[14] Hans Sitt, _Technical Studies_, Op. 92, Part I, Book III, Double
Stopping, Thirds, Sixths, and Octaves. Published by Carl Fischer, New
York. Price, $1.00.
[15] See footnote, page 29.
[16] See footnote, page 29.
No. 21.
[Music]
Several editions of Fiorillo suggest varied bowings for this étude. We
have practiced varied bowings with Kreutzer, Sevcik, and other works.
One should be familiar with bowings before the study of Fiorillo.
The content of the étude must only be considered. Use a light legato
bowing near the point. The question has often been asked, “Does the
thumb bend in the fifth position?” After we leave the 3d position, the
thumb becomes flat under the neck of the violin. Be very careful of
intonation when the key changes. At this point do not change position.
It is an invariable fault of students:
[Music]
A quick transfer from third to second position must be made easily.
All passages of a chromatic nature, or in which there are sudden
modulations, should be played a good deal until correct intonation is
assured. Owing to the great similarity between Nos. 20 and 21, it is
wise to play the twenty-second before the twenty-first.
No. 22.
[Music]
The twenty-second étude is one of the most beautiful adagio studies in
violin literature. It is particularly useful to those who are studying
the Bach _Sonatas_ and the Spohr _Duos_. There is no need of playing
the first note timidly. One should be able to _think_ A, because of
the knowledge of absolute pitch. The position of the note is naturally
difficult. The thumb must lie well under the violin neck, in order
that the passage on the A string may be played with ease. Do not pull
the A string from side to side in the higher positions. This causes
false intonation. In the fourth measure use the third position, then
change to second position. As to the length of bow required, the volume
of notes and number on one bow govern the length, but a uniformly
broad style is advocated. One serious difficulty in the étude is the
command of the crescendo and diminuendo. Practice the three octave
scales, single whole bow slowly, making a crescendo four times. Use
the vibrato freely. Concerning high notes, play without pressure upon
the bow-stick, as the tone of a short string cannot be forced. It is
of the utmost importance that one should play with correct intonation.
The high notes are not as strong in tone as the low notes, owing to the
difference in length and vibratory quality of the strings.
We will now turn to the sixth position. The first note must not be
forced. The use of the same finger for position implies the portamento.
A smooth flowing legato passage is naturally to be played with a longer
bow. Sudden leaps from the G string to the E must be made with a high
arm and flexible wrist.
Play the bowings as marked. You will observe slurred notes in varied
groups. The three notes must be played with a long bow and in as
perfect proportion as the longer passage. The power to use the bow
wisely is difficult to acquire. Note the passages in the seventh,
eighth, and ninth positions. It is absolutely necessary that students
be free in the higher positions. Different editions vary concerning
the fingering in the last line. The bowing is usually uniform. The
difficulty of the étude naturally makes it one of the best of its type,
for the difficulties are legitimate ones, which naturally occur in the
great concertos:
No. 23.
[Music]
The bowing suggested in the twenty-third étude is one of the most
frequent and natural ones in concertos. It is adapted to an allegro
movement, and while it may be satisfactorily played near the point of
the bow, the forte would indicate a longer bow, possibly the upper
third. A free, undulating movement of the wrist, with only a slight
arm movement, in two-string transfers is desired. Again, the student
must be cautioned against raising the fingers too quickly. All fingers
must take their positions quickly and maintain them. In three-string
transfers more arm movement is necessary. Do not play over the entire
surface of the hair. Keep largely to the outer edge. Note that the
middle note is higher than the third note of this group, hence it is
wise to use this bowing:
[Music]
We return to the former bowing in the next line.
[Music]
The up-bow is not staccato, but a free stroke that will not be a
decided contrast to the preceding slurred notes. In connection with
this étude observe intonation carefully. Also add to the flexibility of
the wrist by the use of the _Études_ of Hans Sitt, Op. 92, Book III.[17]