"The study period of the average American is limited. It has been
growing less year by year. Hence the teacher has had to redouble his
efforts. The desire to give my pupils the essentials of technical
control in their most concentrated and immediately applicable form, have
led me to evolve a series of 'bow exercises,' which, however, do not
merely pursue a mechanical purpose. Primarily enforcing the carrying out
of basic principles as pertaining to the bow--and establishing or
correcting (as the case may be) arm and hand (right arm) positions, they
supply the means of creating a larger interpretative style.
"I use the Kreutzer studies as the medium of these bow-exercises, since
the application of new technical ideas is easier when the music itself
is familiar to the student. I have a two-fold object in mind when I
review these studies in my particular manner, technic and appreciation.
I might add that not only Kreutzer, but Fiorillo and Rode--in fact all
the celebrated 'Caprices,' with the possible exception of those of
Paganini--are viewed almost entirely from the purely technical side, as
belonging to the classroom, because their musical qualities have not
been sufficiently pointed out. Rode, in particular, is a veritable
musical treasure trove.
THE APPLICATION OF BOW EXERCISES TO THE
STUDY OF KREUTZER
"How do I use the Kreutzer studies to develop style and technic? By
making the student study them in such wise that the following principles
are emphasized in his work: _control before action_ (mental direction at
all times); _relaxation_; and _observance of string levels_; for
unimpeded movement is more important than pressure as regards the
carrying tone. These principles are among the most important pertaining
to right arm technic.
"In Study No. 2 (version 1, up-strokes only, version 2, down-strokes
only), I have my pupils use the full arm stroke (_grand detaché_). In
version 1, the bow is taken from the string after completion of
stroke--but in such a way that the vibrations of the string are not
interfered with. Complete relaxation is insured by release of the
thumb--the bow being caught in a casual manner, third and fourth fingers
slipping from their normal position on stick--and holding, but not
tightly clasping, the bow.
"Version 2 calls for a _return down-stroke_, the return part of the
stroke being accomplished over the string, but making no division in
stroke, no hesitating before the return. Relaxation is secured as
before. Rapidity of stroke, elimination of impediment (faulty hand or
arm position and unnecessary upper arm action), is the aim of this
exercise. The pause between each stroke--caused by relinquishing the
hold on the bow--reminds the student that mental control should at all
times be paramount: that analysis of technical detail is of vital
importance.
"In Study No. 7 I employ the same vigorous full arm strokes as in No. 2:
the up and down bows as indicated in the original version. The bow is
raised from the strings after each note, by means of hand (little
finger, first and thumb) not by arm action. Normal hand position is
retained: thumb not released.
"The _observance of string levels_ is very essential. While the stroke
is in progress the arm must not leave its level in an anticipatory
movement to reach the next level. Especially after the down-stroke is it
advisable to verify the arm position with regard to this feature.
"No. 8 affords opportunity for a _résumé_ of the work done in Nos. 2 and
7:
[Illustration: Musical Notation]
"It is evident that the tempo of this study must be very much reduced in
speed. The _return_ down-stroke as in No. 2: the _second_ down-stroke as
in No. 7: the up-strokes as in No. 2.
"In Study No. 5 I use the hand-stroke only--at the frog--arm absolutely
immobile, with no attempt at tone. This exercise represents the first
attempt at dissecting the _martelé_ idea: precise timing of pressure,
movement (stroke), and relaxation. The pause between the strokes is
utilized to learn the value of left hand preparedness, with the fingers
in place before bow action.
"In Study No. 13 I develop the principles of string crossing, of the
extension stroke, and articulation. String crossing is the main feature
of the exercise. I employ three versions, in order to accomplish my aim.
In version 1 I consider only the crossing from a higher to a lower
level:
[Illustration: Musical Notation]
version 2:
[Illustration: Musical Notation]
version 3 is the original version. In versions 1 and 2 I omit all
repetitions:
[Illustration: Musical Notation]
Articulation is one of the main points at issue--the middle note is
generally inarticulate. For further string crossing analysis I use
Kreutzer's No. 25. Study No. 10 I carry out as a _martelé_ study, with
the string crossing very much in evidence; establishing observance of
the notes occurring on the same string level, consequently compelling a
more judicious use of the so-called wrist movement (not merely
developing a supple wrist, with indefinite crossing movements, which in
many cases are applied by the player without regard to actual string
crossing) and in consequence securing stability of bow on string when
string level is not changed, this result being secured even in rapid
passage work.
"In Studies 11, 19 and 21 I cover shifting and left thumb action: in No.
9, finger action--flexibility and evenness, the left thumb relaxed--the
fundamental idea of the trill. After the _interrupted_ types of bowing
(grand _detaché_, _martelé_, _staccato_) have been carefully studied,
the _continuous_ types (_detaché_, _legato_ and _spiccato_) are then
taken up, and in part the same studies again used: 2, 7, 8. Lastly the
slurred _legato_ comes under consideration (Studies 9, 11, 14, 22, 27,
29). Shifting, extension and string crossing have all been previously
considered, and hence the _legato_ should be allowed to take its even
course.
"Although I do, temporarily, place these studies on a purely mechanical
level, I am convinced that they thus serve to call into being a broader
_musical_ appreciation for the whole set. For I have found that in spite
of the fact that pupils who come to me have all played their Kreutzer,
with very few exceptions have they realized the musical message which
it contains. The time when the student body will have learned to depict
successfully musical character--even in studies and caprices--will mark
the fulfillment of the teacher's task with regard to the cultivation of
the right arm--which is essentially the teacher's domain.