most fundamental of bowing
strokes will be lost. The F ( forte ) should be taken as meaning a full
sound, but take care not to force the sound out of your instrument, rather
to allow some of the natural weight of your right arm to fall on the string.
The lengthy horizontal lines ___ after the fingering are very helpful in
indicating that the finger should be held in its correct position on the
fingerboard until indicated. One technique called left hand preparation,
though only slightly more advanced, is not indicated. For instance the very
first note ( a 2nd finger on the A ) should include ( as the 2nd finger goes
down ) a 1st finger on the D. This way there will be no last minute panic as
the finger changes string to play the E ( 6th note ) on the D string. The
net effect is to simplify the string change, leaving the correct movement
entirely up to the right hand ( bow ). In this study every note must connect
to its adjacent note. The notes must not be played staccato, with gaps nor
with accents, rather, the sound from beginning to end must remain on a
constant level, almost as if playing legato. This legato effect is the ideal
goal of a deftly executed cantabile détaché.
| N.2 Execute using the whole bow ( GB) throughout this study. Start at the
heel, and with an MF sound ( fairly lightly ) draw the bow to the tip and all
the way back to the heel within the 1st bar. Remember to leave down the
1st finger during the 1st 2 bars as indicated, but ideally, though 5ths need
to be stopped, the 1st finger should stay down throughout the first line. On
the whole, the first finger should remain firmly rested in its place for 95
% of the study. This is common with most violin pieces. The four quavers
should be equally distributed along the length of the bow, i.e. a quarter of
bow for each quaver. Make sure you follow this rule accurately. Make sure
the bow speed remains constant throughout this study, and do not accelerate
the bow as you reach the heel or as more often happens, the tip. In fact the
bow should change direction not suddenly, but slowing down imperceptibly
before the change in direction. In all cases no accents should be heard, and
no sudden movements made during bow changes. This study must sound very
smooth and calm.
| N.3 This study is in 2 beats per bar. Use the whole bow from heel to tip
as evenly as possible. Each note receives a sixth of the bow length. 3 notes
in the lower half ( 1st beat ), and 3 notes in the upper half ( 2nd half ).
Any group of 3 notes receiving more than half the bow will sound louder than
the other 3 notes receiving the remaining ( less than half ) length of bow.
The tempo Allegro, indicates a more fluid tempo than N1. This study is ideal
for encouraging the left hand fingers to operate lightly, gently, slowly (
i.e.. no sudden banging into place ), and with the flat, fleshy part of the
finger. ( Not the finger tip ) The reason for this is to soften the hand,
thereby encouraging a healthy and correct finger action, performed by the
finger alone. The thumb should be totally passive. Do not play this study
loudly, rather aim for a sweet sound.
| N.4 This study introduces a new mixed bowing stroke. Mixed bowing implies
a combination of détaché and legato. On bar 1 start near or at the frog.
At bar 2 the bow should be at or near the tip, and a mirror or symmetric
image of bar 1 is bowed. Thus the bow performs 2 ( generously broad quantity
of bow ) détaché strokes at alternating sides of the bow throughout the étude.
This bowing symmetry, no matter what the left hand is required to do,
instills stability and uniformity of sound, an invaluable contribution of
the German School which eventually leads to Solo Bach. The printed variation
before this étude would be played confining the bow more to the middle.
| N.5. Rather in the same style as N4, but perhaps slightly less elegantly
bowed, this study is slightly harder than N4 as far as bowing technique is
concerned. The same mirror image as N4 is found here, but the first note of
each bar must be sustained for its correct time value. i.e.. 3 whole beats.
( 2½ actually, but the 3rd beat must be waited for before playing the
quavers ).
| N.6 A much happier étude, with a much more eloquent sequence of strokes.
This delightful study must be started just before the middle of the bow ( as
in bar 2 the down bow must pass through the middle ). Play the semi quavers
with a broad, but unforced, mixed détaché stroke on the G string. In bar 1
the notes should be broadened, almost lengthened, but in bar 2 the quavers
are to be played staccato ( shorter as indicated ). Exactly how much bow and
how staccato is up to individual stye , once the teacher is happy with the
fundamental mechanics involved. At no stage in this study must the bow ever
come off the string. The staccato notes are obtained simply by stopping the
bow for a fraction of a second in between each note. Excessive bowing
pressure should not be used during the 1st bar on the G string, as otherwise
the sound will not come out ( i.e. it will remain squashed ). It is always
necessary to perform these studies with expression and musical awareness,
especially considering the monotony of the bowing throughout each study. In
other words the same bowing is used throughout each study, so the occasional
rall. or broadening is indicated for, as in the end of bar 8, before the
theme is restated in bar 9. This musical sensitivity and inventiveness
applies to all these studies.
| N.7. At first this looks out of place !! A string crossing study for the
right hand. The different note lengths train the arm to cross strings at (
necessarily ) different speeds. A sustained tone must be maintained
throughout the piece, and the tone lost during the string change should be
minimal. This means that the right hand string change must not be executed
with sudden jerky whole arm vertical jolts, but with slow and smooth
movements, performed choosing as small an angle as possible when crossing.
The calculation of this string angle must be kept to a minimum to reduce the
inevitable pause in crossing to far strings. In bar 3 and 4, the cross is
between a G and A string. Therefore, following the previous rule, the bow
should play the G as close to the D string as possible. When it crosses to
the A string it should play that string as close to the D string as
possible. This "cutting of corners" technique is even more
essential when rapidly crossing from G to E, as a Paganini caprice may
require. Right hand ( & arm ) string crossing is a large topic to
explain fully here, but by reading other instances where this action is
described, gradually a mosaic of information and ideals are gathered. As a
starter I will mention that upper arm including the elbow ( weightier )
components are used in slower tempi, and forearm and wrist or hand movements
( more agile ) are used predominantly during faster tempi. Most of the time
a subtle blend of both are used to produce as wavy and smooth a transition
as possible. No angular Z shaped bow changes are desirable.
| N.8 This study begins slightly above the middle of the bow ( towards the
tip side ). The 1st up bow is to be played with a fast bow ( producing the
accent ). A slower down bow, ( incidentally this down bow is played nearer
the bridge due to a slower bow speed ) holds the two quarter / crotchet G
string notes, then 2 détaché ( up down ) notes on the string, quite
broadly lead to the fast accent up bow at the start of the next bar. The bow
may be lifted at the end of this up bow stroke. Up bow strokes are faster
and more suited to accents than down bows ( which hold the string more
reliably ). This study is all about proving that point.
| N.9 Another delightfully violinistic study. The bow may leave the string
during each rest, but care must be taken to ensure that it is placed (
without a bump ) on the string before drawing the bow thereby playing the
1st note of the bar. In this string crossing passage the right elbow and arm
must describe a circle ( or a vertically ascending arc) during every bar of
the first line. In other words the right arm is changing string throughout
those bars. This is a difficult point to describe, but easily demonstrated.
It can be summarized by saying that the right hand string changing movement
is not just executed in between the 2 notes that change string. The string
changing actually continues, and even starts before the first note has begun
! Therefore ply the 1st note nearer the e string, and start changing string
throughout the duration of the first note. This is called preparing the
right hand, i.e. string changing. At no point in bar 1 does the bow travel
along a fixed line. It is always changing string. The 1st bar should thus be
played with a right hand that constantly changes height vertically
uninterruptedly even during the notes.
| N.10 A left hand vertical finger mechanism study. Play this one piano and
not too fast. Use the 4th finger very lightly, and never bang the left hand
fingers with an audible bang as they hit the fingerboard. The opposite
approach is needed. The fingers must operate freely ( but never forcedly )
from their 3rd joint from the tip. The lifting action of a finger must be
faster and more sudden than the slow falling ( due to gravity ) action
downwards. Muscles are not required to lower a finger ( we use a handy
device called gravity ). Muscles are required, however, to raise a finger.
They should thus be raised with a light and springy "flick" from
the 3rd joint. Never involve the hand, wrist and arm, in a tiring war of
endurance, rigidity and strength. The way to agile left hand technique is
not to strain the hand, but to rest frequently, and keeping the circulation
flowing in the hand. Rigidity will stop blood from circulating, and your
hands will start to freeze. Do not overdo this type of exercise / study.
| N.11 This symmetric bowing study should be played with the bow always on
the string. The tempo should be fairly fast and flowing, and the middle 50%
of the bow should be used. The 2 notes indicated with a dot played in the
upper half should initially be treated as détaché. The dot indicates that
it is not broad détaché but concentrated détaché to be played with a
limited amount of bow. Of course this requires quite a fast tempo. Keep the
bow operating firmly in the middle. A good study.
| N.12 The correct bowing is up do o own up up do o own up up. Again the up
bows are faster are more accent like than the down bows. The two up bow
should be quite horizontal, yet always on the string, never leaving it. The
action is 2 horizontal, flat yet quite long sounding _ _ movements, firmly
on the string. The 3rd down bow note should always be short, like the 2
preceding quavers.
| N.13 Mostly a détaché study with slurs ( which are also a sort of détaché
). These slurs often occur on the string change, providing useful material
to practice these string changes when using a limited amount of détaché
type bowing. The bowing should be quite concentrated, using just a little
bow ( very adherent to the string ) . The string change is always to an
adjacent string. Make sure you really sing with the bow thereby connecting
those strings. Violin playing should sound as if it is all on one string.
| N.14 Start this by thinking strongly of a firm downbeat. The 3rd note (
last note of each slur ) should be short, especially if the tempo is on the
Moderato side. If a true Allegro ( preferred ) tempo is reached, then the
shortness will come automatically because of the tempo. Try to find
colorings and variety to the phrasing, sometimes even inventing the
occasional nuance or forte / piano contrast. This should all be done with
musical taste but never overdone.
| N.15 This is a good study for learning how how play the 3 slurred notes in
context with the détaché notes. Less bow and an optimized tension must be
sought after for the legato notes. They must occupy the same space as the détaché
notes. In other words a third of the bow. However they must not sound more
feeble than their surrounding détaché friends, rather, you should really
create adherence and tension in order to maximize the sonority of those
three notes. This bowing skill comes up very frequently in future studies
and repertoire. It is also a favourite of J.S.Bach, so a good start is best
made at this early age. More advanced studies ( such as Gavinées ) usually
tackle this skill. Not an easy étude for bowing by any standards. I prefer
to start this study exclusively down bow in the middle. Up bows should be
longer, but only imperceptibly so. This will help to keep the bow in the
same area.
| N.16 Further mixed bowings to be played in the middle of the bow in this G
minor study. Left hand semitones must be place as closely as possible to one
another. The semitones and leading notes should want to merge and close to
their 2nd note. All semitones should be close together in pitch. Minor
thirds ( such as b flat 4th finger on an E ) should want to resolve
downwards to the a ( 3rd finger on E ) . These must be as close to their
resolving note as possible too. No gaps should be present between the left
hand fingers when semitones are involved.
| N.17 A nicely balanced bowing sequence is presented here. The accent is
played by using a sudden quick bow, using more ( double ) quantity than the
norm. The first note must be played with an accent. The attack ( the initial
start of the note ) of the accents , and indeed the first note in the slur
should be very neat, clean and sharp. The last note of the slur can be
played dotted ( i.e.. shorter ) though just how much shorter will depend on
the exact tempo.
| N.18 An interesting bowing pattern. The bow must be lifted and replaced on
the string before playing the first note of each bar. The slurs are also in
détaché style.
| N.19 A Waltz tempo marking. This must have all the characteristics of a
waltz. It must not be played too quickly, but one must feel the urge to
dance. A regular metronomic 1 2 3 will not do. The rhythm must contain an
irresistible lilt characteristic of the true Viennese waltzes. A rush to the
first not followed by slightly held back 2nd and 3rd beats. There are many
ways to describe this slightly off-beat lilt, but if it is exaggerated, the
elegance is lost. Listen to some Willy Boskovsky conducting Strauss.
| N.20 Dolce is the first piece of advice to follow. The E string must be
played gently. Metal E strings must not be played harshly. Do not squeeze
the bow too tightly, rather allow the bow to glide ever so freely along the
string. Slightly more bow than on the other strings is needed when singing
on the E string. The whole bow must be used, dividing it into 3 equal parts.
Each phrase lasts 4 bars, so try and play this music paying attention to the
interplay and dialogue involved between the phrases. Each phrase will have
its own colour. The question / answer or masculine / feminine structure of a
phrase helps to shape and compose this étude. |
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