[Music]
[Music]
[Music]
Before beginning this étude, review the chord studies of Sitt[25] and
Kreutzer, using with the first Sitt study the following bowings:
1. Whole bow.
2. Lower half.
3. Two notes to a bow, middle, point and heel.
4. Four notes to a bow.
I prefer this study to the Sevcik _4,000 Bowings_, Section V. I would,
however, use the Sevcik studies for securing a flexible wrist stroke.
Also use Schradieck’s _Technical Violin School_, Books II and III.[26]
I make some changes in the chords of this étude, as follows:
[Music: 1) 7th measure. 2) 16th and 17th measures.]
Use also the following bowing:
Single detached chords down bow, lower half.
[Music]
The wrist must be very flexible. The whole arm is used. Play the three
notes simultaneously. Play also thus, whole bow:
[Music]
We now come to the pure legato at the point, middle, and heel of the
bow.
Two notes tied, four and eight. Vary this by playing the first two
notes legato, the second two staccato at the point of the bow; the
first two legato, lower half, the second two flying staccato.
We will now turn to two styles of legato bowing: eight notes to a bow;
two tied notes followed by six tied. Use the whole bow, also upper and
lower half. The next bowing is two tied followed by the short staccato
at the point of the bow. Then use two tied, two cut, at the middle or
point of the bow. Apply the principles of Sevcik, _4,000 Bowings_,
Sections III, IV, and V.
I would introduce a style of bowing very much used in solo and
orchestral work: a running legato at the point in triplets. Same at
the middle of the bow. Same at the heel. Three tied legato, followed
by three flying staccato, lower half of bow. Three down-stroke middle,
spiccato, three up-stroke.
These are all the practical bowings I use, but notes played in one bow,
at the point, are useful.