SKIPPING THROUGH THE FUNDAMENTALS ? On occasion I will meet a young violinist who is playing the Kreutzer 42 Studies (the "Bible" of violin studies), but with considerable difficulty. Upon some inquiry I find that the last set of etudes that the student worked on prior to Kreutzer might go back as far as the Wohlfahrt Etudes. That, I am afraid, represents a quantum leap in difficulty and leaves the student frustrated and severely disadvantaged. There needs to be an orderly progression so that the student can learn in manageable increments. I tell my students that patience IS the shortcut (if only they would all take my advice). While the Kreutzer studies begin rather innocently for the first six or seven etudes, there is absolutely nothing in the Wohlfahrt or etudes of a comparable level that prepares a student for the high registers, trills, octaves and other double stops that follow shortly after Kreutzer no. 2 (made famous by the deliberately out of tune playing and deadpan expression of the late Jack Benny). OUTLINE AND SEQUENCE OF ETUDE BOOKS There are a number of etude books set in a widely accepted sequence that are intended to prepare a student for the demands of Kreutzer and beyond. After the three volumes of the STRING BUILDER series by SAMUEL APPLEBAUM (which I prefer to the newer "Essential Elements" series for beginners) I move to the WOHLFAHRT FOUNDATION STUDIES (Carl Fischer Edition, K.H. Aiqouni, editor). This edition comes in two volumes, the first completely in first position but with excellent finger placement and bow stroke exercises, and the second volume takes the student beyond first position with an emphasis on the third position. While there are other fine editions of the Wohlfahrt Studies, the Carl Fischer edition offers the most logical order for these etudes. While still in Book 1 of the Foundation Studies (and sometimes sooner, if the student's hand is flexible enought to manage whole steps while keeping the fingers down), I introduce the student to a systematic study of scales with the HRIMALY SCALE STUDIES for the Violin (Schirmer Edition). One can start with something as simple as the one octave scales on page 8 and gradually move on to the three octave scales on page 33. After the Wohlfahrt I go to the KAYSER (Op. 20) ELEMENTARY AND PROGRESSIVE STUDIES. After the Kayser, the sequence is MAZAS, Op. 36 (Schirmer Edition), the DONT 24 STUDIES, Op. 37 (PREPERATORY to KREUTZER and RODE) , and only then do I have the student attempt the challenges of KREUTZER. I want to say a word about the Mazas, Op. 36. These etudes represent the first real departure from relatively dry etudes and predictable bowing patterns and take the student into the realm of expressive melody, interpretation and the required subtleties of changes in bow speed and general issues of bow division. For the most part, the Mazas etudes are definitely not the "set it and forget it" variety for the bow arm and provide a major test of the student's inate musicianship. There are other excellent etudes that I have used with many students in conjunction with the above mentioned material. The more notable among them would be the SCHRADIECK "SCHOOL of VIOLIN - TECHNICS" (Book I, Schirmer Edition) and the SEVCIK, Op. 9, "PREPARATORY STUDIES in DOUBLE STOPPING" . The JOSEPHINE TROTT "MELODIOUS DOUBLE STOPS" series is a good choice for a more contemporary approach to double stops, although it does not offer the benefits of the development of independant finger action that is afforded by the classic approach of the Sevcik volume. SCALES Scales are another aspect of technical development that are often presented "on the fly" when a student needs some scales for orchestral or NYSSMA (New York State School Music Association) auditions. Scales should be part of the daily practicing routine since they are truly an X-Ray that shows any defficiencies in intonation, shifting, vibrato, string crossing, and tone production. As I have already mentioned, I start with the Hrimaly Scale Studies . However, at some point I switch to either the Flesch Scale Studies or the more recent, and in my opinion most excellent, Scales For The Advanced Violinist , by Barbara Barber (Preludio Publications). It is obvious that the Barbara Barber opus is based on the Flesch Scale Studies but it addresses one serious problem with that hefty volume. Most of the truly torturous variants of the scales and arpeggios in the Flesch studies are never played. Octave arpegios, fingered octaves, and similar demands are simply beyond the abilities of even very talented students. It is my view that a real concerted effort at mastering those difficulties is more likely to result in a need for physical therapy for the left hand rather than in a mastery of the fingerboard. For that reason, as a practical matter, more than half of the Flesch book is not useful. While by no means easy, the Barbara Barber scale book contains material that most serious students can actually learn to play. |
Links to Music Retailers and Publishers The titles to the tunes and excercises are a bit quaint by today's standards (and for the Stephan Foster melodies, politically incorrect), but the material is solid and well thought out. The longer I teach the more I appreciate that Samuel Applebaum was one of the master teachers of young children. Wohlfahrt Foundation Studies ( Carl Fischer Edition, Edited by K.H. Aiqouni) These Foundation Studies come in two volumes. Book I is all in the first position and Book II is mostly in the third position but also deals with shifting. For years I had used the Schirmer Edition but I prefer the logical sequencing of etudes by K.H. Aiqouni as well as the crisp printing and solid binding of the Carl Fischer edition. No skipping around ... go through all of them in printed sequence. Does anyone know how to pronounce "Aiqouni"? Kayser, Op.20 , Elementary and Progressive Studies (Schirmer Edition) For these studies, I have a slight preferance for the Schirmer edition.. The edition that I have consists of three thin volumes but the Kayser may be also be available in one complete volume. These studies are a perfect follow up to the Wohlfahrt and I would not advise that they be skipped on the road to Kreutzer. Mazas, Op. 36, 75 Melodious and Progressive Studies (Schirmer Edition) As I have already mentioned above, these etudes are the first to really challenge the student's inate musicianship. Phrasing, vibrato, smooth shifting, and above all, subtle changes of bow speed, are required to make music out of these lovely etudes. The bow arm must lead with authority and the teacher must demonstrate the richness of tone and musical style that these little gems require. The student who is gifted will absorb and mimic the nuances and will take the first step from playing the violin to making music on the violin. In the Schirmer Edition I use only Volumes I and II. Volume III is difficult, more at the level of Rode and Gavinies, rather than pre-Kreutzer. Dont, Op. 37, 24 Exercises (Preparatory to Kreutzer and Rode) (International, Ivan Galamian) These etudes emphasize finger preparation (the golden rule of a solid left hand technique) and rarely venture beyond the third position. The problems lie in string crossings or smooth connections of left hand passage work. The exceptions are numbers 19, 22, and 24, which are double stop exercises of considerable difficulty. Kreutzer 42 Studies or Caprices (Schirmer Edition, Singer) This is the most famous of all etude books, "The Bible of Violinists". Whether it the creaky and humerous performance of Kreutzer no.2 by Jack Benny or scores of young violinists practicing Kreutzer no. 7 in the Catskills of upstate New York at the Meadomount School of Music, this volume occupies an important place in the development of violinists and in the folklore of the art form. Before Kreutzer you are a student, after Kreutzer, you tackle the heart of the difficult violin literature.. Fiorillo 36 Studies or Caprices (International Edition, Ivan Galamian) Although this volume is sometimes skipped over, it is a valuable and serves as a kind of "Rode Light". The etudes are shorter than the Rode and a bit less difficult, but trust me, they are not something that I would care to sight read. Rode 24 Caprices (International Edition, Ivan Galamian) To play these well and with ease, a student has to be approaching a virtuoso technique. A good student will find challenges for both the left hand and the bow arm. I remember working on these with Ivan Galamian and I recall that these studies tested my abilities to the fullest, while at times, I tested his patience. The problems are of clarity and articulation combined with awkward string crossings and a real workout in the higher positions. Warning .... if the student is playing these etudes, the teacher had better have a look at them as well. Gavinies 24 Studies (International Edition, Ivan Galamian) In looking over these studies, one must conclude that Pierre Gavinies had an absolutely extraordinary trill, even in double stops. If I had a student who could play no. 15 (double stops all the way) or no. 24 (hello Paganini), then I would ask the student to be my teacher. Fortunately, most of the studies are more accessible, but they require real work to sound convincing. Paganini 24 Caprices (International Edition, Ivan Galamian) SharMusic.com |