[4] See _The Study of the Kreutzer Études_, by Edith L. Winn.
[5] _School of Bowing_, by O. Sevcik, Op. 2 in two Books. Systematic
and progressively graded technical bowing exercises. Published by Carl
Fischer, New York. Price, 75 cents each book.
No. 6.
[Music]
_Andante sciolto_ means about the same as _Andante commodo_ (as slowly
as you please). At the middle, or upper half, of the bow, cut the notes
lightly and accent trills. The second four measures require grace and
ease in the upper half of the bow. Remember to discriminate between the
short staccato at the point of the bow and the broader detached stroke.
Be very careful of intonation at this point.
[Music]
The opening measures in the seventh line may be played with a raised
bow stroke, middle of the bow. Play near the point of the bow in the
last four or five measures of the étude, lightly and elegantly.
Important points to remember in this étude are: Passages bowed near
the point are light, as a rule; passages requiring broader bowing are
played forte. Always raise the bow slightly for an attack. Each group
must be well defined, with accents strong. Pause long enough between
the groups to gain poise. Always draw a long bow at the middle with
sufficient length to be free and to secure tone. In this exercise, as
in many others, the left hand is of most importance. It must be ready.
Do not lose time by the trill. Play the single notes freely. These are
not staccato. Whenever the staccato occurs in the Hermann edition, as a
rule one must play in a broader style. Those old composers did not use
the staccato much. Witness Fritz Kreisler playing a work of the period.
He gives it more tone-color and varied phrasing than in its period, but
he uses very little short staccato work. Number six is a joyous, light
work of the French school. It must be technically clean cut, and clear
as crystal.
No. 7.
While _allegro_ with the old composers was not like our modern
_allegro_, an _adagio_ was practically the same as at present. Full
bowing and a broad, free tone, as well as great dignity, were demanded.
I do not believe that the early violinists played with as great warmth
of tone and freedom as is now secured by artists.
The old masters played correctly and classically; they used the
crescendo and diminuendo, and were masters of tone graduation, but
they did not give the emotional treatment to their subjects that is
now an apparent necessity. This étude begins pianissimo, but one must
cultivate a “concert hall” tone, and make a crescendo in the first two
measures; the same in the next group. Tone-color is a prime essential
in this étude. Embellishments must never interfere with rhythm. Note
the _adagios_ of Mozart’s quartets. The old writers used embellishments
because they lacked intensity and were not skilled in the use of the
vibrato. Although number seven is not difficult, it must be technically
perfect. At line two repeat the up bow on the second note of the second
group. Always do this for beauty of phrasing. Keep broad bowing when
possible. Note in the sixth line some peculiar rhythm. Count four
steadily, using no embellishments, at first.
[Music]
The embellishments of the seventh line must not interfere with rhythm.
In bow length one must not be hampered by exact rules. Let the nature
of the passage decide the bowing. One must not keep trilling if the
phrasing demands a pause. The opening measures of the _allegretto_
are played at the middle of the bow, the staccato note being lightly
played. The _allegretto_ comes in jocund, with a slight pause between
groups, in the upper half of the bow. Try to maintain a _forte_
throughout.
No. 8.
[Music]
This is a dignified and stately étude which requires very much shading.
It is one of the most artistic of all, similar in character to the
first part of number one. The teacher may count eight instead of four,
if desirable, as we sometimes do in the _andante_ of a Mozart quartet.
Give the dotted sixteenth note a little more time, to suit the nature
of the work.
Again I would call attention to the second Kreutzer[6] étude, and slow
scales with the crescendo and diminuendo four times on one note. Many
claim that the vibrato affects the quantity as well as the quality of a
tone. At any rate, the vibrato must be used in such works.
Play the 4th, 5th and 6th measures of the first line as indicated.