[Music]
Nothing new presents itself at this point in bowing. A free detached
forearm stroke instead of the short staccato is desirable until the
technical side of the étude is mastered. I generally take the first
three measures, contrasting them, then memorizing them. I also refer to
certain well-known progressions in the Schradieck arpeggios. Very few
students after a week’s practice can play this étude without mistakes
in the progressions. It is, therefore, desirable to study it line by
line. The second line follows the same progressions as the first,
though we begin a whole tone higher. Sometimes I oblige my students to
write down each line from memory, in order to master the progressions
mentally.
Again, I listen to related measures repeated several times. The
question may arise, “Should the teacher first play the étude to the
pupil?” The teacher should explain the bowing of each étude assigned
for the next lesson, but should not, as a rule, play it. The student
should analyze it and get all he can out of it before bringing it to
the teacher. This develops the power of reasoning and concentration.
He thus learns to stand alone. So many students play merely by
imitation, that it is a question in modern violin study whether it is
wise for the teacher to illustrate too much. Teach the pupil to deduce
conclusions himself. Hear his version, then show him the way. Do not
play études too much with him. Play the passage alternately with him.
Do not play a concerto to a student before he has practiced it. His
conception means more to him than yours. It is equally true of the
other fine arts. No great painter was ever made whose pictures were
sketched for him. The creative and analytical instinct must precede
pure imitation. I recall the study of the Bach solo “Sonatas.” In
Berlin we studied them very rigidly, but when away from that atmosphere
we played them with freedom. These suggestions do not excuse the
teacher from frequently illustrating. A teacher who sits and listens to
violin students all day because he is too indifferent to play, cannot
guide well. Again, the teacher should be able to give a perfect example
of a style of bowing or phrasing. Teachers who play no more are not
wise educators.
As far as intonation is concerned, this étude is one of the most
difficult of all, yet it is very useful from the standpoint of
modulation. The last three lines require a free wrist stroke (legato)
at the point of the bow. As more than two strings are included, the
stroke is an arm and wrist one. The elbow must move out in the same
plane as the forearm and wrist. Absolute freedom of all parts of the
arm is necessary.