[11] _Seventy-six Melodious and Progressive Studies_, by F. Mazas,
Op. 36, in three Books. Book I, Études Speciales; Book II, Études
Brilliantes; Book III, Études d’Artistes. Price each, 50 cents.
Published by Carl Fischer, New York.
No. 14.
[Music]
It is an erroneous idea that those outside of the French school
sometimes entertain concerning the nobility of tone of that school.
In cantabile work, tone-color and proportion are sought and obtained.
Brilliancy, vivacity, and piquancy belong to the French temperament,
but depth, dignity, and nobility are possible, even in a Frenchman.
Hence it is that such exponents of the French school as Thibaut,
Kreisler, and Marteau play an _Adagio_ with beauty and nobility. The
German school, while essentially lacking in versatility, lightness,
and elegance, as compared with the French, excels _only_ in breadth
of tone, purity, and dignity. It is absurd in these days of constant
comparison between schools, considering the frequent study of great
artists in several Continental schools, to assume that any one of
them has the only legitimate interpretation of the classics. The
French-school artist plays Corelli and Tartini with more poetry and
varied tone-color than the German-school artist, giving to all the
classics of that period more modernity and consequent beauty than they
ever possessed in their time. Again, the present use of the vibrato
gives warmth to any classic. I speak of these things because one can
learn to play the _Adagios_ of Fiorillo and Rode in Paris.
In connection with this étude, played largely on the G string, it would
be well for the student to study such works as the Raff “_Cavatina_,”
the Bach “_G String Air_,” an Air from a “_Suite_” by Johann Mattheson,
and other works which will give one perfect freedom in the higher
positions on one string. The G string has always been a favorite one
for beautiful slow movements of Concertos. Both Bach and Paganini
realized its possibilities. Possibly the student holds the neck of the
violin too tightly with the thumb. The latter must be ready to move
quickly into any position, the fingers being well arched in the very
high positions. A perfect command of the legato and fine discrimination
in the use of the portamento are desirable. One should avoid sliding up
and down the strings when the phrasing does not demand the portamento.
Do not hurry the movement. Pause between phrases to give added dignity.
In playing very high on the string, do not press upon the strings too
heavily with the bow, as the length of string is now so short that
additional pressure gives a rasping tone. Practice the crescendo.
Economize space in long bowing. Do not allow the fingers to leave the
strings at such points.
A perfect legato can only be obtained when the fingers and bow are in
perfect sympathy. A somewhat dignified trill is necessary. Maintain
the proper tempo. In the last line preserve the legato even if the
grace notes seem to disturb it. At the close begin the trill slowly;
then increase the rate. If the student fails in the command of the
higher positions, use the Halir studies daily. Freedom will soon be
secured.
No. 15.
[Music]
You will observe that the older composers of technical works used easy
keys. They themselves were players of the violin, and knew how to
write in a violinistic manner. You will also observe that two methods
of playing this étude are indicated. As a special daily exercise, in
connection with this étude, I would suggest Sevcik’s _4,000 Bowings_,
Op. 2, Part 2, Sections III and IV, two and three string transfers.
After playing these exercises for an hour, including the Halir legato
studies, pages 1 to 4, _Tonleiterstudien_, the wrist and forearm are
supple for the daily work, while the left hand falls easily into line.
In all technical work the left hand must be trained to anticipate the
bow-arm. More depends upon the left hand than upon the bow-arm, hence
the necessity of strong fingers and an ample technic.
_Allegro_ is an elastic term in the classic études. Play slowly and
without stumbling until you master the content of the work, then
increase the tempo. The preferred method of playing this étude is
the lower one. Play in the upper third of the bow, not _forte_, at
first, until freedom of the bow-arm is assured. A lateral stroke of
the wrist is not necessary. The wrist should be flexible and free,
however. Play a smooth, running stroke, for a pronounced staccato is
likely to make the muscles of the fingers and wrist rigid, unless one
has perfect command of the bow-arm and hand. The student should train
himself to read ahead of the measure he is playing. Place all the
fingers in position at once, whether a new position is to be taught
or not. A prevailing tendency in this work is to play with a stiff
arm and to use too rapid a tempo. That is not wise. Play slowly until
freedom is assured. The sequence of positions should not trouble the
player. String-transfers should be made on the edge of the hair, or
as nearly so as possible, and there should be no “tilting” of the bow
from the outer edge to the middle and then to the inner edge of the
hair. Keep the forearm high enough so that the bow lies easily on two
strings. Always anticipate string-transfers by practicing arpeggios
on four strings, with the entire arm well arched and no break in the
curve. While many short string-transfers, especially at or near the
point of the bow, require only the use of the wrist, there is an
almost perceptible movement of the arm from the shoulder, so that the
curve described on the strings may be easy and graceful. This is one
of the most important things in connection with the obtaining of a
beautiful legato. A study of my _Three Octave Scales_,[12] with varied
bowings, in the upper half of the bow, should be carried on during the
entire study of Kreutzer and Fiorillo. Note the difficulty of easy
string-transfers in the sixth measure. These are very treacherous,
if one has not mastered the two suggested bowings in the first five
lines. Now, let us take the passage slowly near the point of the bow,
the first note being played lightly staccato, and the next two slurred
notes staccato on the up bow. Do not jerk the first note of the group
of three. Sometimes teachers prefer to use single detached bowings
throughout the exercise. That is not desirable; in fact, all students
of this work should have a thorough knowledge of positions. I do not
believe in the practice of many and varied bowings in connection with
Fiorillo. We have practically fixed the fundamental bowings in the
first twelve Kreutzer études. At present many teachers are using the
Sevcik _4,000 Bowing Studies_, and carefully teaching Mazas’ _Études
Brilliantes_.[13] Sitt and Dont must inevitably aid in the mastery
of bowings, as well as of position work. There is so much to learn
from standard Concertos that it seems unwise, in our busy American
life, to burden the student with too many études. If he can learn the
great principles of violin playing from well-known works, or a few
well-chosen études, he has time for the study of legitimate classics.
The entire Sevcik plan is too extensive and impractical for American
violin study; nevertheless, the most progressive teachers are adapting
Sevcik to the needs of their pupils. We cannot teach as Sevcik teaches;
our entire conditions of life are at variance with European conditions.
If the preparatory work for Fiorillo is well done, we may be sure that
the student will progress rapidly, and there will be no need of the
introduction of many and varied forms of bowing at this point. Review
with the flying staccato in the lower half of the bow, also at the
middle of the bow spiccato.
Play the following measures at the point of the bow:
[Music: On 2 strings]