A PEDAGOGICAL STUDY OF SELECTED INTERMEDIATE VIOLIN PIECES
by
CARLE DOUGLAS DUGUID, B.Ed., M.Ed.
A DISSERTATION
IN
FINE ARTS
Submitted to the Graduate Faculty
of Texas Tech University in
Partial Fulfillment of
the Requirements for
the Degree of
DOCTOR OF PHILOSOPHY
Approved
August, 1988
A PEDAGOGICAL STUDY OF SELECTED INTERMEDIATE VIOLIN PIECES
by
CARLE DOUGLAS DUGUID, B.Ed., M.Ed.
A DISSERTATION
IN
FINE ARTS
Submitted to the Graduate Faculty
of Texas Tech University in
Partial Fulfillment of
the Requirements for
the Degree of
DOCTOR OF PHILOSOPHY
Approved
~[/ Chairpo^^son of the Committee
O^ fj
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Accepted
Dean of the Graduate School
August, 1988
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Copyright
1988
Carle Douglas Duguid
I
ACKNOWLEDGEMENTS
I wish to thank my advisor, Dr. James Barber, for
his excellent advice and for his support and encouragement
throughout ray studies.
I wish to thank Dr. Donald Tanner
for his suggestions, patience and understanding during
the writing of this dissertation, and express my gratitude
to Dr. George Sorenson, Dr. Virginia Kellogg and Dr.
Frances Williams Scott for their insightful and helpful
comments and assistance.
I wish to express my appreciation to The Western
Board of Music for allowing me access to their files,
and to Ms. Patricia Barrett, Dr. Francis Chaplin, Dr.
Howard Leyton-Brown, Mr. Ranald Shean, Ms. Mary Shortt,
and Mr. Carlisle Wilson for analyzing the selected
pieces and commenting on their examination experiences.
Special recognition is due my family--my wife
Elizabeth Ann Duguid, my parents Scot and Marguerite
Duguid, and my children Christopher and Jennifer.
Without
their continued support, encouragement and patience this
dissertation would not have been written.
11
TABLE OF CONTENTS
ACKNOWLEDGEMENTS
ii
ABSTRACT
v
LIST OF FIGURES
vii
LIST OF EXAMPLES
viii
LIST OF PRELIMINARY EXERCISES
xiii
LIST OF ABBREVIATIONS
I.
II.
III.
xvi
INTRODUCTION
1
Background for the Study
1
The Western Board of Music
2
Need for the Study
12
Purpose of the Study
14
Definitions
16
Limitations
21
Notes
22
REVIEW OF THE RELATED LITERATURE
23
Pedagogy
23
Syllabi
70
Summary
76
Notes
78
SELECTION OF PIECES AND SKILLS
80
Selection of Pieces
80
Selection of Skills
87
Summary
90
Notes
91
111
IV.
ANALYSIS OF PIECES
SELECTION OF STUDIES AND EXERCISES
V.
....
92
Summary of Beginning Skills
93
Grade Four Skills
95
Grade Five Skills
128
Grade Six Skills
160
Grade Seven Skills
196
Notes
224
SUMMARY AND RECOMMENDATIONS
225
Summary
225
Recommendations
228
SOURCES CONSULTED
231
APPENDICES
A.
B.
C.
D.
E.
F.
G.
WESTERN BOARD OF MUSIC
EXAMINATION ENTRY FROM
WESTERN BOARD OF MUSIC
1987 ALBERTA AWARDS
2 39
240
REQUIRED LEFT HAND SKILLS
LISTED BY PIECE
252
REQUIRED RIGHT HAND SKILLS
LISTED BY PIECE
256
REQUIRED INTERPRETIVE SKILLS
LISTED BY PIECE
260
ETUDES CONTAINING PASSAGES
WITH REQUIRED SKILLS
261
SELECTED PIECES
270
IV
ABSTRACT
This dissertation provides the violin teacher with
suggestions and ideas for helping private violin
students acquire and develop the technical and interpretive expertise required by selected solo pieces at the
intermediate level.
It involves the analysis of the
skills necessary for the successful performance of twelve
intermediate level violin pieces selected from the syllabus of The Western Board of Music, which operates in
western Canada.
Intermediate level is defined by refer-
ence to five current syllabi.
Most students of Junior
High School and Senior High School age are at the intermediate level.
The twelve selected pieces are those
chosen most frequently for performance on Western Board
of Music intermediate level violin examinations in the
past decade.
The violin syllabus of The Western Board
of Music provides an appropriate resource for choosing
repertoire, since it is used by the majority of violin
teachers in western Canada and is available to most violin
teachers.
Pedagogues' comments on the required skills are
reviewed, and published etude material is suggested that
provides practice in each skill.
Short preview exercises,
sixty-one in total, are provided where the published
material is either inappropriate or nonexistent.
The dissertation provides appropriate pedagogical
resources for the teacher of the intermediate violin
student through the discussion of eighty-three examples
taken from the selected pieces.
Recommendations for
further research and action are made.
As well, the
history of The Western Board of Music is summarized and
its current operations are described.
Appendices include
required skills listed by piece, required skills contained
within standard intermediate level etude material and
the complete selected pieces from which examples are taken
in the dissertation.
VI
I
LIST OF FIGURES
1.
The Western Board of Music Local Cent ers
2.
Violin Examinations General Information and
Scale of Marking
o
9
3.
Grade Five Violin Examination Requirements
4.
Fingering Chart of Position Changes
on One String
Number of Grades and Certificate
Requirements of Five Music Systems
71
Expected Skills at Completion of
Beginning Level
81
Levels of Violin Instruction
in Five Music Syllabi
83
Frequency of Performance--Grade Four WB
Examination Pieces 1978 to Present
84
Frequency of Performance--Grade Five WB
Examination Pieces 1978 to Present
85
Frequency of Performance--Grade Six WB
Examination Pieces 1978 to Present
85
5.
6.
7.
8.
9.
10.
11.
... 10
33
Frequency of Performance--Grade Seven WB
Examination Pieces 1978 to Present
86
12.
Pieces Chosen for Analysis
86
13.
Required Skills--Grade Four Pieces
88
14.
Required Skills--Grade Five Pieces
88
15.
Required Skills--Grade Six Pieces
89
16.
Required Skills--Grade Seven Pieces
89
vii
LIST OF EXAMPLES
1.
0. Rieding.
Rondo. measures 9-11
96
2.
O. Rieding.
Rondo.
measures 52-54
97
3.
Anonymous.
Brother James' Air, measures 8-10
99
4.
Anonymous. Brother James' Air.
measures 18-20
101
G. P. Telemann. Suite in G
Bourree, measure 1
102
Anonymous. Brother James' Air.
measures 37-39
104
5.
6.
7.
G. P. Telemann. Suite in G
Rigaudon, measures 12-13
8.
.Anonymous.
9.
G. P. Telemann. Suite in G
Bourree, measures 11-12
G. P. Telemann. Suite in G
Loure, measures 3-4
10.
11.
Brother James' Air, measure 20 ... 106
G.P. Telemann.
12.
0. Rieding.
13.
Anonymous.
Brother James' Air, measure 36 ..
14.
H. Kayser.
Elementary and Progressive
Rondo, measure 21
Studies . , No. 7
0. Rieding.
16.
Anonymous.
109
110
112
114
115
Rondo, measures 19-20
115
Brother James' Air,
measures 21-25
117
17.
0. Rieding.
18.
G. P. Telemann. Suite in G,
Loure, measures 2, 6
Anonymous. Brother James' Air, measure 30 ..
19.
108
Suite in G
Bourree, measures 17-18
15.
105
Rondo, measures 15-18
Vlll
118
119
121
II
20.
G. P. Telemann.
Suite in G
20A - Rigaudon, measures 13-14
20B - Gigue, measure 9
20C - Loure, measure 7
123
123
123
21.
0. Rieding,
Rondo, measure 102
124
22.
Anonymous. Brother James' Air.
measures 1-5
125
23.
Anonymous.
Brother James' Air.
measures 16-17
126
24.
0. Rieding.
Rondo. measures 3-5
127
25.
0. Rieding.
Air Varie. measures 5-9
129
26.
0. Rieding.
Air Varie. measures 69-70
130
27.
0. Rieding.
Air Varie. measures 83-84
131
28.
R. Jaque.
29.
0. Rieding.
30.
R. Jaque.
31.
0. Rieding.
Air Varie, measures 55-56
137
32.
J. S. Bach.
Giguetta, measures 1-2
139
33.
0. Rieding.
Air Varie, measure 41
140
34.
R. Jaque.
Daussi la, measures 9-11
142
35.
0. Rieding.
Daussila. measures 10-13
134
Air Varie. measures 11-12
135
Daussila, measures 25-27
135
Air Varie.
measures 69-70, 107
144
36.
0. Rieding.
Air Varie, measure 33
145
37.
J. S. Bach.
Giguetta, measure 17
146
38.
J. S. Bach.
Giguetta, measures 20-24
148
39.
0. Rieding.
Air Varie, measures 61-62
149
40.
J. S. Bach. Giguetta.
40A measures 3-4
40B
41.
151
measure 8
0. Rieding.
151
Air Varie. measures 111 - 112
ix
.
152
42.
0. Rieding.
Air Varie, measure 44
154
43.
0. Rieding.
.Air \'arie, measure 82
156
44.
R. Jaque.
Daussila. measures 1-2
157
45.
R. Jaque.
Daussila, measures 1-6
158
46.
J. S. Bach.
47.
Giguetta. measures 9-10
159
F. Fiocco.
La Legere, measures 50-54
160
48.
F. Fiocco.
La Legere. measures 62-63
163
49.
F. Fiocco.
La Legere, measures 1-2
165
50.
F. Seitz. Concerto No. 2.
1st movement, measure 83
167
F. Seitz. Concerto No. 2.
3rd movement, measures 84-87
170
51.
52.
F. Seitz.
Concerto No. 2,
1st movement, measures 11-14
173
53.
F. Fiocco.
La Legere, measures 22-23
175
54.
F. Fiocco.
La Legere, measure 55
178
55.
F. Seitz. Concerto No. 2,
1st movement, measure 28
L. van Beethoven. .Minuet in G,
measures 17-18
179
F. Seitz. Concerto No. 2,
1st movement, measure 38
181
F. Seitz. Concerto No. 2,
1st movement, measure 42
182
56.
"7.
58.
50.
F. Seitz.
178
Concerto No. 2,
1st movement, measures 43-44
60.
L. van Beethoven.
61.
F. Seitz. Concerto No. 2,
1st movement, measures 15-18
F. Seitz. Concerto No. 2,
3rd movement, measures 8-10
62.
Minuet in G. measure 1
183
..
184
186
187
1
60.
64.
65.
66.
67.
68.
69.
F. Seitz. Concerto No. 2.
1st movement, measure 28
188
F. Seitz. Concerto No. 2,
2nd movement, measure 22
191
F. Seitz. Concerto No. 2.
3rd movement, measures 72-73
192
F. Seitz. Concerto No. 2.
1st movement, measure 79
193
L. van Beethoven. Minuet in G.
measures 12-13
195
J. P. Senaille. Allegro Spiritoso.
measures 49-51
198
J. P. Senaille.
Allegro Spiritoso.
measures 42-44
200
70.
T. Arne.
71.
B. Bartok. Evening in the Village
71A measures 1-2
71B measures 21-22
71C measures 42-44
J. P. Senaille. Allegro Spiritoso.
measures 22-23
72.
73.
74.
75.
76.
77.
78.
79.
Sonata in B flat, measures 5-7
...
200
205
205
205
206
T. Arne. Sonata in B flat
Gavotte, measures 10-12
207
J.P. Senaille. Allegro Spiritoso,
measures 13-16
209
T. Arne. Sonata in B flat
Gavotte, measures 1-4
210
B. Bartok. Evening in the Village,
measures 1-4
211
T. Arne. Sonata in B flat,
measures 9, 23
212
J. P. Senaille. Allegro Spiritoso.
measures 3, 17, 52
213
J. P. Senaille. Allegro Spiritoso,
measures 1-4
216
XI
i&-
80.
81.
82.
83.
*•
II
B. Bartok. Evening in the Village,
measure 38
218
B. Bartok. Evening in the Village,
measures 19-21
219
B. Bartok. Evening in the Village,
measures 10-11
220
J.P. Senaille. Allegro Spiritoso,
measures 92-93
222
xii
LIST OF PRELIMINARY EXERCISES
1.
Finger Preparation--Upper to Lower String
..
97
2.
Finger Preparation--Lower to Higher String ..
98
3.
Finger Preparation--Open Strings
100
4.
Finger Preparation--Fourth Finger
101
5.
Finger Preparation--Double Stop
102
6.
Shifting--Different Strings
104
7.
Shifting—Different Fingers
106
8.
Downward Shift—Different Fingers
107
9.
Mordent and Trill
109
10.
Irregular Placing of Finger
Ill
11.
Legato String Crossing on a Slur
Upper String to Lower String
113
12.
Legato String Crossing on a Slur
Lower String to Upper String
114
13 .
Up-bow Accent
116
14.
Bow Distribution and Contact Point
118
15 .
Bow Distribution Rhythm
120
16 .
The Portato
122
17.
Change in Finger Placement
124
18.
Finger Preparation--Melodic Passages
130
19.
Finger Preparation--Broken Chords
131
20.
Finger Preparation--Stopped Chords
132
21.
Shifting--Same Finger
134
22.
Shifting--Replacement Finger
136
23.
2 1.
Shifting--Open String
Finger Facility
137
139
xiii
1!
25 .
Marmonic
141
26.
Legato Crossing with Crescendo
143
27.
Legato String Crossing--Broken Chords
145
28.
Accents
146
29.
Successive Accents
147
30.
Contact Point and Speed
149
31.
Contact Point--Dynamic Changes
150
32.
Bow Distribution--Changing Speed
151
33.
Chords
153
34.
Combination Skill
154
35.
Finger Preparation--Placeraent
157
36.
Finger Preparation--Varied Double Stops
37.
Finger Facility--Triplets
164
38.
Continuous Double Stops
167
39.
Spiccato
171
40.
Contact Point--Distribution
174
41.
Legato String Crossings--Continuous Duplets
176
42.
Down-bow and Up-bow Portato
178
43.
The Flying Staccato
180
44 .
From Slurring to Spiccato
181
45.
Double Stopped Chords
183
46 .
Finger Accents
185
47.
Stylistic Articulation
188
48.
The Cadenza
189
49.
Rhythm--Finger Placement
193
50.
The Trill
194
xiv
...
161
l/t
.*•'
I
Shifting on One String
201
o2.
Combination Skill--Finger Flexibility
207
53.
Combination Skill--Motive Repetition
208
54 .
Baroque Style
209
55.
Rubato
211
56.
Ornaments
212
57.
Realization of Ornaments
214
58.
Pizzicato Chords
218
59.
Entry after a Rest--New Position
219
60.
Changing Bow Technique
221
61 .
222
Final Chord
XV
/ 1
LIST OF ABBREVIATIONS
•\bbreviation
Meaning
.\STA
American String Teachers Association
har
harmonic
L H
lower half of the bow
M or Mid
middle of the the bow
m.
measure
mvt.
movement
N
at the nut of the bow
op. or Op.
opus
RCMT
Royal Conservatory of Music at the
University of Toronto
SVS
Suzuki Violin School
U H
upper half of the bow
UIL
University Interscholastic League
State of Texas
Western Board of Music
western Canada
WB
XVI
CHAPTER I
INTRODUCTION
Background for the Study
For centuries, almost from its appearance in the
fifteenth century, the violin has been the pre-eminent
bowed stringed instrument.
It became and remains popular
because, of all the musical instruments, its expressive
quality most resembles that of the human singing voice.
As its popularity increased and its virtuosic potential
evolved, a demand for instruction was produced.
The
result was the appearance of method books in the
seventeenth century, followed by the appearance of
"systems" or schools of violin study and lists of
repertoire and technical materials.
The twentieth century has seen the appearance of
books on pedagogy, designed to help the violin teacher
provide competent private instruction through suggestions
on teaching procedures and methods.
In addition to
employing sound teaching methodology, it is a teacher's
responsibility to select repertoire that is not only
musically interesting and technically challenging but
also that provides sequential improvement of required
skills.
The selection of such repertoire has been made
easier by the publishing of graded lists, or syllabi of
pieces and studies by organizations in various countries.
In western Canada, the predominant organization involved
1
W7>
in the preparation of such syllabi through an examination
system is The Western Board of Music.
The Western Board of Music
A Brief History
By the end of the second decade in the twentieth
century there were a number of organizations operating
in western Canada offering examinations in a variety of
orchestral instruments, piano and voice.
Typically, these
bodies established a syllabus which was to be taught
through private studies and offered certificates through
examinations conducted by approved examiners in authorized
centers throughout western Canada.
Most of these exam-
ining bodies were centered in central Canada (The Royal
Conservatory of Music in Toronto) or overseas (.Associated
Board in London).
Two situations regarding the overall examination
scene were creating widespread concern by 1917.
One
was that private music studies received no recognition
by the provincial Departments of Education, and therefore, no credit was given to students for their music
study.
In 1919, an important step was taken to resoi\e
this shortcoming when music teachers in Manitoba persuaded
the Manitoba Department of Education to recognize private
music studies by granting music options in junior and
senior high schools of the province through an authorized
syllabus of examinations (Syllabus No. 2, 1983, p. v i i ) .
7
The second difficulty was a perception of unreasonable standards imposed from outside the region coupled
with an unwillingness to listen to western Canadian concerns on the part of the aforementioned organizations.
The standards of performance and repertoire established
by the "outside" organizations were seen as not being
practical for many western Canadian students, who did not
have access to the many enriching experiences available
in central Canada and Europe.
In addition, even though
competent "local" western Canadian musicians were available, all the examiners for the organizations came from
outside western Canada.
As a result of continued concern
in this regard, a meeting in Regina, Saskatchewan, of
representatives of the universities in the three prairie
provinces (Manitoba, Saskatchewan, and Alberta) and their
respective Departments of Education in 1934 "approved
in principle the setting up of a uniform standard of
music options and music tests" for the three provinces
(Syllabus No. 2, 1983, p. vii).
A board to administer
the scheme was set up known as "The Joint Music Board
for Western Canada."
A syllabus committee was formed
at the same meeting.
Two years later, in 1936, "The Western Board of
Music" was formed at a subsequent meeting, also held in
Regina.
steps.
This pivotal meeting took a number of major
It approved standards of attainment recommended
by the previously mentioned syllabus committee.
It
established a fee schedule for examinations and authorized
the preparation of common theory examinations.
Finally,
it established the Associate and Licentiate diplomas,
and authorized the use of the abbreviations A.Mus. and
L.Mus. followed by the name of the appropriate province
(Syllabus No. 2, 1983, p. vii).
This structure continues
to serve the organization well.
During the 1940s, a number of significant advances
were made.
All three prairie provinces accepted Western
Board music examinations for high school credit.
The
common theory examinations became a reality, and graded
theory papers were returned to candidates.
Work was
completed on a common syllabus for all three provinces,
and common books of graded piano pieces were published.
Finally, February practical examinations were introduced
in addition to the previously common June date.s.
Revisions of the syllabus have appeared in 1957,
1960, 1964, 1968, 1972, 1978, and 1983.
The syllabus
has expanded from a one-volume publication providing
examinations in piano, violin and voice to a three-volume
issue covering all major instruments and voice.
Recently, examinations have been offered in the province of British Columbia in addition to the three prairie
provinces.
Figure 1 shows the local centers in western
Canada where examinations are currently offered.
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The Western Board of Music
Operations
Since 1973 The Western Board of Music has been served
by a full-time administrative director and staff centralized at The University of Alberta in Edmonton.
The
central office handles all the clerical functions of the
Western Board, as well as providing and receiving
candidates' entry forms (see Appendix A ) , scheduling
e4xaminations in authorized local centers, arranging for
examiners and secretaries to administer the examinations,
coordinating the updating and distribution of the syllabi,
finding and confirming the award and prize donations,
notifying recipients of prizes and awards, arranging
annual awards concerts, and supplying results of examinations and awards to candidates and the news media.
Theory Examinations
System-wide theory examinations, prepared by a
university faculty member, are held on common dates in
January and May of each year in local centers (see Figure
1 on page 5 ) .
The theory examinations consist of one
or more written papers with Rudiments, Music History,
Harmony, Form and Analysis and Aural Musicianship as
subjects.
A candidate must pass the Theory Examination(s)
specified for his/her practical examination grade level
to receive a certificate for that grade, as noted in
Table 1 .
I
Table 1:
Theory Examination Required for
Practical Examination Certificate
Practical Grade
Theory Grade(s)
Required
1 through 4
Subject(s)
none
5
1 (1 paper)
Rudiments
6
2 (1 paper)
Rudiments
7
3 ( 1 paper)
Rudiments
8
4 (1 paper)
Rudiments
9
5 (2 papers)
Harmony
Jr. Aural
Musicianship
10
6 (4 papers)
Harmony
Music History
Form and Analysis
Intermediate Aural
Musicianship
11, 12
7 (3 papers)
Music History
Form and Analysis
Senior Aural
Musicianship
Grade 4 Theory is a prerequisite for grades 9 to 12.
Grade 5 Theory is a prerequisite for grades 10 to 12.
Grade 6 Theory is a prerequisite for grades 11 and 12.
Practical Examinations
Practical examinations are scheduled in local centers
each February and June according to the number of entries
for each instrument and the availability of qualified
examiners.
1
8
Examiners are chosen from the music faculty of the
prairie universities and colleges as well as prominent
private music teachers.
An examiner may not serve in
his/her home town, and an effort is made to avoid consecutive appearances of the same examiner in any center.
Each practical examination requires the performance of
three to five pieces, two studies, scales and arpeggios,
ear tests, and sight reading as well as the answering
of questions designed to test the candidate's knowledge
of composers, style, and musical terms and symbols.
Up
to a total of one hundred marks may be awarded, with
the majority being given for accuracy of performance
and musicianship.
General information on the violin
practical examinations and the scale of marking for each
grade is shown in Figure 2.
The practical examination
system advances through twelve levels of study--grades
one to ten, the Associate Diploma and the Licentiate
Diploma.
For each grade level, the syllabus indicates
the specific scales and arpeggios required, presents a
list of studies from which two must be chosen to perform,
and presents a list of pieces, three to fi\e of which
are to be performed.
One piece may be substituted in
place of a listed piece for inclusion in any examination.
Written approval is required, unless the substituted
piece is from the next higher grade level.
Five listing is shown in Figure 3.
The Grade
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11
Following the completion of each examination,
examiners write comments and assign a mark.
One copy of
the comment sheet, with the assigned mark is sent to
each candidate.
Another copy remains in the central
office in Edmonton.
Successful candidates names, listed
by instrument or theory level and the category (pass,
honours, first class honours) are published in local newspapers.
Only candidates who exhibit a high level of
expertise can be recommended for an award or a prize.
A great deal of effort is spent by The Western Board
of Music to obtain scholarships, bursaries and prizes
for deserving candidates.
These awards are gathered on
a local and provincial basis, awarded on a provincial
basis, and presented at special awards concerts held
each fall at various centers in each province.
Appendix
B lists the awards as of 1987 for the Province of Alberta
The high standard needed to complete successfully each
level in its graded system has limited the number of
award recipients to the very deserving.
The affairs of The Western Board of Music are still
governed by professional representatives from the prairie
universities reinforced by representation from the Registered Music Teachers in each province.
As the system
expands into British Columbia, efforts are being made
to establish representation from the universities and
music teachers in that province as well.
•I
12
The Western Board of Music has promoted musical
growth in western Canadian society and is a major force
in the cultural activities of western Canada.
Its cri-
teria have resulted in a high level of musical excellence
for the thousands of students who are guided by its syllabi each year, demonstrating that "every effort is made
to assist students in their pursuit of music either as
a career or as a cultural enrichment through a practical,
timely, and challenging music examination system" (Syllabus No. 2, 1983, p. v i i ) .
Need for the Study
Carl Flesch's two volumes on The Art of Violin Playing (Flesch, 1939) set a high standard for a considerable
number of books written by great violin teachers and
players on violin pedagogy in this century.
Their point
of departure in terms of repertoire is the wealth of
material available for the concert violinist or the
advanced amateur player.
Thus, the vast majority of
examples given and discussed are from the concert repertoire--that repertoire performed by the concert artists
and advanced amateur players in this century.
The
majority of periodical articles also deal with material
performed by players at an advanced level.
There are also
a great many books and articles dealing with beginners,
no doubt inspired by the exemplary work of, among others,
Shinichi Suzuki, Paul Rolland and Samuel Applebaum.
In
I
13
addition to books and articles, films and video tapes
are available showing teaching concepts for beginning
violin students.
Such material numbers in the hundreds.
A gap of four to five years of instruction exists
between the time that a student has completed the beginning level of instruction and the time he/she is ready
to perform the repertoire of the advanced level.
This
is a transitional stage, called the intermediate level,
and is the primary focus of this study.
.Although a considerable body of technique must be
developed at the intermediate level, and appropriate
repertoire is available in print, few pedagogical
resources are available for the teacher of the intermediate student.
Neither the step-by-step method books
available for the teacher of the beginning student nor
the specialized discussions of concert repertoire and
technique available for the teacher of the advanced student are at hand for the teacher of the intermediate
student.
He/She has only the graded lists such as those
provided by The Western Board of Music.
None of these
syllabi, however, contains a list of required techniques
or information on appropriate pedagogical methods for
the instruction of students.
Nevertheless, the inter-
mediate level is a critical stage for developing technique
and musicianship.
Students should refine a number of
beginning level techniques, develop new left hand and
I
14
right hand techniques, evolve a system of working out
difficult spots in repertoire, learn about the different
musical eras and styles, and begin to consider stylistic
interpretation of pieces.
In particular, the intermediate
student should acquire the capability to execute vibrato,
shifts, harmonics and double stops with the left hand
and staccato, martel'e, spiccato, and moderately complex
string crossings with the right hand.
In addition, the
musical and stylistic attributes of all repertoire studied
must be given thorough attention by the student.
The
rate of progress at the intermediate level should be
gradual and systematic.
It is important that the student
enjoy playing the violin and be encouraged to continue
to develop his/her musical ability.
To achieve this end, deficiencies in students'
technique should be carefully diagnosed and appropriate
repertoire chosen to assist the student in overcoming
violinistic shortcomings.
The use of attractive material
and the systematic approach suggested by this study will
contribute much to a lessening of the frustration that
is often the earmark of intermediate instruction.
Purpose of the Study
This study is intended to provide teachers with a
selected list of intermediate techniques along with pedagogical suggestions appropriate for their instruction.
To do this the following steps have been taken:
I
15
1. Intermediate level has been determined by
surveying a panel of experts composed of two Western
Board of Music examiners from each prairie province and
by comparing intermediate designations in other graded
lists.
2. The pieces to be analyzed have been determined
by examining Western Board of Music violin candidates'
entry sheets from 1978 to present.
The most frequently
played pieces have been chosen for analysis.
The violin
syllabus of The Western Board of Music provided an
appropriate resource for choosing repertoire, since it
is used by the majority of violin teachers in western
Canada and is readily available to most violin teachers.
3.
The chosen pieces have been analyzed by the
previously mentioned panel of Western Board of Music
experts.
The panel identified the technical and inter-
pretive skills required for successful performance of
the selected pieces.
This panel has also been surveyed
for their comments on problem areas in the selected pieces
in past examinations.
4.
Books, articles, theses and dissertations about
violin teaching and playing have been researched for
comments on the technical and interpretive skills identified by the panel of experts.
5. The etude materials listed in The Western Board
of Music violin syllabus have been researched to find
16
exercises that deal with the skills needed to perform
the selected pieces.
Where the published material is
nonexistent or inappropriate for a required skill, short
preview exercises have been provided by the author.
Definitions
.Accent -
a strong emphasis placed at the
beginning of a note,
Arrival Note -
the first note in a new position
following a shift.
Chord -
any combination of notes played simultaneously.
On the violin this is
restricted to a maximum of four notes.
Combination Skill - the coordination required to accurately perform fast left hand passages
that include string crossings and
quick bow changes for the right arm.
Contact Point -
the point between the bridge and
fingerboard at which the bow hair
touches the string.
Contraction -
a shifting technique where the finger
playing the arrival note is placed
a semitone or tone lower than normal,
after which the hand and remaining
fingers shift to the new position,
Departure Note -
the last note in the old position preceding a shift.
'7
Detache -
I
a smooth, even bow stroke, with a
separate stroke taken for each note.
Distribution -
the proportionate use of the bow
to effect note duration and dynamics.
Double Stop -
a chord of two notes, played on two
adjacent strings.
Extension -
a shifting technique where the finger
playing the arrival note is stretched
a semitone or tone higher than normal,
after which the hand and remaining
fingers shift to the new position.
Finger Facility -
fast movement of the left hand,
involving quick changes of strings
and non-sequential use of fingers.
Finger Preparation - the placement of a finger on a
new string prior to its note being
played by the bow.
Harmonic -
a "whistling sound" produced by lightly touching the string at one of
its natural dividing points or nodes.
Intermediary Note - in a shift, the note placed in between
the departure note and the arrival
note to determine the distance to
be covered by the shift.
The inter-
mediary note is normally sounded
only during practice.
18
Intermediate Level - the level of skill development
between beginning level and advanced
level, characterized by the learning of shifting, vibrato, and double
stopping in the left hand, and martel^, spiccato and the playing of
chords in the right arm and hand.
Legato -
the slurring of two or more notes
on one bow stroke uninterrupted by
pauses or separation.
Martele -
a short, fast bow stroke on the
string, separated from the preceding
and following strokes by a plainly
noticeable pause or rest.
Meter -
the combining of musical beats or
pulses into units containing one
strong pulse followed by one or more
weaker pulses.
Mordent -
an ornament performed by playing in
extremely rapid order beginning on
the beat a written note, its diatonic or chromatic upper or lower
neighbor, and the written note.
Pizzicato -
the plucking of the strings with
the fingers of either hand.
J
19
Placement Point -
the point between the frog and the
tip at which the bow hair touches
the string.
Portamento -
the gliding of the left hand between
positions so that all intermediary
notes are heard.
Portato -
a bowing technique where a number
of notes are played in a stroke,
each note being separated by a pulse
or an extremely slight pause of the
bow.
Pronation -
rotation of the hand or forearm so
that the palm faces downward.
Pulse -
the basic unit of time in music
Rhythm -
the combining of various durations
(notes) into a unit within one beat
or pulse.
Rubato -
the slowing down or speeding up of
the pulse within a measure to create
a musical or emotional effect.
Shifting -
the movement of the left hand unit
to a different position on the fingerboard so that the fingers play a
new set of notes.
Slur -
the sounding of more than one note
on a single bow stroke.
I
20
Son file -
the sustaining of a note by a single
stroke of the bow long enough for it
to receive a singing character.
Spiccato -
a bowing technique performed by bouncing the bow for each separate note.
Staccato -
a succession of short, clearly separated strokes on one bow, the bow
remaining on the string, and usually
performed on the up-bow.
Syllabus -
a graded list of pieces, studies
and technique, representing sequential
development of performance skills.
Tremolo -
the iteration of one note by rapid
bow strokes.
Trill -
the rapid alternation of a printed
note with its diatonic or chromatic
upper neighbor.
Trouble Spots -
those places which present complications in performance although there
is no apparent difficult technique
required for effective performance.
Vibrato -
the rapid oscillation of pitch at
regular intervals, downward and then
upward, caused by the rocking of
the fingers on the string.
^
21
Limitations
The present study is limited to an examination of
the technical and interpretive problems of twelve selected
intermediate level violin pieces from The Western Board
of Music syllabus and to suggestions of practical solutions to the performance problems presented by those
pieces.
There has been no attempt to evaluate the musical
quality of the repertoire or to provide a formal analysis
of the repertoire.
y
22
Notes
Flesch, Carl.
Edition.
The Art of Violin Playing. 2nd Revised
New York: Carl Fischer, Inc., 1939.
Syllabus No. 2. 1983 Issue.
Western Board of Music,
Edmonton, Alberta:
1983.
The
CHAPTER II
REVIEW OF THE RELATED LITERATURE
This chapter examines published sources pertaining
to the intermediate violin pedagogy embodied in the
selected pieces.
Where necessary due to a lack of
material at the intermediate level, sources cited come
from either the beginning or advanced level.
These
sources form the basis of exercises in Chapter IV, which
are adjusted to be appropriate for the intermediate level.
Chapter II also summarizes the contents of five syllabi
containing graded lists of repertoire, studies and technical material for the violin.
Pedagogy
Carl Flesch wrote two volumes on The Art of Violin
Playing, originally published in 1924 and revised in
1939.
He was the first twentieth century teacher to write
about the various aspects of violin playing and teaching
in a thorough and systematic manner.
An in-depth study
into available resources reveals that numerous other
teachers and performers have followed Flesch, producing
many books and an abundance of articles, although the
majority of the resources pertain either to beginning
or advanced instruction.
This study cites those peda-
gogues of this century who have established reputations
with long standing experience in teaching and/or have
23
24
presented the results of significant research into the
intermediate level violin skills encompassed by the
selected pieces.
Although effective performance requires coordinating
left and right hand technique along with the incorporation
of appropriate stylistic and interpretive decisions,
this study will follow the standard practice of discussing
the aforementioned foci separately.
The literature de-
lineating left hand technique will be surveyed first,
followed by right hand technique, combination skills,
and interpretive technique.
Left Hand Technique
The following left hand techniques are required in
the selected pieces:
(1) finger preparation; (2) shift-
ing; (3) playing in positions; (4) trills and mordents;
(5) vibrato; (6) harmonics; (7) finger facility; and
(8) double stopping.
Finger Preparation
Finger preparation is the placement of the finger
on a new string prior to the note being played by the
bow.
It is required of the left hand to avoid unwanted
notes or sounds when crossing strings.
The crossing of strings combines two left hand finger
mo vements:
"a horizontal movement and the vertical move-
m ent of lifting the fingers off one string and setting
25
them on another" (Galamian, 1985, p. 18).
For a smooth
change of string the left hand and the right arm must
move almost simultaneously, with the left hand acting
slightly before the right arm.
In this regard, Flesch
notes that "it is the left hand, which is unable to carry
out the movement it has to make as rapidly as the right
arm, and hence arrives the fraction of a second too late"
(Flesch, 1939, Book 1, p. 2 5 ) .
Kato Havas suggests that
"we must make absolutely certain that the fingers that
cross the strings are properly prepared, for then the
right arm will be able to follow naturally" (Havas, 196 1,
p. 3 3 ) .
Galamian states:
Defects in legato string crossings can
also be caused by faulty coordination of
the bow with the left hand. The most common
errors are those in which the finger on
the note preceding the crossing is lifted
too soon, or the finger on the note after
the crossing is not prepared soon enough.
(Galamian, 1985, p. 66)
The solution is:
. . . during practice to put down the finger
which is to carry out the change of string
a little too soon (the finger in question
is indicated by a square note ( D ) , in
the following example).
Briich^ Gjpln Cto, 39Mov"f.
u 1
The resultant preparatory movement of the
finger concerned . . . is also retained
in ordinary performance to a certain extent.
(Flesh, 1939, Book 1, p. 25)
26
Shifting
Shifting is the movement of the left hand unit to
a different position on the fingerboard, "an action of
the entire arm and hand, including all of the fingers
and the thumb" (Galamian, 1985, p. 2 4 ) .
This is a most
important left hand technique for the violinist.
Menuhin
stresses attention to all the parts of the shifting unit.
He states that during shifting:
It is important to raise the elbow and the
forearm into the knuckles whilst letting
the shoulder drop. In this way the player
will encounter no difficulty in moving from
low positions to high positions, as he will
be continuously on the same level. (Menuhin,
1973, pp. 30-31)
Flesch states that shifting "forms the most arduous portion of the whole system of left hand technique" and
notes that although the entire arm is involved in shifting, most pedagogues focus on the hand and fingers
(Flesch, 1939, Book 1, p. 2 6 ) .
Thus, although the
majority of references are to the hand and fingers, it
must be remembered that the lower arm, upper arm and
shoulder also move during shifts.
As Flesch indicates:
There are three fundamental types of shifts:
(1) The same finger plays the note preceding
and the note following the shift (Example 6 ) .
I
in
Example 6
^
^
_(
(2) The shift (sliding motion) is performed
by the finger that is on the string when
the shift starts, but a new finger plays
the arrival note (Example 7 ) .
I
III
r^^C'T r-^f^^
*
Exomple 7
(3) The shift is performed by the finger
that will play the arrival note (Example 8)
j
}^
Exdmple 8
.\ shift that crosses strings will also fall
under one of these headings as far as the
left hand is concerned. (Galamian, 1985,
p. 25)
General agreement exists that the general tempo of
a passage determines the speed of the shift:
the tempo, the faster the shift.
the faster
That the bow should
move slower and exert less pressure during a shift is
also a consensus among pedagogues.
The ear has a great
role to play in a successful shift "by listening
intently
before the shift, and by hearing, during the shift, the
gradual approach to the new pitch"
(Galamian, 1985,
p. 26 ) .
While D. C. Dounis states that the thumb always
follows the movement of the hand
(Leland, 1963, p. 4 2 ) ,
Flesch differentiates the technique for an upward
and a downward shift by writing that in a downward
the thumb precedes the finger.
This advance
shift
shift
movement
is also necessary in shifts from third position to a
higher position
(Flesch, 1939, Book
1, p. 2 7 ) .
In The
--'li
28
Suzuki Violinist. William Starr notes that long shifts
(from first position to a very high position) and consecutive shifts (as in arpeggios) require the hand to
move out away from the neck to facilitate the necessary
smooth shifting motion (Starr, 1976, p. 126).
While Flesch agrees with Galamian that acute listening is necessary for accurate change of position, he
discusses the use of intermediary notes in shifting,
calling them "the most important and helpful aid for
establishing the exact distance to be covered" (Flesch,
1939, Book 1, p. 2 7 ) .
The fundamental principle involved
is that one finger will slide from the note preceding
the shift to the intermediary note, thus establishing
the distance of the shift, whereupon the new finger plays
the arrival note.
In sequence follow some examples on the G
string with (bracketed) intermediate notes:
27.
« 1 1
28.
3 1 1
4 11
4 2 2
4 n r»
4ii^ Uj'-^^^i^^g,'^
. . . The boundaries of the distance to
be covered are established by one of the
two notes to be played, as well as by the
intermediary note . . . the latter must
not be heard in performance; while it may
be of supreme importance, when practicing
the change of position.
(Flesch, 1939,
Book 1, p. 28)
29
Applebaum speaks for the majority of pedagogues,
indicating that shifting study should commence after
intonation is reasonably well established in the first
position (Applebaum, 1986, p. 3 4 ) .
Vincent Oddo states
that shifting study should begin after the student has
consistently demonstrated:
(1) proper shape of the left
hand and arm; (2) understanding of the basic finger
patterns; and (3) ability to coordinate bow and finger
movements (Oddo, 1979, p. 105).
Oddo also emphasizes the
importance of developing both aural and touching skills
in shifting, stating:
Both skills are integrated into a unified
technique by first hearing the pitch of
the target note, then comparing it with
the sensation in the thumb and shifting
finger as they measure the distance the
hand must travel to arrive at the target
note and position.
(Oddo, 1979, p. 105)
Applebaum offers this instruction:
In this shift . . . you lighten the finger
and thumb pressure during the slide. You
must also bring the bow a bit closer to the
bridge when you shift to a higher position.
As the shift is made, the thumb must gradually
pass under the neck. . . . Below, "t" means
to test the note with the open string.
^-i9-
;it=it
Jj jj i
1 3
^
2 4
2 2
2
Do these exercises on all strings. (Applebaum,
1986, p. 36)
f
30
I. Yampolsky details two fundamental principles to
be followed when shifting.
The first is that the majority
of position changes involve sliding the finger.
A correct position change consists in a
light sliding along the string so as to
bring the hand smoothly into its new
position. The sliding of the finger should
be unnoticeable, and for this the pressure
of the finger on the string should become
less as it nears the required position.
(Yampolsky, 1965, p. 38)
The second fundamental principle is that "the most
rational fingering for any position change over any
interval is that which goes to the nearest possible
position" (Yampolsky, 1965, p. 3 9 ) .
Another possibility,
in addition to sliding the finger, is the use of extensions and contractions, examples of which are given by
Yampolsky:
A change of position by means of contraction :
' ' '- . J. i ^ .
*
I
I
is made in the following way: the first
finger stays where it is while the fourth
moves towards it, whereupon the first finger
and hand make the position change. . . .
Changes of position by means of extensions:
1 2
3
1
are effected by e.xtending the finger to
the required position, moving the hand
accordingly, and bringing up the remaining
fingers. (Yampolsky, 1965, p. 41)
31
A shift should normally be smooth and unnoticeable.
To achieve this goal, Yampolsky lists seven "rational fin
gering devices," as exemplified below:
(1) Moving to an adjacent position by means
of sliding one finger a semitone.
(2) Changes of position by means of alternating fingers on the same note.
Boucher, 'My Caprire'
Allegro
1
{"''
\3)
1
2
.^
4
m
m:
3
2
1 2
I ^ l - f r [ II I I I I I
Changes
of
position
Paganini, ^Campanella'
Allegretto grazioso
4
^
fmM^^
using
open
str,
^
14-
Beethoven, Concerto, 3rd Mvt
Allegro ^
4 ^ .A
^ ^
(4; Changes of position using nat-ir-il Lj.rmonics.
Allegro energico
Bruch, Concerto in G minor, 3rd Mvt.
w
4
i:3t
4
f if f r
(5) Changes of position using conttiotions.
Allegretto poco Agitato
Schubert, 'Bumble-Bee'
^
(P) Changes of position using extensions.
Lalo, 'Symphonie espagnoie', 5th Mvt.
Allegro
Brahms, Concerto, 1st Mvt.
Allegro non troppo
^m
4
4 .
. 4
-—m instead
^^lij .Jj
3.f of
(7) Changes of position using a mixed
fingering containing both extensions and
contractions.
Mende ssolfin. Concerto, 1st Movt.
Allegr0, molto appassionato
t
i
/ g^ji •—]-
i.
I 2
— f f llr1 -r-^
tff
iN.
3
4
1
2
3
4
1 2
aJ * 1?^
" \
«
^1 41
"^ "*" fri -^
(Yampolsky, 1971, pp. 42-46)
Applebaum offers the following summary of the basic
rules of shifting:
1. when we shift from one position to another
with different fingers in a slur, we shift
with the finger that is already on the string,
whether ascending or descending;
2. we ascend with the finger that we are
going to, and not with the finger that is
already on the string;
(a) when there is no slur and
(b) when we shift from a higher finger
to a lower finger;
3. when descending, we always shift with
the finger that is already on the string.
However, and this is important, we may break
the above rules whenever we wish to do so for
musical reasons. (Applebaum, 1986, p. 37)
Yampolsky created a chart showing position changes
on one string, shown in Figure 4.
33
Position changes using adjacent fingers
1
From higher to lower
!
From lower to higher
r^ I fit
f^f . f^f I til
. J A1)4 i; M/ \ M
(shifts
second
tihli.^ ;' 2 / k i 3/Jii 1 2.J,i 3 j ) * .
impossible)
-4^F^
d) ,(J)i
e) j(i)i
f) /^)f
"'.(i)*
".(J)!
''•#
Position changes using non-adjacent fingers
From higher to
lower
.
0 3(J)i
b)3U)i
.
c)3(^>i
;,
i»)iji
from lower to higher
^K(J£. "^^ idyk
t Shift from 1st to 4thfingerimpossibk
* Shift from the 2ndfingerimpossible
The same technique is used for descending intervals as for ascending, i.e. the
finger already on the string forms an auxiliary note.
Figure 4.
Fingering Chart of Position Changes on One
String. I. M. Yampolsky. The Principles of
Violin Fingering. London: Oxford University
Press, 1971.
•^^1
34
Playing in Positions
The rational use of positions opens up unlimited
expressive possibilities for the violinist
1971, p. 3 6 ) .
(Yampolsky,
While the beginning level of instruction
concerns itself with establishing the left hand shape
and in-tune playing of all the first position notes,
the intermediate grades see the introduction and development of playing in higher positions.
for a number of reasons:
Positions are used
(1) to extend the upper range
of the instrument; (2) to avoid awkward string crossings
and fingerings; (3) to attain desired tonal effects available on one string or only in the upper positions; and
(4) to avoid the unnecessary use of open strings (Oddo,
1979, p. 103).
The distance between the first and fourth
fingers determines the extent of a position on any one
string, the most natural interval in the first three or
four positions being a perfect fourth.
A strong case is made for introducing the new fingerings in the higher positions before developing the
shifting motion itself.
Starr notes:
At first Suzuki does not present shifting,
that is, the movement of the hand in connecting two positions, but rather the positions themselves. The student's attention
is brought to bear on the new fingering
and the "feel" of the different stretches
of the fingers. . . . In fact, intonation
becomes of primary importance here. (Starr,
1976, p. 105)
?
35
Kato Havas also states "it is very important that no
movement from one position to another should be attempted
until the player knows (without having to think) where
all the notes are in the first three positions" (Havas,
1961, p. 3 6 ) .
She is joined by Applebaum and the majority
of teachers in advising to study the third position
directly after first position because of its advantages
in maintaining a more natural hand position than second
position.
Yampolsky, in his discussion on positions, provides
a basis for developing the sense of "feel" mentioned by
Starr.
He states:
We must consider the most important part
of left hand technique, from the point of
view of establishing exact intonation in
a given position, to be the positioning
of the first and fourth fingers (in relation
to the general position of the wrist, elbow,
and thumb). This forms in the lower
posi tions:
(a) the interval of a perfect fourth on
one string:
*
(h) ^he interval of an octave on two
•idjacent s t r i n g s :
rt
^
(c) the interval of a perfect fifth on
two adjacent strings, both taken by the
first finger:
^
(Yampolsky, 1971, p. 34)
Trills and Mordents
A trill is the rapid alternation of a printed note
with its diatonic or chromatic upper neighbor, while a
mordent is one very rapid alternation of a printed note
with its chromatic or diatonic upper or lower neighbor.
Better sounding trills begin slowly and gradually become
more rapid.
In the discussion that follows, suggestions
for performing trills may be extended for mordents, since
the performance of a mordent is simply one trilling
motion, and many of the same hindrances are present for
the execution of both mordents and trills.
Galamian notes that a trill should be executed
lightly, with a feeling of relaxed articulation, and
the trilling finger kept close to the string (Galamian,
1985, p. 3 0 ) .
He also draws attention to the importance
of the ending of the trill, suggesting that a slight
motion of pizzicato with the trilling finger will assist
in terminating the trill clearly (Galamian, 1985, p. 2 ) .
Menuhin suggests to concentrate always on lift,
with a focus in the "fingers of the left hand, not on
the coming-down note, but on fast, sudden, light lift"
^
37
(Menuhin and Primrose, 1976, p. 5 4 ) .
The following
discussion emphasizes the importance of the lifting of
the trilling finger:
A good trill is possible when we have a
relaxed hand and when the fingers have been
trained to snap back quickly with precision
and speed. . . . The mordent might well be
the secret of a good trill because its performance encourages a snappy lifting of the
finger from the string. The finger must
always leave the string in a curved shape.
In the following exercise . . . lift
the finger quickly from the string, accenting
each quarter note. Leave a clean stop before
starting the next note.
^ j j3 j r4 r4 ^' ^ ^J H U ^
(Applebaum, 1986, p. 13)
Flesch suggests the use of the following three exercises
in acquiring a good trill:
JTrtHtzer^ Etude N9 13
^
i^
^
^
:^
"'^^fi
In Example 121, the trilling finger is
raised as high as possible, and drops back
upon the string with the greatest possible
elasticity.
In Example 122, the finger
is raised as little as possible. In the
third exercise, the trill is carried out
in slow, regular beats and in the end as
a quick trill exercise in its original
form. (Flesch, 1939, Book 1, p. 46)
38
Flesch also proposes exercises that overcome the
hindrances that may prevent the acquisition of a good
trill.
Cramped contraction of the ball of the thumb
may be overcome by allowing the thumb to float freely
in the air while practicing the trill.
A stiff wrist
can be artificially loosened by carrying out a very slow
vibrato movement.
Fingers not involved in the trill
should hang loosely and swing with the trilling finger,
in order to eliminate stiffening.
Too much pressure by
the finger playing the written note can be overcome by
lifting it when the upper finger touches the string or
by trilling on natural harmonics.
Example 121 above
should be practiced to overcome insufficient raising of
the finger, while Example 122 can be practiced to overcome
raising the finger too high (Flesch, 1939, Book 1, p. 4 6 ) .
Vibrato
Vibrato is the rapid deviation from true pitch at
regular intervals, downward and then upward, caused by
the rocking or trembling of the fingers on the string.
It is a most important interpretive tool for the performer that may be introduced when the basic techniques
of bow control, reliable intonation and shifting have
been learned (Oddo, 1979, p. 132).
The three types of
vibrato generally identified and isolated for study are
arm, hand and finger.
In performance, one type may
predominate, although the mature vibrato will always
39
present the following features:
(1) a coordinated
motion of arm, hand, and fingers; (2) rhythmic evenness;
(3) continuity from note to note; (4) varying degrees
of expressiv^eness; and (5) controlled relation to musical
context (Oddo, 1979, p. 131).
The performer should be
capable of controlling the speed, width, and intensity
of the vibrato and be able to change from one type of
vibrato to another.
"In general, the vibrato will have
to be adapted to the dynamics of the bow, becoming more
intense and wider in forte, more subdued, narrower, and
less fast in piano" (Galamian, 1985, p. 3 7 ) .
Galamian emphasizes that the hand must never squeeze
the neck of the instrument, since this will create strain
and effectively stop any action of the hand (Galamian,
1985, p. 3 8 ) .
He suggests improving the looseness of
the finger joints by placing the fingers on the string
and alternately stretching and bending the joint nearest
the nail (Galamian, 1985, p. 4 1 ) .
Applebaum suggests a
similar exercise using the fingertip placed on the inner
edge of the thumb, to be performed prior to using the
instrument (Applebaum, 1986, p. 6 5 ) .
The vibrato should
go to the flat side of the pitch first, and should then
re-establish the correct pitch by its forward swing
(Galamian, 1985, p. 4 2 ) .
.Applebaum, Galamian, Menuhin and Oddo suggest beginning the hand vibrato in third position with the lower
:J
40
part of the palm contacting the body of the instrument.
"In the backward and forward motion, the hand hinges at
the wrist, giving the hand a somewhat faster and wider
motion.
In this type, there is considerably more flexing
of the fingertip, but less movement of the forearm (than
in arm vibrato)" (Oddo, 1979, p. 131).
The hand swings from a more-or-less immobilized arm. . . . The finger elongates itself
as the hand swings backward toward the
scroll and then resumes its original curved
position as the hand returns to its starting
point. See Illustrations 13 and 14.
ILLUSTRATION 13 Starting position for the
vibrato: squared
fingers.
14 Backward swing in the
vibrato: flattened fingers.
ILLUSTRATION
. . . The side of the index finger will
best be detached from the neck of the
instrument. For the initial steps, it is
good to start with an exact number of pulses
per beat: two motions, then three, four,
six, then more without counting them.
(Galamian, 1985, pp. 38-39)
Menuhin suggests keeping the thumb stationary while
oscillating between third and first positions, with "each
finger in turn touching the string lightly and with rhyth
mic accent on the note in first position" (Menuhin and
Primrose, 1976, p. 53).
41
The arm vibrato is much the same as the hand vibrato
except that the impulse comes from the forearm instead
of from the hand.
"The forearm, wrist, and hand move
backward and forward as a single unit.
The pitch
variations are created by the slight rolling and/or
flexing of the fingertip in a motion that is almost
parallel to the string" (Oddo, 1979, p. 131).
"In addi-
tion, the lower arm may be active in a twofold manner:
in the direction of the face, or with a slight twist in
the elbow-joint" (Flesch, 1939, Book 1, p. 3 6 ) .
The
same rhythmic methods can be applied as for the hand
vibrato.
The finger vibrato "should not be attempted until
the hand and arm vibratos are under full control"
(Galamian, 1985, p. 4 0 ) .
The impulse comes from the
finger, which swings from the base knuckle.
Flesch identifies three kinds of faulty vibrato:
(1) The Over-Close (Exclusive Finger) Vibrato; (2) The
Over-Broad (Exclusive Wrist) Vibrato; and (3) The OverStiff (Exclusive Lower Arm) Vibrato.
The Over-Close
Vibrato, developed by exaggeratedly quick and close
oscillations of the fingers or arm, with a stiffening of
the wrist, can be corrected by securing the participation
of the wrist.
Flesch states:
Beginning in the third of fourth position,
the left lower arm is firmly rested against
the body of the violin. . . . The first
finger is applied to the string very flatly;
-
^
the hand carries out a forward movement
with an inclination to the left, without
the finger leaving the string. This brings
about a merging of the finger and wrist
movements, together with a slight roll of
the lower arm in the elbow-joint.
(Flesch,
1939, Book 1, p. 37)
The hand movement in the Over-Broad Vibrato must be
diminished and the finger drawn into more active participation.
This may be achieved by first laying the finger
on the string lightly, in the manner of a natural harmonic, followed by a slight pressing down of the string.
These two movements are carried out one after the other
in rapid succession.
This results in a weakening of
the wrist action and a strengthening of the finger action.
The Over-Stiff Arm Vibrato must be combined with a certain
amount of wrist movement until a satisfactory mi.xture
is achieved.
Stiff vibrato movement caused by cramped
pressure of the thumb or third joint of the index finger
on the neck of the violin may be fixed by using the previously mentioned exercises for loosening the fingers
and wrist (Flesch, 1939, Book 1, pp. 36-39).
Flesch also points out that the "vibrato should never
be used as a matter of habit, but only as the consequence
of a heightened need for expression" (Flesch, 1939,
Book 1, p. 4 0 ) .
Harmonics
Harmonics are the "whistling sounds" produced by
lightly touching the string at one of its natural dividing
f
43
points or nodes.
As Oddo points out, "placing the finger
at a point that is a string division of 1/2, 1/4, 1/3,
etc., permits the string to vibrate in segments rather
than as a whole.
That is, the overtone (harmonic) sounds
rather than the fundamental (the stopped or open string)"
(Oddo, 1979, p. 129).
"Natural" harmonics involve the use of only one
finger placed lightly on the string; "artificial" harmonics, the use of a solidly placed lower finger and a
lightly touching upper finger.
Since the use of harmonics
is essentially an aesthetic choice, Flesch outlines three
instances in which their use is permissible:
First, where the sense of the musical connection calls for a certain chaste reticence
. . . or a playful, arabesque-like charm:
. . . Secondly, when the note in question
is greatly exposed, in a slow tempo, and there
is an especially dangerous possibility that
when taken firmly it will not come out well
or be missed entirely: . . . And finally,
in cases where only sureness and brilliancy
and no other expression of any kind are in
demand.
(Flesch, 1939, Book 1, pp. 47-48)
The bow plays an important part in the effective
performance of a harmonic.
Flesch notes that "plenty
of bow and little pressure represent the main means to
this end, and in addition good, adequately rosined bowhair is essential" (Flesch, 1939, Book 1, p. 4 9 ) .
Oddo
notes that "harmonics should be bowed a bit closer to
the bridge and with less bow weight" (Oddo, 1979,
p. 129).
MMMIBM
44
Flesch suggests Book Four of Sevcik's School of
Violin Technique for study of harmonics, and makes the
following comment regarding artificial harmonics:
With regard to their aesthetic value it
is possible to entertain different opinions;
unquestionably, however, they represent
an uncommonly charming component of selfsufficient violin technique, and hence
should be controlled by every violinist
whose skill makes any pretension to completeness.
(Flesch, 1939, Book 1, p. 48)
Finger Facility
Finger facility is the fast movement of the left hand
fingers, involving quick changes of strings and nonsequential use of fingers.
Applebaum recommends using trill exercises to develop
velocity in the left hand (Applebaum, 1986, pp. 12-13).
Dounis recommends beginning with scale-like passages:
Practice a group of four notes in one bow,
slowly and with full tone. Pay attention
to the proper lifting and placement of the
fingers. . . . Repeat each group of four notes
many times on each string as fast as possible
. . . Practice two groups in one bow.
(Leland, 1963, p. 51)
Facility is enhanced by the following exercises
(1) Slowly and Forte:
^
^
^
^
^
^
(2) Repeat each group of 8 notes many times
as fast as possible when practicing pp
[pianissimo].
Continue combining groups in the same manner,
a few minutes a day. First: slowly and
forte. Second: Each measure fast and
pianissimo, repeated many times in a bow
stroke.
(Leland, 1963, p. 52)
Problems caused by lack of attention to this topic arise
in discussion of the advanced repertoire covered by Flesch
and Galamian.
Double Stopping
A double stop is a chord of two notes, played on
adjacent strings.
Both the left hand and right hand
need to be considered.
Problems for the bow arm will
be discussed in the section of this chapter devoted to
the right hand and arm.
As far as the left hand is concerned, there are three
types of double stops:
(1) the placing of one finger on
one string coupled with the playing of an open string;
(2) the placing of one finger on two adjacent strings;
and (3) the placing of two fingers on adjacent strings.
The most common double stop is the third type--two
fingers placed on adjacent strings.
In this type, there
is the potential for the use of excessive pressure and
tension, which can easily spread from the fingers to the
y
46
thumb and hand.
Students therefore must be cautioned
not to overpress when playing double stops.
Applebaum notes that "the first problem is to shape
the hand in such a way that each note will be clearly
articulated" (Applebaum, 1986, p. 5 0 ) .
He recommends
the following exercises:
Learn to play these double stops without
adding additional bow pressure. (1) Practice
softly and slowly.
(2) The two strings must
be heard throughout. Aim for smooth, even
tones.
(3) Master each line before proceeding
to the next.
The lower note remains the same
n
^^
Jo
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Pd
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p
^'••jrjijr'JiJr.ii^^a
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fe
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zc
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41
y r
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a^g
- 'I i ' : I ' I
r^
Sixths
n
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^
m^'i^jji^P'yjjmv iH^mfH^^fi'^m
^^
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(Applebaum, 1986, p. 51)
Galamian notes that attention must be given to the
intonation of double stops requiring close position of
the fingers.
He gives as examples the intervals of a
m inor sixth and augmented fourth "which technically become
half steps as far as the left hand is concerned," and
remar ks that treating such intervals as half steps will
?
aid in performing them in tune (Galamian, 1985, p. 2 8 ) .
Regarding the perfect fifth, which must be played with
one finger on two strings with the result that one note
is usually flat, Galamian suggests leaning the finger more
heavily upon the string with the flat note by "turning
slightly the finger and wrist and moving the elbow more
to the right or more to the left as the case may be"
(Galamian, 1985, p. 2 8 ) .
He goes on to say:
A difficulty encountered in double stops is
the failure of the fingers to articulate
both notes of the double stop exactly at
the same moment. The best way to deal with
this problem is indicated in Example 12.
To be pncticed:
(a)
Example 12
Jacob Dont: 24 Etudes and Caprices,
O p . ;5
No. 21 (measures l-Z
A rhythmic variant that will shorten the
troublesome notes will help most effectively
in practicing.
(Galamian, 1985, p. 29)
Flesch discusses specific double stops in The Art
of Violin Playing, regarding thirds and fingered octaves
together.
Considering only one position and without a
change of string, he identifies two kinds of interwoven
m ovement in thirds and fingered octaves:
I
The falling movement and the stretching move
ment (in the case of the fingered octaves):
3 1
4- ^j: n
X
-
. . . technical exercises for falling and
stretching . . . should be practiced:
m-^^e^^^^^^^
:^^ .ii
1 0 0 ^ ^
1^1
-yr^g:^
Jill
3
ii
-y. -A-'A-
54T a
(Flesch, Book 1, 1939, p. 43)
Flesch also notes that the most common shortcoming
of playing thirds "consists in taking major thirds too
far apart and minor thirds too close" (Flesch, Book 1,
1939, p. 4 4 ) .
In the performance of octaves with the first and
fourth fingers, Flesch asks the student to consider the
role of the passive second and third fingers, which he
regards as very important, for "it is through them that
the distance from the first to the fourth finger is
measured" (Flesch, Book One, 1939, p. 4 5 ) .
He notes
that the passive fingers should remain relaxed in position, without being stretched upward or sideways, or
being pressed on the strings, adjusting only to compensate for the diminishing space between the first and
fourth fingers as each higher position is played.
49
Perhaps nowhere in left hand technique does the
following fundamental principle, outlined by Flesch,
and agreed to by Havas, apply more than in the study of
double stopping:
"The majority of technical problems
are made up of various difficulties which must be separated one from the other, and be individually overcome"
(Flesch, Book 1, 1939, p. 4 3 ) .
Havas suggests that it
is a "good practice to take the double stops separately
first. . . . Then combine them in very slow motion, in
pianissimo" (Havas, 1961, p. 4 6 ) .
Right Hand Technique
The learning or development of the following right
hand techniques is required in the selected pieces:
(1) legato string crossings; (2) accents; (3) bow
distribution and contact point; (4) new rhythms;
(5) compound duple time; (6) portato; (7) double stops
and chords; (8) spiccato; (9) the flying staccato;
(10) changing from a slur to spiccato; and (11) martel^
Legato (Slurred) String Crossings
Legato is the slurring of two or more notes on one
bow stroke uninterrupted by pauses or separation.
In
many cases, more than one string is involved in the slur.
Flesch describes two means by which a change of
string takes place with the right arm:
1. In slow tempo between middle and point,
by rolling the upper arm in the
shoulder-joint; from the middle to the nut
by combination of the same movement with a
rolling of the lower arm in the elbow-joint.
The upper arm should be adapted to the position of the two lower strings.
2. In rapid tempo at the upper half, by means
of a vertical movement of the wrist; toward
the nut by means of a clean-cut rolling of
the lower arm in the elbow-joint.
(Flesch,
Book 1, 1939, p. 61)
Menuhin prefers to think of a "waving stroke" with
attention focussed on the knuckles and thumb of the right
hand.
In the down-bow the knuckles tend towards
the depressed position and in the up-bow
towards the protruded position. . . . The
lower arrows indicate how the thumb alternates
between its bent position, rolling towards
the tip of the bow, on the upper string,
and the opposite roll as the bow moves to
the lower string.
n
I v*rrm
mr^
v ^ WV V^V Wv' w
Play this exercise with the whole length of
the bow on each group of five notes.
(Menuhin, 1971, pp. 83-84)
Rolland recommends that slurred string crossings be
practiced by first playing "short slurred patterns at
the middle, tip, and frog, transferring the bow from one
section to another with smooth, arched motions"
(Rolland, 1974, p. 122).
If tension is present in the
shoulders, arm or hand, he suggests performing the
following exercises:
1.
the
the
and
bow
Place the left hand in
middle positions, hook
bow on the little finger,
establish a correct
hold.
2. "Roll the Arm," smoothly
moving the arm, hand, and
bow as a unit from the
shoulder joint.
3. "Rock (shake) the Bow."
Use natural movements as
if sprinkling water or using
a salt shaker. Keep the
arm balanced and the elbow
buoyant.
(Rolland, 1974,
pp. 86-87)
Flesch points out that the change of string should sound
even, and that this can be accomplished by avoiding
unnecessarily broad movements and by carrying out "the
necessary turns so that they are hardly visible" (Flesch,
Book 1, 1939, pp. 61-62).
Havas notes that in crossing
strings "to make certain that it is the whole of the
right arm and not just the wrist that follows the
initiative of the left (hand) base joints" (Havas, 1961,
p. 5 2 ) .
Galamian points out:
As a rule, a smooth change of strings is
best effected by a subtle, close approach
to the new string in the fashion demonstrated
in Example 40.
Example 40
j! j^
I
II j j ^
.'2
If the crossing is made gradually enough, a
double stop will sound momentarily between
the two notes, as indicated by the grace
note in the example. This double stop should
form so subtly that it is not possible to
distinguish either the exact moment of its
beginning or the instant of its termination.
. . . A very slight pressure of the bow,
just as the crossing is made, will help further in binding the tones smoothly together.
(Galamian, 1985, p. 65)
Galamian also notes that special practice should be given
to string crossings in the lower part of the bow, and
"where the bow changes back and forth between two strings
many times on one bow stroke, it should stay as close
as possible to both strings without sacrificing the clear
articulation of each note" (Galamian, 1985, p. 6 5 ) .
Dounis suggests the following:
(a) In crossing to a higher toned string
the hand leads and the arm follows.
(b) In crossing to a lower toned string the
arm leads. . . . When crossing from a higher
toned string to a lower toned string the
feeling of leading lies in the arm just above
the wrist. When crossing from a lower toned
string to a higher toned string, the feeling
of leading lies in the hand.
(c) Dounis
^
^ ^ ^ 4
(Leland,
exercise:
0 4 04
1963, p .
4 0 4 0 4
30)
^
H
Accents
.An accent is a strong emphasis placed at rho beginning of a note, created by a quickening of the bow, by
applying more weight on the string at the start of the
note, or by a combination of the above (Applebaum, 1986,
p. 8 5 ) .
Flesch defines three types of accents:
(a) Accent after change of bow, yet without
preceding pause:
£ect/ioven,
290.
Quartet, Op. 18, SQ 4,19Mov't
^ ' ' " ' j li_j'-jJ3
(b) Accent after change of bow, but with
preceding pause, i.e., as an initial accent:
291.
za
^
f^-fM-fr^
(c) Accent in the midst of a legato
Beei/ioven, Quartet Op. 59, N9 1, 1<? Movt.
The accentuation is always produced by means
of heightened pressure of increased expenditure of bow; the latter in such a case has
a more violent character than in the crescendo or decrescendo. Example 290 requires
increased bow expenditure, since heightened
pressure (at the nut), would easily cause
danger of forcing. In Example 291, on the
other hand, the accent is best produced by
means of a combination of mute pressure accent
and accelerated bowing. In Example 292,
again, the right mixture or acceleration
and pressure is called for, which must be
in proportion to the general level of tonal
strength prescribed.
(Flesch, Book 1, 1939,
p. 95)
Dounis suggests feeling the pressure of the thumb
tressing upward against the first finger for the accent
}
54
in the midst of a legato (Leland, 1963, p. 3 1 ) .
Rolland
notes that in the accented initial notes the bow pressure
anticipates the movement of the arm.
He suggests alter-
nating accented notes with long rests at first, allowing
time for the player consciously to apply pressure "a split
second" before the attack.
In addition, he suggests
the use of a pronounced and abrupt pendulumlike swinging
of the upper arm coupled with the application of pressure
at the balance point of the bow as a beginning method
of teaching the accent.
This motion will eliminate the
tendency to "crunch" the end of the accent rather than
just releasing the extra pressure (Rolland, 1974,
pp. 141-142).
Flesch and Applebaum make two further points
regarding the accent.
The first is that the left hand
may assist in strengthening the accent by either a violent
change of position or excessively strong placement of
the finger:
the second is that accents in piano require
less pressure and less bow expenditure (Flesch, Book 1,
1939, pp. 95-96; Applebaum, 1986, pp. 85-86).
Galamian mentions all of the aforementioned types
of accents, noting that they can be used "in every degree
of dynamic and for single notes as well as double stops
and chords" depending on musical reasons, thus emphasizing
the interpretative aspect of the accent (Galamian, 1985,
pp. 67, 71, 8 5 ) .
T
00
Bow Distribution and Contact Point
Bow distribution is the proportionate use of the bow
according to note duration and dynamics.
Contact point
is the point at which the bow hair touches the string
between the bridge and fingerboard, thus assisting in
creating a difference in dynamics and tone color.
The
ability to control both bow distribution and contact
point is important.
These two elements of violin tech-
nique, along with bow pressure, are intertwined by the
intermediate stage of instruction and so are discussed
together in this study.
Paul Rolland suggests the following exercises to
achieve correct and even bow distribution:
1. Hold the bow with a rounded
hand. Play single whole bow
strokes with even distribution.
During the rests, lift the bow
and return to the string with
smooth, circular motions . . .
r
o
,
( II
a) Play half notes and arrive
at the middle on the third beat
f Ml
b) Play half notes and arrive
at the middle on the second beat.
c) Play dotted notes, using one
third of the bow for each beat.
2. Practice step 1 at three
levels:
Forte - Play near the bridge
with sufficient bow pressure
for a full tone.
r mi
y
Mezzo-forte - Play farther from
the bridge.
*/
Piano - Play still farther
from the bridge and support
the weight of the bow.
(Rolland, 1974, p. 165)
Flesch points out that the "point of contact between
bow-hair and string is subject to constant change.
It
is dependent upon the duration of the bow-stroke, the
strength of the bow-pressure, and the position to which
the left hand is shifted" (Flesch, Book 1, 1939, p. 8 1 ) .
In general then long strokes, forte dynamic level, and
high positions are played in the vicinity of the bridge:
short strokes, piano dynamic level, and low positions
in the vicinity of the fingerboard.
He also points out very well the role that dynamics
play in determining bow distribution.
Now, although it surely cannot be denied
that an exact division of the bow during
a legato to be played uniformly is very
important, on the other hand, we cannot
disregard the fact that shadings require
an unequal division of the bow.
BeethouCHy Vln. C^P, K Movt.
This is an example of a stroke which theo
retically should be divided into 16 equal
parts. Contrariwise in:
AftM^e/ssoAft,C^9,39 Movt.
the correct execution of the
- and
is tied up with the following bow-division
4.Q.
8.Q.
^
2.Q.
J
1. Quarter
II
An equal division of the bow would require
increased bow pressure at the detriment of
tone quality.
(Flesch, Book 1, 1939, p. 65)
Galamian quite correctly points out that "equal
speed of the bow means, of course, equal division of
the bow for equal time units. . . .
A well-controlled
and logical division of the bow is of the greatest
importance" (Galamian, 1985, p. 5 6 ) .
He also notes:
In addition, the accompanying change in the
position of the sounding (contact) point in
itself brings about a change in color: the
nearer the bridge, the brighter the color,
the more incisive the timbre; in the neighborhood of the fingerboard, the color is
paler, more delicate and pastel-like
(Galamian, 1985, p. 6 2 ) .
Galamian suggests that the student experiment with notes
of equal duration while alternately maintaining and
changing the pressure, bow stroke speed and contact point.
He then suggests taking notes of unequal duration and,
in turn, retaining and then varying the dynamic level
(Galamian, 1985, p. 6 0 ) .
Applebaum talks of five "lanes"
between the fingerboard and the bridge, suggesting that
the student experiment to find the best lane for each
type of bow stroke and dynamic level (Applebaum, 1986,
pp. 118-119).
Flesch states:
The unhindered freedom of movement on the
part of the bow between bridge and fingerboard
y
therefore, must be insisted upon as the
fundamental law for a purity of vibrations
which does justice to all bowing combinations,
as well as to all degrees of power and pitch.
(Flesch, Book 1, 1939, p. 82)
New Rhythms and Meters
At the intermediate level, the violin student will
encounter new rhythms and new meters.
Appropriate bow
distribution is essential for the correct performance
of all rhythmic figures, and Galamian's suggested exercises outlined above can be adapted for teaching the
new rhythmic figures encountered.
In addition, rhythm
games such as those used by Kodaly, Dalcroze, and Orff
in beginning rhythmic instruction can be adapted to the
violin, as exemplified by the example below from Holland's
The Teaching of Action in String Playing.
RHYTHM
Gap (wave in rests)
Use syllables (Taa-ta-ta, etc.)
Practice Tapping
Play pizzicato
.^ ^ ^
Play open stnngs with the bow
Play scales and arpeggios with the bow
PULSE
g^^^ j^„^^^ ^,.
Tap with a pencil
Step in place
(Rolland, 1974, p. 47)
Portato
Portato is a bowing technique where a number of notes
are played in a single stroke, each note being separated
by a distinct pulse or an extremely slight pause.
It stands exactly midway between legato and
genuine staccato; the various notes are
separated one from the other by a hardly
noticeable pause, the elastic pressure does
Thus,
I
not take place during the pause, but on the
individual note itself. It is expressed in
notation as follows:
^1^
190.
(Flesch, Book 1, 1939, p. 73)
"The inflections may follow one another without a
stop . . .
to bring slurred legato notes into more
expressive relief, or the single notes may be slightly
separated. . . . "
(Galamian, 1985, p. 6 8 ) .
The pulses
are "achieved by a slight increase--then decrease--of
first finger pressure" (Oddo, 1979, p. 112).
Menuhin
suggests considering also third finger and thumb pressure
and release (Menuhin and Primrose, 1976, p. 73-74).
Thus, there is an initial swell followed by a gradual
decrease in sound.
Flesch regards the portato as an
important exercise to be studied when a student exhibits
insufficient bow pressure on the upper part of the bow,
since the portato itself gives the bow the desired quality
of elastic adherence to the string.
He goes on to say
that "the stroke must possess a soft, singing character,
without pressure pause.
The elastic pressure is made upon
the note itself, and not as in the staccato between the
notes" (Flesch, Book 1, 1939, p. 8 5 ) .
Double Stops and Chords
A chord is any combination of notes played simultaneously! restricted to a maximum of four notes on the
y
60
violin.
A double stop is a chord of two notes, played
on two adjacent strings.
"Sustaining a clear and balanced tone for the double
stop is achieved by establishing the correct bowing plane
between strings, determining the proper amount of bow
weight, and drawing the bow perfectly perpendicular to
the strings" (Oddo, 1979, p. 122).
Applebaum*s exercises, mentioned previously on page
46 will also serve for right hand practice in playing
double stops.
Two principle types of chords are used in the intermediate violin repertoire:
(1) the broken chord in which
the lower notes are played before the beat and the upper
notes arrive on the beat; and (2) the unbroken chord in
which all notes are played simultaneously.
In type one, the lower notes receive very little
bow and are usually played very near the frog.
The action involved in the breaking of chords
is chiefly centered in a downward motion of
the whole arm together with a supination of
the forearm as the crossing is made. The
elbow drops slightly before the actual
breaking of the chord.
(Galamian, 1985,
p. 8 9 ) .
Flesch indicates the possible ways in which a threenote chord may be broken:
Not.ntion
260.
P
Execution
I.
2
^ h M ^ ^ ^ ^
T
61
"Here No. 5 in Example 260 represents the only correct
way of arpeggiating, since the chord is divided into
two double-stops, and hence has more of a chordal character than in the other examples" (Flesch, Book 1, 1939,
p. 8 4 ) .
He further illustrates the ways in which a four-note
chord may be broken:
Notation
Execution
^fc^^fr
w
JO-
261.
rj/
Sy
^ff-«^#^fF^|£^
Flesch contends that the correct breaking of the chord
is with the division of 3:2, noted in the last of the
ten ways.
Exceptions to this may be made only where
the melodic line demands the stressing of a certain note,
or in the piano dynamic level, where the chords must be
arpeggiated (Flesch, Book 1, 1939, p. 8 4 ) .
Applebaum
agrees with Flesch in the correct method of breaking or
arpeggiating chords (Applebaum, 1986, pp. 57-58).
In
connection with the broken chord, the point of contact
must change during the stroke--with the bottom notes being
played near the fingerboard and the top sustained notes
near the bridge.
Unbroken chords are possible with three note chords,
with this type of chord being preferable according to
Flesch (Flesch, Book 1, 1939, p. 8 3 ) .
bL
The best way to produce the simultaneous
attack of the three-note chord is to suspend
the bow slightly above the middle string,
then to drop it straight down for a good
solid grip on the strings. Pressure has to
be sufficiently great to depress the middle
string far enough for the neighboring strings
to be properly contacted and sounded by the
bow . . .
The movement is performed by the whole arm,
but the dropping must be made with flexible
. . . springs and must land on a well-chosen
sounding point. (Galamian, 1985, p. 90)
Spiccato
Spiccato is a bowing technique performed by bouncing
the bow for each separate note.
With the bow held above
the string, the forearm drops the bow against the string
in a swinging or arclike movement.
The natural spring
of the bow will result in an automatic rebound off the
string in fast tempi.
At slower speeds, there must be
an assisting lift with the arm.
The precise point of
contact is determined by tempo and dynamics (Oddo, 1979,
p. 114).
"Tone quality and dynamics will also be
influenced by the height of the drop:
the higher the
starting point, the louder and, in general, the sharper
will be the resulting sound" (Galamian, 1985, p. 75).
While the main impulse for the spiccato comes from
the arm, the hand and the fingers participate with a
"combination of the vertical and the horizontal motions
for the hand and the vertical motion of the fingers.
. . .
The greater the speed, the more the center of
63
action will shift from the arm toward the hand and
fingers" (Galamian, 1985, p. 7 6 ) .
It is best to keep the
bow close to the strings, especially during string crossings.
Havas talks of the pendulumlike movement of the
upper arm as being the basis of the spiccato (Havas,
1963, p. 4 9 ) .
Dounis calls for the active use of finger
movement as well as wrist and arm movement (Leland, 1963,
p. 29) .
Galamian and Applebaum recommend starting the practice of the spiccato in the lower part of the bow with
broad, flat strokes--the arm leading and the hand and
fingers following and kept very flexible (Galamian, 1985,
p. 77; Applebaum, 1986, pp. 96-97).
Menuhin prefers to
start with a ricochet stroke, proceeding to continuous
bouncing with four notes per bow stroke and gradually
reducing the number of notes per stroke until a true
spiccato is achieved (Menuhin, 1971, pp. 96-97).
Flesch notes the variety possible in the spiccato:
In a piano the middle is best used:
Bach,
Son.O-min. 29 Mov't
21.. jgiSvi r r r r frrfV^
In the forte, the lower third of the bow
^fnznrf,
21-2.
Sou. E-iniii. 19 Movt,
f
1
r,;
In the pp at the point:
Pl^,—
n V
nLttl.nif,!, F-ni.ij. Son. 39 Mov't.
213.
PP
At times it is played very shortly, as in:
: U .
4
^ ^
Beethoven, Son. A-maj.Op. 12, N9 2
^
or, between short and long:
Beethoven, Rom.inza F-maj.
••^^. i^^imtm^^^^
segue
(Flesch,
Book 1,
1939, p . 7 7 ) .
The Flying Staccato
The flying staccato represents a combination of
the staccato with the spiccato, since there are a number
of short notes played in a single bow stroke, with the
bow leaving the string after each note.
"It differs
from the ordinary staccato owing to the fact that the
raising and dropping of the bow is substituted for bow
pressure" (Flesch, Book 1, 1939, p. 7 7 ) . Flying staccato is usually done on the up-bow, with only a slight
lifting motion, the movement remaining essentially horizontal.
"If it is marked piano, use mostly the hand
and the fingers, with a slight use of the upper arm.
For dramatic passages in "fortissimo" play it close to
the frog with . . . the entire arm in the shoulder joint"
(Applebaum, 1986, p. 100).
f
60
"Executed in a virtuoso manner it may produce a charming effect:
rienrte,nps, Fantasie-Caprice
18. .^xj_ugivp-r;gpji^r
Saint-Saen», H.ivanaise
2 IP
It is used almost exclusively in the middle
. . ." (Flesch, Book 1, 1939, p. 7 7 ) .
To practice the flying staccato it is best
to start with a firm up-bow staccato; then,
after this motion is well under way, lighten
the hand by lifting the elbow and wrist,
and add a small amount of vertical finger
motion, which will help the bow bounce off
the strings after each note. . . . In most
cases, the horizontal finger motion will
play an important part, with the hand following flexibly and the arm acting in continuous
motion. The fingers recover slightly after
each individual stroke, in a flexible rebound.
(Galamian, 1985, pp. 80-81)
Changing From a Slur to Spiccato
This is a type of mixed bowing where more than one
right arm technique is required in quick succession.
The slur, of course, is played with the bow on the string.
For a graceful performance and to arrive at the best
part of the bow for spiccato technique, the first of
the spiccato notes is played smoothly, lifting the bow
after it is played (Applebaum, 1986, p. 101).
This
procedure is used for both spiccato and flying staccato
occurring after a slur.
y
66
Flesch states:
The use of such bowings is determined by a
division of the bow (distribution) which
ought to be tonally as well as musically free
from objection. . . .
Sftiftt-Sfti'fii,
Cto, :;? Mor't.
m
786.
No more bow should be expended on the tied
notes than upon each of the detached notes.
(Flesch, Book 1, 1939, p. 154)
Martele
Martele is a short, fast bow stroke on the string,
separated from the preceding and following strokes by a
plainly noticeable pause or rest.
It is performed in
the middle to upper part of the bow.
Oddo gives the following instructions for martele:
At the start of each stroke, press the bow
into the string with a slight rotation of
the forearm and hand; pull the bow quickly
and release the pressure at the same time.
The motion must end with a clean stop before
changing bow direction.
(Oddo, 1979, p. 110)
Flesch (Flesch, Book 1, 1939, p. 6 8 ) , Applebaum
(Applebaum, 1986, p. 9 6 ) , Menuhin (Menuhin, 1971,
pp. 94-95) and Havas (Havas, 1961, pp. 51-52) describe
the motion in similar terms, noting that the pause between
each note is used to exert pressure on the string with
the bow.
Flesch calls this the pressure pause.
The mechanics of this kind of stroke . . .
consist of the combination of an almost horizontal movement of the lower arm (during the
stroke) with a slight inward and outward
)
turning of the lower arm, before and after
the pressure pause in the elbow-joint.
(Flesch, Book 1, 1939, p. 68)
Galamian notes that the wrist should be somewhat
lower and the forearm slightly pronated, especially at
the point.
He refers to the pressure as the bow pinching
the string before starting to move, and emphasizes that
the pinch must last "just long enough to produce the
necessary accentuation at the beginning of the tone"
(Galamian, 1985, p. 7 1 ) .
Rolland suggests beginning instruction by asking
the student to "press the hair into the string near the
balance point.
Play two martele* strokes on the same
bow, starting each note with a "pop."
Use less than an
inch of hair for each note" (Rolland, 1974, p. 142).
The martele is one of the most fundamental of all
strokes.
"Its mastery will benefit the right hand tech-
nique well beyond the limit of this particular bowing"
(Galamian, 1985, pp. 70-71).
Combination Skills
A combination skill is the coordination required
to perform fast left hand passages that include string
crossings and quick bow changes for the right arm.
Since each appearance of the skill is different, it is
impossible to indicate a specific fingering or bowing
exercise that will teach the skill.
However, Galamian
suggests that "each difficulty should be isolated and
7
68
reduced to its simplest terms so that it will be easier
to devise and to apply a practice procedure for it"
(Galamian, 1985, p. 9 9 ) .
An example of this procedure
is given earlier in Principles of Violin Playing and
Teaching:
Coordination problems created by fast passages
with string crossings can best be approached
by first isolating the string-change pattern
and then practicing it on the open strings.
The measure in Example 43, for instance,
will yield to the string-change pattern shown
under Example 44.
ExampU 43
Bruch: Concerto In G minor, Op. 26
ExompI* 44
n
ji j j j J.J" L " J J j_r^
(Galamian, 1985, p. 6 6 ) .
Interpretive Skills
Interpretation requires the performer to make
decisions regarding the musical rendition of a piece.
Such decisions are determined by, among other criteria,
the era in which the piece was composed, the character
of the piece, the tempo, and the dynamics required.
Galamian states "interpretation is the final goal of
all instrumental study, its only raison d'etre" (Galamian,
1985, p. 6 ) .
A player must not only possess good
-J
69
technique, he must also "understand the meaning of the
music thoroughly, must have creative imagination and a
personal emotional approach to the work" (Galamian, 1985,
p. 6 ) .
Applebaum suggests that much can be done to help
the student become emotionally involved in the music:
1. a pupil must know exactly what the emotional message is; once the teacher describes
the emotion, it will most likely remain with
the pupil;
2. the student should develop a very large
vocabulary of descriptive words;
3. pupils must learn to become emotionally
and interpretively very flexible.
(Applebaum,
1986, p. 188)
Applebaum also suggests that the teacher develop alternatives, creating different ways to present material.
Finally, he recommends that the teacher develop in the
student an aesthetic sense by patient suggestion and
model, and encourage the student to attend live concerts
as often as possible (Applebaum, 1986, pp. 188-189).
Galamian recommends encouraging the development of
individuality in students, and discourages the teacher
from imposing his interpretation upon all students
(Galamian, 1985, pp. 8-9).
Flesch believes that true
art is based upon sound technique.
He states "only
perfected mental and physical control of the separate
disciplinary units, collectively known as technique,
offers us a guarantee for the realization of our artistic
intentions" (Flesch, Book 1, p. 171).
•IBS*"
?
0
Syllabi
A syllabus is a graded list of pieces, studies and
technique, representing sequential development of performance skills.
As such, it does not state explicit
goals for students, nor does it comprehensively list
technical or interpretive skills necessary to perform
the included material.
Four such lists for violin in current usage are
the American String Teachers Association (ASTA) String
Syllabus (String Syllabus, 1986), the Texas L^niversity
Interscholastic League (UIL) Prescribed Music list,
(Prescribed Music, 1986), the University of Toronto Royal
Conservatory of Music (RCMT) Violin Syllabus ( \'io 1 in
Syllabus, 1979), and the Canadian Western Board of Music
(WB) Syllabus No. 2 (Syllabus No. 2. 1983).
Although
presenting specific pieces, scales, and etudes instead
of a list from which materials may be chosen, the Suzuki
Violin School (SVS) (Suzuki, 1978), exemplifies many of
the features contained in the previously mentioned syllabi and therefore, is included in this discussion.
The syllabi and the Suzuki Violin School volumes will
be compared for (1) number of grades; (2) study repertoire, and characteristics of scale technique and solo
repertoire contained in each list; (3) theory and other
requirements for certificates; and (4) diplomas offered.
71
Figure 5 summarizes the number of grades and the
certificate requirements of the systems.
Syllabus
ASTA
RCMT
SVS
UIL
WB
Number of
Grades
6
11
10
Theory
Required
no
yes
no
no
yes
Ear Tests
Required
no
yes
no
no
yes
Sight Reading
Required
no
yes
no
no
yes
Certificates
Awarded
no
yes
yes
yes
es
Diplomas
Awarded
no
yes
no
no
yes
Figure 5:
12
Number of Grades and Certificate
Requirements of Five Music Systems
Number of Grades
The SVS is based on the principle of sequential
skill development. It includes ten volumes, each containing a varying number of required pieces and scales.
Each volume is designed to account for approximately
one year's study.
The UIL list contains three "classes" of solo reper
toire only.
The RCMT Violin Syllabus contains eleven
grades, the ASTA String Syllabus contains six levels
and the Western Board Syllabus No. 2 contains twelve
grades.
These latter three syllabi list solo repertoire,
etude books, and required scales and arpeggios specific
to each grade.
The following comments are appropriate
for all three syllabi:
1. Classification of materials into specific
grade levels has been based on the recommendation of experienced teachers who have helped
to collect the material presented . . .
2. There is more material in each grade level
than needed by any one student at that particular level. It is up to the teacher to
make an intelligent choice from the many
suitable and good materials listed in the
book.
(String Syllabus. 1975, p. iii)
ttudes, Scale Technique and Repertoire
Etudes
Etudes and scales are excluded from the UIL list.
Etudes are included in each SVS volume as previews
required for specific skills needed for ensuing pieces.
The Advanced and Young Artist levels in the ASTA syllabus.
Grades Eight through Twelve in the WB syllabus, and Grades
Eight through Eleven in the RCMT syllabus recommend, among
others, the following books of etudes:
F. Fiorillo - 36 Etudes
R. Kreutzer - 42 Studies
P. Rode - 24 Etudes and Caprices
P. Rovelli - 12 Caprices
J. Dont - 24 Etudes and Caprices, Op. 35
J
73
P. Gavinies - 24 Studies
0. Sev^ik - School of Technic. Op. 1 and Op. 8
C. Flesch - Scale System
In Grades Four through Seven in the RCMT and WB syllabi,
and Intermediate A and B levels in the ASTA syllabus, the
following etude books are recommended:
H. E. Kayser - 36 Studies, Op. 20
J. F, Mazas - 75 Melodious and Progressive Studies,
Op. 36, Book 1
J. Dont - 24 Studies. Op. 37
F. Wohlfahrt - 60 Studies. Op. 45
H. Kinsey - Elementary Progressive Studies, Set 3
The H. Kinsey sets of Elementary Progressive Studies,
among others, are recommended in the earlier grades and
levels by the ASTA, RCMT and WB.
Scale Technique
No scale requirements are included in the UIL
listing.
The SVS introduces new scales just prior to
their use in the pieces included in each volume.
There
is more divergence in the sequence of scales and arpeggios
among the three syllabi than for etudes.
The ASTA intro-
duces three octave scales in the Intermediate B level,
whereas the RCMT and WB wait until Grade Seven.
However,
both the RCMT and WB introduce dominant seventh and
diminished seventh broken chords well before the ASTA.
Scales in double stops and shifting during scales are
in iiin
74
introduced in all three systems at about the same point.
The scales in Grades One through Three in the RCMT and
WB syllabi, and Elementary A and B in the ASTA syllabus
are all performed in first position.
Repertoire
The SVS includes in each volume the pieces required
for that level.
The pieces are to be learned in sequence,
since each piece builds upon a skill learned previously
and/or introduces a new skill.
In the other four lists,
pieces in each grade or class are somewhat equal in difficulty.
In the UIL list, Class I contains the most
difficult pieces and Class III the easiest pieces.
The
ASTA, RCMT and WB start with the easiest pieces in Grade
One or Elementary A and build toward the most difficult
in the Young Artist level or Grade Eleven or Twelve.
An
analysis of the repertoire contained in the five lists
reveals that the vast majority of pieces listed in Class
I in the UIL list. Volumes Eight to Ten in the SVS, Grades
Eight through Twelve in the WB syllabus. Grades Eight
through Eleven in the RCMT syllabus and Advanced and Young
Artist levels in the ASTA syllabus appear on programs
of public recitals and concerts given by professional
performing artists.
The repertoire in Class II in the
UIL list, in Volumes Four through Seven in the SVS, Grades
Four through Seven in the RCMT and WB syllabi and Intermediate A and B levels in the ASTA syllabus require.
y
among other skills, development of shifting, vibrato
and the playing of double stops in the left hand, and
the development of martele, spiccato, and the playing
of chords and arpeggios in the right arm.
Class III in
the UIL list. Volumes One through Three in the SVS, Grades
One through Three in the RCMT and WB syllabi and Elementary A and B levels in the ASTA syllabus contain short
pieces designed to develop beginning or foundation skills
in violin playing.
These pieces can be performed entirely
in first position.
Theory and Other Requirements
The UIL list requires only the performance of solo
repertoire, excluding all other requirements.
The SVS
and the ASTA, likewise, have no additional requirements
to those contained in their respective volumes or lists.
The RCMT has five levels of Theory--Preliminary Rudiments, Grade I Rudiments, Harmony, History, and
Counterpoint and Analysis.
These examinations are
required beginning with the Grade Five practical examination.
In addition, the practical examination includes
ear tests and sight reading.
The WB requirements are
similar to those of the RCMT, with two additions:
the
last three theory examinations include aural musicianship,
and beginning with the Grade Three practical examination,
a student must answer questions on the form and composers
of the pieces that he/she has played for the examination.
•
immmKmm
76
Certificates and Diplomas Offered
With the single exception of the ASTA, the graded
systems discussed in this chapter offer certificates to
students who successfully complete the requirements of
each grade, class, level or volume.
In addition, the
RCMT offers the Associate diploma (ARCT) either as
Performer or Teacher for those candidates who have successfully completed Grade Eleven.
The WB offers the
Associate diploma (A. Mus.) for Performer, Teacher, or
Teacher/Performer for those candidates who have completed
Grade Eleven, and the Licentiate diploma (L. Mus.) for
those who successfully complete Grade Twelve.
Summary
The printed pedagogical literature examining the
skills required in the selected pieces has been reviewed
in this chapter, citing those pedagogues of this century
who have established reputations with long standing
experience in teaching and/or have presented the results
of significant research into the intermediate level violin
skills encompassed by the selected pieces.
The review
considered in order the left hand skills, right hand
skills, combination skills and interpretive skills
required in the selected pieces.
The majority of the
literature reviewed considered the required skills at
inappropriate levels--either the beginning level or the
advanced level.
However, the suggestions contained in
J
the review can be altered in such a way as to be made
appropriate for the intermediate level.
This has been
done in Chapter IV.
An analysis of five lists of graded repertoire
revealed many similarities in repertoire and technical
requirements.
Differences can be attributed to a slightly
different approach to the sequencing of skill learning.
However, all systems reach the same general level at
about the same point in study.
Three of the syllabi--
the ASTA, RCMT and WB--provide suggested scales and other
technical material for study along with lists of repertoire.
Certificates of attainment are offered by all
the systems except the ASTA.
Only the RCMT and WB require
theory, ear training and sight reading to accompany practical examinations.
and WB.
Diplomas are offered by the RCMT
J
78
Notes
Applebaum, Samuel. The Art and Science of String
Performance. Sherman Oaks, CA: Alfred Publishing
Company, Inc., 1986.
Dont, Jakob. 24 Etudes and Caprices. Op. 35.
International Music Company, 1952.
. 24 Studies. Op. 37.
Music Company, 1955.
Fiorillo, Federigo.
Music Company,
Flesch, Carl.
Edition.
36 Etudes.
1956.
New York:
New York:
New York:
International
International
The Art of Violin Playing. 2nd Revised
New York: Carl Fischer, Inc., 1939.
. Scale System.
1926.
New York:
Carl Fischer, Inc.,
Galamian, Ivan. Principles of Violin Playing and
Teaching. 2nd Edition. Englewood Cliffs, N. J.:
Prentice Hall, Inc., 1985.
Gavinies, Pierre. 24 Studies.
Music Company, 1936.
New York:
International
Havas, Kato. A New Approach to Violin Playing.
Bosworth and Company, Ltd., 1961.
Kayser, H. E. 36 Studies. Op. 20.
G. Schirmer, 1923.
London:
New York:
Kinsey, Herbert. Elementary Progressive Studies,
Sets 1 to 3. London: Associated Board of Royal
Schools of Music, 1963.
Kreutzer, Rudolphe.
Music Company,
42 Studies.
1936.
New York:
International
Leland, Valborg. The Dounis Principles of Violin Playing.
Their Meaning and Application. London: The Strad,
1963.
Mazas, J. F. 75 Melodious and Progressive Studies,
Op. 36, Book 1. New York: International Music
Company, 1936.
Menuhin, Yehudi. Six Lessons with Yehudi Menuhin.
New York: W. W. Norton and Company, 1971.
Menuhin, Yehudi and William Primrose. Violin and Viola
London: Macdonald and Jane's, 1976.
Oddo, Vincent. Playing and Teaching the Strings.
Belmont, CA: Wadsworth Publishing Company, 1979.
Prescribed Music. For School Years Beginning 1987 through
1990. The University Interscholastic League.
Austin, TX: The University of Texas, 1986.
Rode, Pierre. 24 Etudes and Caprices. New York:
International Music Company, 1962.
Rolland, Paul. The Teaching of Action in String Playing.
Urbana, IL: Illinois String Research Associates,
1974.
Rovelli, Pietro.
1939.
12 Caprices.
New York:
G. Schirmer,
Sevcik, Otakar. School of Technic, Op. 1.
Carl Fischer, Inc., 1901.
. School of Technic. Op. 8.
Carl Fischer, Inc., 1901.
New York:
New York:
String Syllabus. Revised 1975. Urbana, IL:
String Teachers Association, 1975.
American
Revised 1986. American String Teachers Association. Bloomington, IN: Frangipani Press, 1986.
Suzuki, Shinichi. Suzuki Violin School. Ten Volumes.
Princeton, N. J.:
Summy-Birchard Music, 1976.
Syllabus No. 2. 1983 Issue.
Board of Music, 1983.
Edmonton, AB:
Violin Syllabus. 1979 Issue. Toronto, ON:
servatory of Music, 1979.
Wohlfahrt, Franz.
G. Schirmer,
60 Studies, Op. 45.
1925.
The
Western
Royal Con-
New York:
Yampolsky, I. M. The Principles of Violin Fingering.
London: Oxford University Press, 1967.
J
K I I H I .IM
CHAPTER III
SELECTION OF PIECES AND SKILLS
This chapter discusses the processes used to select
the pieces to be analyzed and to ascertain the skills
required to perform the selected pieces successfully.
Skills expected of students who have completed the
beginning level of instruction are listed.
A comparison
of five lists is made regarding their beginning, intermediate and advanced grade levels.
The performance
frequency of some pieces on Western Board violin examinations is noted and the pieces selected to be analyzed
are identified.
Finally, the required skills in the
selected pieces are listed.
Selection of Pieces
Determination of Intermediate Level
Intermediate level has been determined by surveying The Western Board of Music panel of experts.
The
panel members were requested to identify those skills
expected of a student who had completed the beginning
level of instruction and was ready for the intermediate
grades.
Their comments on expected skills, noted in
Figure 6, were used for comparing technical requirements
and solo material in graded lists published by the UIL,
ASTA, RCMT and WB, as well as the SVS solo material.
80
L-JM^'
y
81
Left Hand
Right Hand
Hold violin correctly
Hold bow correctly
Form proper hand shape
Draw the bow straight
between frog and tip
Accurate finger placement
All 1st position notes
on each string in tune
Elementary rhythmic
combinations
Son file
Single note grace-notes
Detach^, Legato, Martele
Elementary double stops
Slurred legato string
crossings
Finger preparation technique
Down-bow accents
Pizzicato
Elementary double stops
Figure 6.
Expected Skills at Completion
of Beginning Level
These students are able to play major and melodic minor
scales, studies and pieces having up to four sharps and
three flats in first position.
They can read music,
observe dynamic markings, execute martele, legato and
detache bowing articulation markings and observe repeat
signs.
The Western Board panel of experts was also requested
to identify characteristics of advanced level repertoire.
They made the following observations:
(1) the advanced
level repertoire forms the content of programs by concert
J
k^ I M I . ; *«.v
8o
violinists; (2) the repertoire has been recorded by
international artists; (3) the required technique
represents the pinnacle of technical development;
(4) the repertoire is physically demanding to perform;
and (5) a mature interpretation is a necessity for a
satisfying performance.
These characteristics were
used as a basis for comparing advanced level grades in
the previously mentioned lists.
The panel of experts was requested to identify the
intermediate level in the Western Board violin syllabus,
for comparison with similar repertoire and technical
material in the UIL, ASTA, RCMT and SVS lists.
The
intermediate level lies between the beginning level and
the advanced level.
The intermediate repertoire requires
the development of new competencies that build upon those
skills learned in the beginning level.
There are some
moderately difficult technical passages and the intermediate repertoire requires more attention given to
interpretation than the repertoire in earlier grades.
There is a gradual and systematic development of the
skills required for successful performance at the
advanced level.
Figure 7 summarizes the designation of grades contained in the five lists of repertoire into levels of
instruction.
For the purposes of Figure 7, grade refers
to Class for the UIL and Volume for the SVS.
7
83
Syllabus
Beginning
Grades
Intermediate
Grades
ASTA
Elementary A
Elementary B
Intermediate A
Intermediate B
RCMT
1 - 3
4-7
8-11
SVS
1 - 3
4-7
8-10
UIL
III
WB
1 - 3
Advanced
Grades
Advanced
Young Artist
II
4-7
8-12
Grade 11 in the RCMT, Grades 11 and 12 in the WB, and
Young Artist in the ASTA syllabi contain more difficult
pieces than Volume 10 in the Suzuki Violin School or
Class I in the UIL list.
Figure 7.
Levels of Violin Instruction
in Five Music Syllabi
The categorization of these grades and the foregoing
rationale for determining intermediate level was substantiated by all of the Western Board of Music examiners
surveyed.
Selection of Pieces
Although the intermediate level provides a wide
variety of repertoire, that included in The Western Board
of Music syllabus is in widespread use in western Canada.
A number of violin teachers in western Canada
expressed interest in a study analyzing repertoire from
the syllabus, particularly if the repertoire chosen was
readily available and had been chosen often by students
^}
84
in the past.
Therefore Western Board of Music violin
candidates' entry sheets for the examination periods
(February and June examinations) from 1978 to present
were examined.
Figures 8, 9, 10 and 11 show the frequency
of performance for the eight most often performed pieces
in each of the intermediate grades--Grades Four to Seven.
To ensure a balanced representation of skills from each
of the four grades in the intermediate level, the three
most frequently performed pieces from each grade were
chosen for analysis.
These selected pieces, along with
the grade from which they were chosen and their publisher,
are listed in Figure 12.
Title
Composer
Rondo, Op. 22, No. 3
Rieding
35
Brother James' Air
Anonymous
28
Suite in G
Telemann
21
Bourree
Henry
17
Playful Rondo
Green
15
Gavotte in D
Bach-David
12
A Fiddle Tune
Driver
1 1
A Pirate Bold
Coutts
10
Figure 8:
Frequency of Performance
Grade Four WB Examination Pieces
1978 to Present.
Frequency
85
Title
Composer
Air Varie, Op. 23, No. 3
Rieding
28
Giguetta
J. S. Bach
21
Daussila
Jaque
17
Minuet
C. P. E. Bach
14
Quiet Song
Adaskin
12
Minor Mode
Blachford
11
Andante Cantabile
Tartini
11
Gavotte in F
Martini
10
Figure 9:
Frequency
Frequency of Performance
Grade Five WB Examination Pieces
1978 to Present.
Frequency
Title
Composer
Minuet in G
Beethoven
19
Concerto No. 2, Op. 13
Seitz
17
La Legere
Fiocco
15
The Swan
Saint-Saens
14
Sonata No. 8
Corelli
12
Concertino Op. 6, No. 2
Huber
12
Mazurka
Blachford
10
Andantino (style of Martini)
Kreisler
10
Figure 10:
Frequency of Performance
Grade Six WB Examination Pieces
1978 to Present.
""•"•"^ili^H
J
e
OP
Title
Composer
Sonata in Bb
Arne
32
Evening in the Village
Bartok
27
.Allegro Spiritoso
Senaille
24
Adoration
Borowski
19
Country Dance
Heins
17
Kreisler
16
Sonata No. 1
Telemann
14
Tambourin
Mondonville
12
en)
Figure 11:
Frequency
Frequency of Performance
Grade Seven WB Examination Pieces
1978 to Present.
Title
Composer
Grade
Rondo, Op. 22, No. 3
Brother James' Air
Suite in G
Rieding
Anonymous
Telemann
4
4
4
Bosworth
Oxford
Schott
5
5
5
Bosworth
C. Fischer
Berandol
Air Varie, Op. 23 No . 3 Rieding
Bach
Giguetta
Jaque
Daussila
Publisher
Minuet in G
Concerto No. 2 , Op. 13
La Legere
Beethoven
Seitz
Fiocco
6
6
6
Harri s
Schirmer
Schott
Sonata in Bb
Evening in the Village
Allegro Spiritoso
Arne
Bartok
Senaille
7
7
7
Oxford
Boosey
Schirmer
Figure 12:
Pieces Chosen for Analysis
T
87
Selection of Skills
The selected pieces were analyzed for technical
and interpretive skills.
Six approved examiners for
the Western Board, two from each prairie province, who
had examined violin candidates since 1978 formed a panel
of experts.
The panel was sent copies of the selected
pieces with a request to notate the technical and interpretive skills required for successful performance of
the selected pieces.
The panel was also requested to
indicate and comment on any specific spots in the pieces
that gave candidates trouble during the examinations.
Subsequent to the distribution of copies of the pieces,
four of the experts were interviewed personally (three
in Calgary and one in Medicine Hat) to discuss their
responses and to clarify required skills and trouble
spots.
During these interviews, the experts often
reflected on their teaching experiences with the pieces
as well as about particular examination incidents.
The
remaining two experts (from Brandon and Winnipeg) were
interviewed by telephone.
Figures 13 to 16 illustrate the left hand, right
hand and interpretive skills required in the Grade Four
through Seven selected pieces, as indicated by the panel
of experts.
These skills are analyzed and discussed in
detail in Chapter IV.
Appendix C contains a list of
skills required in each of the selected pieces.
>
88
Left Hand
Right Hand
Finger preparation
Slurred legato string
crossings
Shifting
Accents
Trills and Mordents
Bow distribution
Irregular placing
of a finger
New rhythms
Vibrato
Portato
Figure 13:
Required Skills
Grade Four Pieces
Left Hand
Right Hand
Interpretive
Finger preparation
Slurred legato
string crossings
Baroque style
AAB.A form
Shifting
Accents
Finger Facility
Harmonics
Change in contact
point for dynamics
Chords
Figure 14:
Required Skills
Grade Five Pieces
Theme and variation form
89
Left Hand
Right Hand
Interpretive
Finger preparation
Slurred legato
string crossings
Rubato
Shifting
Concerto form
Portato
Finger Facility
Cadenza
Change in contact
point and distribution
Double Stops
Spiccato
Bowing articuIation decisions
Change from a slur
to spiccato
Figure 15:
Required Skills
Grade Six Pieces
Left Hand
Right Hand
Interpretive
Finger preparation
Slurred legato
string crossings
Rubato
Shifting
Baroque phrasing
Martele
Finger Flexibility
Ornamentation
Bow distribution
Accents
Spiccato
Figure 16:
Required Skills
Grade Seven Pieces
20th Century
idiom
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W
90
Summary
In this chapter the processes used to determine
intermediate level, the pieces to be analyzed and the
required skills in the selected pieces were discussed.
Intermediate level was determined by interviewing a panel
of experts composed of approved Western Board examiners
who had examined violin candidates during the past decade.
This panel was asked to define the expected skills of a
student who had successfully completed the beginning
level of instruction, the characteristics of advanced
level repertoire and the skills that should be developed
during the intermediate stage of instruction.
These
responses were compared with designations in five graded
lists--the ASTA syllabus, the UIL list, the SVS volumes
of material, the RCMT syllabus and the WB syllabus.
It
was determined that Grades Four through Seven in the WB
syllabus comprise the intermediate level.
The pieces to be analyzed were selected by examining
violin candidates' entry forms for WB examinations for
the past decade.
The three most frequently performed
pieces from each intermediate grade were chosen for analysis of required skills.
The required skills were chosen
by the panel of experts after analysis of the pieces.
The chapter summarizes the finding through the use
of figures.
MSMh
J
91
Notes
Prescribed Music. For School Years Beginning 1987 through
1990. The University Interscholastic League.
Austin, TX: The University of Texas, 1970.
String Syllabus. Revised 1986. American String Teachers
Association. Bloomington, IN: Frangipani Press,
1986.
Suzuki, Shinichi. Suzuki Violin School. Ten Volumes.
Princeton, N. J.:
Summy-Birchard Music, 1976.
Syllabus No. 2. 1983 Issue.
Board of Music, 1983.
Edmonton, AB:
Violin Syllabus. 1979 Issue. Toronto, ON:
Conservatory of Music, 1979.
The
Royal
Western
f
• • • ^
CHAPTER IV
ANALYSIS OF PIECES
SELECTION OF STUDIES AND EXERCISES
In this chapter, the techniques necessary for the
successful performance of each piece are analyzed and
discussed.
A brief summary of beginning level technique
is followed by an analysis and discussion, by grade, of
the requisite skills encountered in the selected pieces.
Within each grade, the analysis and discussion of skills
is done in the following order:
(1) left hand;
(2) right hand; (3) combination; (4) interpretive; and
(5) trouble spots (spots in each piece that are difficult
for students) identified by the Western Board of Music
examiners in their personal interviews.
Wherever pos-
sible, appropriate published studies are cited following
the discussion of each skill.
Short preliminary exer-
cises that preview specific skills and assist in
alleviating potential trouble spots are also provided
and discussed, when appropriate.
This organization was
chosen to facilitate accessibility of examples and exercises by teachers.
Students develop techniques for
both hands as well as interpretive skills in each grade.
A teacher may need help with a particular technique at
a specific grade level.
Thus, organization by grade is
preferable to one by skill since it more nearly approximates the usual teaching and learning procedure.
92
I • •
•
Wl
J
93
Summary of Beginning Skills
A student who has successfully completed the Western
Board of Music Grade Three violin examination has finished the beginning level of instruction.
the left hand, this student is able to:
Considering
(1) correctly
hold the violin to give the optimum conditions for good
intonation and tone; (2) form a proper hand shape;
(3) place the fingers accurately on the string and lift
them from the string with an efficient motion; (4) play
all first position notes on each string in tune;
(5) play single note grace-notes; (6) play elementary
double stops of relatively long duration; (7) employ
elementary finger preparation techniques; and (8) play
elementary rhythmic combinations.
Concerning the right hand, the student who has
successfully completed the Western Board of Music Grade
Three violin examination should be able to:
(1) hold
the bow correctly with a firm yet flexible grip;
(2) draw the bow straight between the frog and tip at
various lengths; (3) play with a good sustained violinistic sound; (4) execute the detache and staccato
strokes; (5) play downbow accents; (6) play double stops;
(7) play slurs of up to four notes on one string or
crossing between two adjacent strings; (8) play pizzicato, both single notes and elementary chords; and
(9) play elementary rhythmic combinations.
mm'
94
Much effort is spent at the beginning level of
instruction to ensure that the left and right hands
always coordinate their actions.
tinued at the intermediate level.
This effort is conHowever, in the
selected Grade Four pieces, there are no combination
skills required in which the left and right hand actions
must coordinate precisely in order to execute correctly
a musical passage that entails fast left hand action
along with string crossings and quick bow changes for the
right arm.
Beginning level students who have completed Grade
Three are able to play major and melodic minor scales,
studies and pieces having up to four sharps and three
flats in first position.
They can read music, observe
dynamic markings, execute staccato, slur, and detache
bowing articulation markings and observe repeat signs.
These students may have encountered one or more Baroque
dance forms, as well as song and march forms.
Therefore,
the student who has completed the Western Board of Music
Grade Three examination has acquired many important
basic skills.
While progressing through the next four
grades, the intermediate level of instruction, the student will encounter many additional demands and greatly
expand on the basic foundation acquired to date.
f
95
Grade Four Skills
Grade Four is the first grade of the intermediate
level of instruction.
In Grade Four, the student encoun-
ters a number of new skills required of both the left
hand and the right hand.
There are no combination skills
required, but the Grade Four student may encounter a
number of new forms.
As well, there is continued devel-
opment of the basic skills learned in the first three
grades and continued use of beginning level forms.
Left Hand Skills
For the left hand, there are five skills required
in the Grade Four repertoire:
(1) finger preparation--
to ensure smooth string crossings; (2) shifting between
first and third positions; (3) executing the trill and
mordent; (4) the irregular placing of a finger; and
(5) vibrato.
Finger Preparation
Finger preparation as well as clear finger articulation and rhythmically controlled finger action is
required in most violin repertoire at all levels.
Finger
preparation is an essential skill if string crossings
are to be smooth, with as little break in sound as possible between strings, and without unwanted notes or
sounds.
In Grade Four, this skill is further developed
by the addition of the fourth finger both as a finger
96
of departure and a finger of arrival, by executing it
in slightly faster moving rhythms and tempi than was
required in previous grades, and by changing from an
upper string to a lower string as well as from a lower
string to an upper string.
An example of the technique of crossing from an
upper string to a lower string is shown in Example 1 .
Example 1:
0. Rieding.
Rondo, measures 9-11
0
In this e.xample, unwanted noises could be heard when
crossing from the A string to the D string.
This will
be caused by fingers accidentally touching the wrong
strings.
The performer must ensure that the first finger
is touching only the A string and that the third finger
is touching only the D string if unwanted noises are to
be avoided.
Also, the open .A string sound may be heard.
If this happens, the first finger has been lifted while
the bow is still playing on the A string.
Likewise,
the open D string sound will be heard if the third finger
is placed too late.
To avoid hearing the open string
sounds, it is helpful to practice the placement of both
the first and third fingers on their respective strings
when the B in measure 10 is played.
The string crossing
from the A string to the D string may then be made
J
without the possibility of any unwanted open strings
sounding.
Preliminary Exercise 1 previews this skill
Preliminary Exercise 1
Upper to Lower String
a.
I
Finger Preparation
b.
In Part a, the fingers are placed together during
a rest inserted before the B is played.
The G-B double.^
stop is then sounded and repeated until the placing of
the fingers feels comfortable and can be done with ease.
Then Part b is practiced, with the third finger being
placed with the first finger but not sounded until
desired.
During performance, the third finger should be
placed well before it is needed for the G to sound.
Example 2 shows a spot where the string crossing is
from a lower string to a higher string.
Example 2:
f^^i
O. Rieding.
Rondo, measures 52-54
jp f
J' I .fi I I
r I
If extraneous fingers are lightly touching the
strings, unwanted noises will be heard.
The performer
must ensure that only the second finger is touching the
G string and only the first finger is touching the D
string.
If the second finger lifts too soon, an open G
/
98
string sound will be heard.
If the first finger is
late in being placed, an open D string sound will be
heard.
To avoid these unwanted sounds and ensure a
smooth string crossing, both the second finger and the
first finger should be placed simultaneously when the B
in measure 53 is played.
Preliminary Exercise 2 out-
lines a procedure that will ensure correct execution of
this skill.
Preliminary Exercise 2: Finger Preparation
Lower to Higher String
\
M:
g± ^.SJ2^^^
m
is
a.n
1 -
i
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b. '^
i'^^'iSJJ
^
c. n
J..iji ^"ij
m
In Part a, a rest is inserted between measures o^
and 53, during which both fingers are placed in position
Then the double stop is sounded.
This is repeated until
the execution feels comfortable.
In Part b, the rest
is eliminated.
In Part c, the first finger is posi-
tioned, but its note is not sounded until desired.
Finger preparation must also be used when an open
string is one of the notes in a string crossing.
To
ensure that the finger does not touch the open string,
the elbow must move to the right further under the violin, and the finger must be placed slightly to the left
T
99
of center of its string on the tip.
Furthermore, on
downward string crossings, the finger must be positioned
while the open string is being played to avoid the possibility of the finger being placed late and an unwanted
lower open string note being heard.
Since the fourth finger is shorter than the other
fingers, the same technique, including the elbow movement, must be employed when it is used in a string
crossing to ensure that the possibility of unwanted
sounds is eliminated.
Example 3 shows a place where an open string is
one of the notes in a string crossing.
Example 3: Anonymous.
Brother James' Air, measures 8-10
An unwanted noise will be heard insteai of the
open A if the second finger in measure 9 accidentally
touches the A string.
The second finger must be placed
on only the D string to sound the F# and must remain in
place until the open A string is sounding.
In measure
10, an unwanted noise will be heard instead of the open
A if the third finger accidentally touches the open A
while being positioned for the third beat G.
Here, the
third finger must be positioned while the open A is
being played, but placed only on the D string.
100
Preliminary Exercise 3 shows an exercise to help achieve
correct finger placement.
Preliminary Exercise 3:
Finger Preparation--Open Strings
o
o
t^
i
In Part a, a double stop F#-A is played to ensure
that the finger is correctly placed, followed by an
open A and then a third finger D.
When the double stop
can be executed correctly. Part b is practiced as shown,
using the eighth note double stop figure in place of
the quarter note figure.
the written figure.
This more nearly approximates
When Part b can be played well,
measure 9 in the example should be performed without
problem.
Parts c and d provide practice in the downward
crossing in measure 10.
In Part c, a double stop G-A
is played to ensure correct finger placement, followed
by the third finger G.
In Part d, while the third finger
is placed during the sounding of the open A, it is played
only on the third beat of the measure.
The use of the fourth finger in string crossings.
which is new to Grade Four, is shown in Example 4.
J
101
Example 4: Anonymous.
measures 18-20
Brother James' Air,
n
r '^ f r r
^
Preliminary Exercise 4 shows a preview exercise that
should ensure the correct placing of the fourth finger
in measure 19 to avoid unwanted sounds.
Preliminary Exercise 4:
Finger Preparation--Fourth Finger
n
I 4^
a..
^ - 1
±
b.
^
-U
^te
In Part a, a double stop A-G is sounded to ensure
the correct placing of the fourth finger, followed by a
third finger F#.
Once the double stop can be played as
desired. Part b should be practiced to ensure that the
fourth finger is placed during the sounding of the A.
During performance, the fourth finger may not be placed
exactly as in Part b, but should be in place well before
the third beat is reached.
There remains one more finger preparation type
that occurs in the Grade Four pieces.
This is the
placing of one finger on two adjacent strings, shown in
Example 5.
J
''
102
Example 5: G. P. Telemann.
Suite in G - Bourree,
measure 1
m^
Unwanted open string sounds will be heard, and
unwanted noises will result from any attempt to lift
the third finger from the D string after playing the G
and reposition it on the A string for the sounding of
the D.
To avoid both of these unfortunate situations,
the third finger must be placed on both the D and A
strings immediately after the sounding of the open A.
As shown in Part a of Preliminary Exercise 5, a rest
should be inserted immediately following the open .A.
During the rest, the third finger is placed on both
strings.
The double stop G-D is then sounded.
This is
repeated until the double stop is reached quickly and
with ease and until the double stop is in tune.
In
Part b, the rest is omitted, but the double stop is
sounded.
Once this can be done easily, the example is
played as written.
Preliminary Exercise 5:
Finger Preparation--Double Stop
b.
1
i
^
mm
103
This is one of the more difficult finger preparation
techniques, yet it is also one of the most used and an
essential part of left hand technique.
The following studies provide practice in finger
preparation at the Grade Four level:
Elementary and Progressive Studies. Op. 20.
H. Kayser
Study No. 6
Study No. 7
Study No. 8
Elementary Progressive Studies. Second Set.
H. Kinsey
Study No. 3
Study No. 7
Study No. 17
Sixty Studies, Op. 45.
F. Wohlfahrt
Study No. 39
Study No. 41
Shifting
Shifting is a new skill for Grade Four students.
All shifts involve the same basic motion.
This motion
is a unit motion involving the arm, wrist, hand, thumb,
and fingers.
All these components must move the same
distance during a shift, thus acting as one unit.
If a
performer digresses from this concept, it will likely
result in poor intonation.
Each shift contains two
mmm
104
notes:
a note of departure (the last note in the old
position), and a note of arrival (the first note in the
new position).
Three different types of shifts are called for in
the Grade Four pieces.
The first type, in which the
same finger plays both notes is shown in Example 6.
Example 6: Anonymous.
measures 37-39
^
Brother James' Air,
z
V
•
2
i
•
cresc.
In this example, the F sharp is played with the
second finger on the D string in first position.
The E
is played with the second finger on the A string in
third position.
This shift could cause difficulty
because it must be executed during a rest.
Thus, the
continuous sound usually expected during the shift is
absent.
Also, the note of arrival being on a different
string is a complicating factor.
These two problems
can be alleviated by using intermediary notes and by
checking the intonation of the shift, as outlined in
Preliminary Exercise 6.
Preliminary Exercise 6:
Shifting--Same Finger
I HI
b. ^
I
c.
2.
Z
^ t e r ^ J t j J r II J-",' f II
105
In Part a, the second finger executes a portamento
from the F sharp (first position) to an A (third position) on the D string.
The open A string is played as
a check to ensure that the shift is in tune.
Once repe-
tition has achieved a high success rate in reaching
third position, the note of arrival is added after third
position is reached (Part b ) . Here the second finger
is placed on the A string after the portamento, and the
shift is checked for accuracy by playing the open E
string.
Then the shift is done silently, as in Part c.
Once this has been done, the example can be played as
written.
Study No. 22, from Elementary and Progressive
Studies, Second Set, by Kinsey can be used for practicing
this type of shift.
The second type of shift is when one finger plays
the note of departure and a different finger plays the
note of arrival.
Example 7 shows this type of shift.
Example 7: G. P. Telemann.
Rigaudon, measures 12-13
2.
n
^b—a
^
li-^d—^
Suite in G
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rr
—4
f
'
This type of shift may be out of tune if attempted by
leaping to the new note instead of sliding.
In this
example, the first finger does the actual shifting in
106
measure 12, playing E in first position and sliding up
to G in third position.
This should be practiced with
a slow portamento as shown in Part a of Preliminary
Exercise 7.
Preliminary Exercise 7:
I HI
H
m
a. t
I 3
i
b.
Shifting--Different Fingers
I m
c.^
3
i
^
HI
1
t
J
•- j - j r '^'•-
Once the G is reached, it is played and then the
third finger is placed on the B.
This shift should
then be practiced with rhythms, as shown in Parts b and
c to achieve a rapid shift.
Downward shifts of the
same type are practiced in the same way, with the note
of departure finger doing the actual shift, and the note
of arrival finger being placed immediately after the
shift.
Such a shift is shown in Example 8.
Example 8: Anonymous
Brother James' Air,
measure 20
In this example, the first finger plays the quarter
note D in third position on the A string.
It then slides
down to first position and remains in place.
The second
^jggfSr
107
finger is then immediately placed down on the C#.
Preliminary Exercise 8 shows a practice exercise that
should ensure a shift of correct distance.
Preliminary Exercise 8:
Downward Shift—Different Fingers
:5t 1
-m x
c. * I 5^
r-p II'- r-^r r 11' ^ ^
In Part a, the first finger plays a portamento
from third position D to first position B.
In Part b,
the second finger C# is added after the portamento.
In
Part c, the first finger B is played with a short note
value.
This part should be repeated, with the duration
of the B decreasing with each repetition until it is no
longer heard and the desired sound of measure 20 is
achieved.
Studies No. 22, 23, and 24 in Kinsey's Elemen-
tary and Progressive Studies, Second Set, are excellent
studies for both preview and additional practice of
this type of shift in both directions.
Shifting is an important skill that should be carefully taught in Grade Four.
The teacher is particularly
directed toward the Sevcik set of studies that provide
for ample practice in the shifting motion.
Careful
study of shifting skills will pay many dividends in the
future.
T Vf
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108
Ornaments: The Mordent and The Trill
Playing two types of Baroque ornament, the mordent
and the trill, is new for the Grade Four student.
These
occur in the Suite in G and are indicated by the
sign.
Two problems are created by the introduction of
ornaments.
The first is that this piece uses only one
symbol to indicate the spots where an ornament is to be
used, even though more than one type of ornament may be
performed.
The choice of which ornament to use is an
interpretive one, and the teacher should help the student
make the decision.
The first appearance of the ornament
(Mr) is shown in Example 9.
Example 9: G. P. Telemann.
Suite in G - Bourree,
measures 11-12
This ornament is normally realized in one of three
ways, which are shown in Preliminary Exercise 9.
This
exercise solves the second problem created by the introduction of ornaments, namely that the student does not
know when the ornament is to be executed.
The student
should realize that the mordent comes before the second
beat in measure 11.
This ornament, shown in Part a,
can be practiced slowly at first and then up to tempo.
Then Study No. 6 of the Kinsey Elementary and Progressive
I • a 11 n
I
109
Studies, Second Set, should be practiced, after which
the mordent should not be a problem.
Preliminary Exercise 9:
n.
Mordent and Trill
b.
''^"^f
trri-w-.rtj^jij
V
^3
/^a-N
rmtUiij
Most students will know neither what a trill is
nor how to execute it.
Thus, it must be explained to
them that a trill is the rhythmic alternation of a
written note with its diatonic or chromatic upper neighboring note.
Parts b and c of Preliminary Exercise 9
show two possible trills that could be used to realize
the ornament in measure 11.
These should also be prac-
ticed slowly at first to ensure correct placement of
all notes.
Another ornament is shown in Example 10.
Example 10: G. P. Telemann.
Suite in G - Loure,
measures 3-4
pf
(Lr
s ^
The slow tempo of this movement is an indication
that a trill should be played.
There are good published
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110
studies for trill preparation and execution.
One or
more of the following studies should be taught and
applied to the Suite in G.
Elementary Progressive Studies. Second Set.
H. Kinsey
Study No. 9.
75 Melodious and Progressive Studies. Op. 36.
F. Mazas
Study No. 13.
Irregular Placing of Fingers
There is one place in the Suite in G which requires
the irregular placing of fingers, shown in Example 11.
Example 11: G.P. Telemann.
Bourree, measures 17-18
Suite in G
In this spot, the second finger plays a C natural
on the A string, and the following note is an F sharp
on the D string.
Normally, the F sharp would also be
played with the second finger.
However, since the
interval between F sharp and C natural is a tritone, one
finger cannot smoothly play both notes in succession.
The solution to this problem is for the third finger to
play the F sharp on the D string.
This should be prac-
ticed first as shown in Part a of Preliminary Exercise
10 below.
The second finger plays the C natural.
The
7
111
third finger is placed next to the second finger on the
A string to play a C sharp, and then moved over to the
D string where it plays F sharp.
In Part b, the third
finger is placed next to the second finger, but on the
D string.
Preliminary Exercise 10:
Irregular Placing of Finger
b.
a.
Uk
ii
J J f f»F S
^
^
Vibrato
The discussion of new left hand skills introduced
in Grade Four concludes with vibrato.
A good vibrato
is a vital interpretive tool, and one which students
are usually eager to develop.
Success in teaching and
learning vibrato is partly dependent on patience of
both teacher and student, and in how well the basic
left arm and finger movements have been learned.
No
specific examples from the repertoire will be discussed
since vibrato is used in virtually all repertoire.
Individual discretion and imagination is essential for
its use.
The reader may refer to the Review of the
Literature (Chapter II) and to the published literature
for sections on teaching and developing vibrato.
Finger preparation, shifting, ornaments and vibrato
are basic left hand techniques acquired and developed
/ •
5wiB"^^»r
112
in Grade Four.
Careful work on these skills will bring
successful results and open up a new vista of musicianship to the student.
Right Hand Skills
Grade Four also requires further development of
learned skills and the acquisition of new techniques
for the right hand:
(1) playing legato string crossings
on a slur; (2) further use of accents; (3) more subtle
bow distribution and bow placement; (4) playing new
rhythms; (5) playing in compound duple time; and
(6) executing the portato bow stroke.
Legato String Crossings on a Slur
The skill of playing string crossings on a slur is
not new to the Grade Four student.
However, the slurs
in Grade Four are longer than the previous slurs
required, thus demanding more bow control and a slower
bow speed.
There are two types of legato string cross-
ings on a slur that occur in the selected Grade Four
pieces.
The first, a crossing from a higher string to
a lower string, is shown in Example 12.
Example 12: 0. Rieding.
Rondo, measure 21
J
113
In this example, the bow often gets to the first
note on the A string late.
The rhythm is incorrect
because the arm is not sufficiently prepared to cross
from the E string to the A string.
The resultant effect
is that the first two notes in the slur are too long,
most often receiving the equivalent of three eighth
notes.
The arm must execute an arclike motion of cor-
rect duration.
This can be achieved by practicing
Preliminary Exercise 11.
Preliminary Exercise 11:
Legato String Crossing on a Slur
Upper String to Lower String
b.n
rl/7^rJ'ttr^'li
Note that in Part a, the bow plays a quarter note
on the open E string, then crosses to the open A string
and plays an eighth note, but on a separate bow.
This
gives the appropriate rhythmic feeling to the arm for
the string crossing.
In Part b, the slur is added.
Once the motion and rhythm are correct on open strings,
the passage should be attempted as written.
The other type of legato string crossing on a slur,
from a lower string to a higher string, is shown in
Example 13.
y
114
Example 13: Anonymous.
Brother James' Air,
measure 36
This is just the opposite motion of the first type.
However, the same problems of an inaccurate arc resulting
in a rhythmically inaccurate execution of the figure
may occur.
The bow plays the equivalent of a quarter
note on the D string, then crosses to the A string.
Once again, this should be practiced first on open
strings as shown in Preliminary Exercise 12.
Preliminary Exercise 12:
Legato String Crossing on a Slur
Lower String to Upper String
In Part a, the bow plays a quarter note on the D
string, then crosses to the A string and plays a half
note.
In Part b, the slur is added, and this should be
repeated until the correct rhythm and motion is secure.
Appropriate studies that provide additional practice
in crossing strings on a slur are as follows:
Elementary Progressive Studies. Second Set.
Study No. 1
Study No. 2
H. Kinsey
/
115
Study No. 3
Study No. 17
Elementary and Progressive Studies. Op. 20.
H. Kayser
Study No. 6
Study No. 7
Study No. 8
Sixty Studies. Op. 45.
F. Wohlfahrt
Study No. 41
Study No. 50
These studies may be edited to elicit appropriate string
crossings as needed, as shown in Example 14.
Example 14: H. Kayser.
Elementary and Progressive Studies, No. 7
a,
b
V^'
Accents
Example 15 shows a spot where the use of up-bow
accents is required.
Example 15: O. Rieding.
Rondo. measures 19-20
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116
While in previous grades, accents were required
only on down-bows and always with a rest for preparation,
in Grade Four both up-bow and down-bow accents are
required, and usually without a rest preceding the
accented note.
Since the up-bow accent is not as natural
for the arm, the student may encounter some difficulty
in playing the accent, or, the student will play an
accent, but on the down-bows.
To acquaint the student
with the bow speed, quick release of pressure, bite,
and balances necessary for a good accent, this spot
should be practiced at first on open strings, the bow
playing a dotted quarter note (down-bow) on the A string,
followed by a rest, then an up-bow open A with an accent.
This is Part a in Preliminary Exercise 13.
Preliminary Exercise 13:
Up-bow Accent
c. n
b. n
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In Part b, which should be practiced once Part a is
satisfactory, the rest before the up-bow accent is
omitted.
In Part c, the up-bow accent is played on the
open E string (the down-bow is still on the open A ) .
After Part c can be played satisfactorily, the example
can be played as written.
If additional practice is
necessary, the student should be directed toward Kinsey's
T7lf>mpntary Progressive Studies, Second Set, Study No. 1.
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117
Bow Distribution and Contact Point
More subtle bow distribution than previously
required is needed to perform the Grade Four pieces.
Some of the dynamic changes written require the combined
use of bow speed, contact point, and pressure.
Failure
to effect these will result in uneven crescendi and
decrescendi, tonal surges occurring where they are not
desired, non-legato string crossings, or the inability
to produce crescendi or decrescendi.
Two examples from the selected repertoire will
serve to show the type of bow distribution required for
dynamic change.
Example 16: Anonymous.
measures 21-25
Brother James' Air,
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In Example 16 the bow must play in a legato style
and with smooth string crossings but without abrupt
tonal surges in the requested crescendo (measure 22)
and the decrescendo (measure 24). .At measure 21, the
bow must start in the upper half, near the tip, and the
crescendo must be effected in an even increase in tone
throughout measure 22 with the bow going no further
than slightly past the middle.
The decrescendo in meas-
ure 24 must also be performed with an even decrease in
tone.
It is important that the legato character be
-"f
118
retained throughout this phrase.
As shown in Preliminary
Exercise 14, this entire phrase should first be practiced
on an open string with even tone and correct rhythm and
contact point, but without the dynamic changes.
Preliminary Exercise 14:
Bow Distribution and Contact Point
a.
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3
g7ti
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J J I J J J I J ••II
J | j j | J ^ ^
^
Z2
Once this is achieved, the dynamic changes should
be attempted by making the appropriate changes in pressure, but still playing on one open string, as shown in
Part b.
When the dynamics are satisfactory, the passage
should first be played as shown in Part c, using the
appropriate open strings.
It can then be played as
written in the selected piece from the repertoire.
Example 17 shows the second type of bow distribution
required in the Grade Four pieces.
Example 17:
0. Rieding.
Rondo. measures 15-18
119
In this example, the bow, while playing the same
rhythmic duration (except for the last half of measure
17), must effect a decrescendo in each dotted quarter
duration.
Failure to make a change in bow speed or
contact point will result in little dynamic contrast.
Changes in dynamics are effected primarily with bow
speed and a change in contact point and pressure.
Once
again, this should be practiced on an open string to
achieve the correct speed, placement and pressure for
the dynamic change required.
In measure 17, the three
separate eighth notes should be played in the upper
third of the bow, with the bow placed towards the finger
board and with less bow used on each succeeding eighth
note.
Once the bow distribution is satisfactory on one
string, the appropriate open strings used in the passage
should be played.
Then the example may be played.
Example 18 shows some new rhythms which require
correct bow distribution.
Example 18: G. P. Telemann.
Loure, measures 2, 6
Suite in G
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These rhythms will be imprecise and uneven tonally
if the bow speed and distribution are incorrect.
should be played with proportionate bow length.
These
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120
is, the bow moves the same speed throughout: therefore,
twice as much bow length is required for a quarter note
as compared for an eighth note, and three times as much
is required for a dotted quarter as for an eighth.
To
ensure correct execution of these figures, they should
first be practiced on open strings, shown in Preliminary
Exercise 15.
Preliminary Exercise 15
Bow Distribution Rhythm
V-H H OH
-
a.
n
OH
!A -
b. n
• J>J J ^ J J J J :
Playing these rhythms on open strings allows the
attention to be focussed properly on the bow.
Atten-
tion to the bow should be maintained when the passages
are played as written.
If further practice or preview is desired, the
following studies can be given to the student:
Elementary and Progressive Studies. Op. 20.
Study No. 2
Study No. 5
Sixty Studies, Op. 45
Study No. 42
Study No. 47
Study No. 49
F. Wohlfahrt
H. Kayser
f
121
Compound Duple Time
If compound duple time is a new concept, the student
may have some trouble adjusting to the change of bow in
a dotted quarter rhythmic duration in the 6/8 time of
the Rondo. or the dotted half duration in the 6/4 time
of the Loure in the Suite in G.
Careful counting of
the new one-third division of the basic beat, attention
to appropriate bow division, and preview with two Kinsey
studies, Numbers 1 and 10 in the Elementary Progressive
Studies, Second Set, will help acquaint the student
with compound duple time and the skills required.
The Portato
The final new right hand and arm skill is the portato, shown in Example 19.
Example 19: Anonymous.
Brother James' Air, measure 30
In the portato technique, the bow plays two or
more notes on a bow stroke, with a slight break between
each note.
staccato.
The portato lies between the slur and the
The bow is not lifted for this technique but
just pauses slightly before each note in the stroke.
While this may be done on either a down-bow or an up-bow,
the up-bow portato is the easier of the two and is the
122
only portato required in Grade Four.
If the bow fails
to stop between the notes in the portato, a slur will
result.
If, on the other hand, the bow makes too long
a stop between the notes, a staccato will result.
In
Brother James' Air, there should be only a very slight
separation between the two notes.
As shown in Part a
of Preliminary Exercise 16, this should be practiced
using an open string, putting a rest between each note.
Preliminary Exercise 16:
The Portato
1 i^ ^ ^ ^
i.
a.
b. V
When the two notes are even, the rest can be eliminated, and Part b can be practiced until the desired
separation between the notes is achieved.
The suggestion
of applying index finger pressure (without stopping the
bow) at the beginning of the second note is sometimes
helpful in achieving the smooth pulsating effect of the
portato.
Conscientious work on the right hand skills required
in Grade Four will eliminate many future potential setbacks affecting the students* ability to respond to the
interpretive, dynamic and expressive demands of repertoire .
T
123
Trouble Spots
Three potential trouble spots in the Suite in G. all
involving the same skill, are shown in Example 20.
Example 20:
G. P. Telemann.
Suite in G
Example 20A - Rigaudon, measures 13-14
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Example 20B - Gigue, measure 9
Example 20C - Loure^, measure 7
In Examples 20A and 20B, the D sharp is likely to
be out of tune unless the first finger is placed immedi
ately next to the second finger at the time that the E
is sounded, as shown in Preliminary Exercise 17.
In
Example 20C, the G sharp is likely to be out of tune
unless the first finger is placed immediately next to
the second finger after it sounds the E.
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124
Preliminary Exercise 17:
Change in Finger Placement
b. a Lou-re
Em
As shown, the first finger must be placed silently
with the second finger and immediately next to it.
Failure to do so will result in the first finger notes
(D sharp or G sharp) being played out of tune, most
likely flat.
The Suite in G also provides an opportunity
to review and improve the martele bowing style which
was introduced in previous grades.
Measure 102 in the Rondo may present a problem to
some students, in that they will fail to play the sforzando (fz) on the B on the second beat.
This is shown
in Example 21.
Example 21: 0. Rieding.
Rondo, measure 102
V
I')! f ^"^
This note should be played like an accent, but
with a whole bow stroke.
Thus, the bow must remain on
the string after the G is played.
started with an accent.
used on the B.
Then the B must be
Finally, the whole bow must be
This procedure will ensure the correct
articulation for the sforzando.
7
125
An unusual counting problem is shown in Example 22
Example 22: Anonymous.
measures 1 - 5
Brother James'
Air
Andante con moto
Violin
Piano
Due to the melodic phrase starting on the anacrusis
while the supporting harmony begins on the downbeat in
measure 1, the violin entry seems to make musical sense
if it is made on the downbeat of measure 5, and seems
to be incorrect if made as written in measure 4.
This
feeling is compounded by the G played by the piano right
hand one-eighth beat before the violin entry.
Even
when the student counts carefully, there is an uncertain
entry, usually with poor tonal quality.
The student
•m
126
must count quarter note beats during the piano
introduction, listen carefully to the bass line, and
enter precisely on the third beat in measure 4, confident
that the entry is correct.
repetition.
This can be achieved with
This spot was commented on by all the West-
ern Board of Music examiners as one needing attention.
Brother James' Air presents a counting problem
with tied notes, shown in Example 23.
Example 23: Anonymous.
Brother James' Air, measures 16-17
At this point, students usually do not hold the tied
notes for their full value.
the last note in measure 17.
Thus, they enter early on
When the tied D is held
correctly, there is usually no problem.
It is important,
therefore, to persevere with the student who insists on
cutting the tied D short, and insist that it be held
for its full value with a nice decrescendo.
Another potential trouble spot in the Grade Four
repertoire is the chromatic fingering required in the
Rondo, shown in Example 24, where the second finger is
required to play first in its low position and then in
its high position.
127
Example 24:
O. Rieding.
Rondo, measures 3-5
Faulty execution of the chromatic change in measures
3 to 4 may show up in one of two ways.
The first is
that the finger may be lifted between the low and high
pattern.
heard.
If this is done, an unwanted note will be
The finger must slide from low to high, with
only a slight release of pressure.
Secondly, if there
is too much pressure, the finger will be unable to move
far enough, and the C sharp will be out of tune.
Also,
the motion will be too slow and an undesirable portamento
will be heard.
Practice will determine the exact pres-
sure and speed which must be used.
This should be
practiced first with a slur between the two notes, so
that the exact pressure and speed required to eliminate
the portamento can be determined and so that accurate
intonation can be achieved.
Keeping the first finger
down through measures three and four will also help the
student to feel the correct distance for both the halfstep between B and C and the whole step between B and C#.
Summary of Grade Four Skills
Grade Four provides some attractive pieces, and
advances the violin techniques in a number of exciting
ways: (1) finger preparation; (2) shifting; (3) vibrato;
T
128
4) new chromatic fingerings; (5) ornaments; (6) accents;
(7) legato string crossings; (8) portato bow stroke;
(9) new rhythms; (10) new time signatures; and (11) bow
distribution.
The bowing skills developed facilitate
significant advances in future grades.
The left hand
skills of shifting and vibrato present new interpretive
possibilities, although their full realization will come
somewhat later.
Grade Five Skills
In Grade Five, the second grade in the intermediate
level of instruction, the student continues to improve
left hand and right hand skills, acquires a new
combination skill, learns some new left hand and bowing
techniques, and encounters theme and variation form and
20th Century idioms.
Left Hand Skills
Four techniques are required of the left hand in
the selected Grade Five repertoire:
(1) finger prepara-
tion for smooth string crossings; (2) shifting; (3) finger
facility; and (4) producing harmonics.
Finger Preparation
The technique of placing a finger on a string prior
to its note being sounded, or finger preparation, is
required much more often and at faster tempi than the
same technique in Grade Four.
If finger preparation is
I
129
not used, most string crossings will sound uneven and
will contain unwanted noises and notes.
Three different
types of passages requiring finger preparation occur:
(Da
flowing melodic line involving string crossings;
(2) broken chord figures; and (3) stopped four-note
chords.
The first type, a smooth flowing melodic line
involving string crossings is illustrated in
Example 25.
Example 25:
0. Rieding.
Air Varie. measures 5-7
The string crossings in measures 6 and 7 may contain
unwanted noises if other fingers are touching the strings.
Unwanted open strings may be heard if the third finger
is not placed on the new string before the bow plays on
that string, or if the first finger in measure 6 or the
second finger in measure 7 lifts while the bow is still
playing on their respective strings.
The procedure shown
in Preliminary Exercise 18 will avoid unwanted noises
or notes in these types of passages.
l*tmm
130
Preliminary Exercise 18: Finger Preparation
Melodic Passages
b.
a..
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c.
Mm .
M.
a
m
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z
d.
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In this example, the E and D in measure 6 should
be practiced slowly as double stops, with both the first
and third fingers being placed simultaneously on the
appropriate strings.
As shown in Part a, after the G
in measure 5 is played, the E and D are prepared, then
played as a double-stop.
This is repeated until the
fingers move quickly and naturally to their spots.
Part b, the example is played as written.
In
The C and A
in measure 7 should be practiced the same way.
The second type of finger preparation technique
required in Grade Five is for the playing of broken chord
figures, shown in Example 26.
Example 26: 0. Rieding.
Air Varie, measures 69-70
Here, the C and A must be practiced as double stops,
w
ith both fingers being placed simultaneously with the
/
131
sounding of the immediately preceding open D, as shown
in Preliminary Exercise 19.
Preliminary Exercise 19:
Finger Preparation—Broken Chords
As the open D is sounded, the second and third fingers play the double stop.
as a check on intonation.
The double stop is sounded
This is repeated until the
fingers move quickly and accurately.
is played as written.
the same way.
Then the figure
Measure 70 should be practiced
Failure to do so could result in the sound-
ing of unwanted open strings or in an uneven performance
of the notes.
If the left hand fingers are prepared as
suggested, the bow arm can execute the required string
crossing free from any distraction which placing the
fingers might cause.
The player's ability to focus
attention on the bow stroke aids in the even performance
of these figures.
The third type of double stop finger preparation,
for stopped four-note chords is shown in Example 27.
Example 27: O. Rieding.
Air Varie, measures 83-84
VU
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I
132
When unwanted open string sounds are heard, or when
the chord sounds uneven, the use of the routine in
Preliminary Exercise 20 may eliminate the problem.
Preliminary Exercise 20:
Finger Preparation—Stopped Chords
^m
a. n
b.n
^
^
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The preparation is done on the note preceding the
chord.
Thus, on the first quarter note in measure 84,
the first finger is placed on the string simultaneously
with the third finger being placed on the D string, as
shown in Part a.
Once the first finger has found its
spot, the third finger may be released and the second
finger placed on the E string for the execution of the
chord, as shown in Part b.
for practice.
This technique is used only
Since its continual use may tighten the
left hand, which is highly undesirable, during performance
there may not be simultaneous finger placement.
However,
the preliminary exercise will ensure that fingers are
in place before each note is sounded.
This is an essen-
tial factor in achieving flowing melodic lines, string
crossings and chords.
The following applicable studies may also be used
for practising the finger preparation technique:
133
Elementary Progressive Studies.
H. Kinsey
Study No. 3, Second Set
Study No. 10, Third Set
Elementary and Progressive Studies. Op. 20.
H. Kayser
Study No. 6
Study No. 10
Study No. 12
Study No. 16
Fifty Easy Melodious Studies. Op. 74.
F. Wohlfahrt
Study No. 27
Study No. 33
Study No. 34
Study No. 38
Shifting
The second left hand technique required by the pieces
in Grade Five is shifting.
While the overall technique
is the same as for the Grade Four pieces, in Grade Five
the shifts must be made in faster moving tempi and with
shorter note durations.
Thus, this can be seen as a
developing technique, the purpose of which is to achieve
greater speed in shifting along with maintaining accuracy
in both the shifting motion and intonation.
Three types
of shifts are required in the selected Grade Five repertoire:
(1) shifts involving one finger; (2) shifts
involving two fingers; and (3) shifts in which the note
7
134
of departure and note of arrival are separated by an
open string.
The first type of shift, shown in Example 28,
involves shifting between two pitches using the same
finger.
Example 28:
R. Jaque.
1
Daussila. measures 10-13
n
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4t
^
p:
/
If the wrist bends during the shift, or if the curve
of the finger changes, the note of arrival will likely
be out of tune.
Too much thumb pressure or finger pres-
sure will inhibit the shifting motion.
In extreme cases,
this may prevent the shift from taking place at all, or
may cause a highly exaggerated portamento effect, which
is undesirable.
On the other hand, if the finger is
lifted off the string during the shift, an unwanted open
string note will be heard.
Preliminary Exercise 21 will
help the student correctly perform the required shift.
Preliminary Exercise 21:
Shifting--Same Finger
1
I
N a. 1
ni
1
I
m
b. 1
1
n
1
C. 1
1
II |-r iixi I ' 1 1 ' ^
V
I
m
Part a requires that a portamento be played between
the two notes.
This helps the student hear when the
f
135
new note has been reached.
Then rhythms are added to
achieve the desired speed, shown in Part b and Part c.
Finally, in Part d, the shift is played coordinated with
a bow change as in the piece.
This type of shift may
also be performed downward, as shown in Example 29.
It
is important that the unit stays the same in downward
shifts.
Leading with the thumb can help in this regard,
especially in keeping the first finger in place.
If
the thumb remains behind, the hand will be out of balance,
and poor intonation will result.
Example 2^9: O. Rieding.
Air Varie. measures 11-12
The same practice techniques may be used for this
shift, as for the shift in Example 28, starting with a
portamento from the higher note to the lower, and then
adding rhythms to achieve speed.
The second type of shift involves two fingers, as
shown in Example 30.
Example 30:
R. Jaque.
Daussila. measures 25-27
cresc^
7
mmmr
136
The C sharp is played by the second finger with
the arm in first position.
The D is played by the first
finger with the arm in third position.
The transition
from second finger to the first finger must be made
smoothly and at the correct time, in order for the portamento to sound evenly.
As shown in Preliminary Exercise
22, the first finger should be kept down after playing
the B in measure 25 and while the second finger is playing
the C sharp.
During the shift, the second finger is
replaced by the first.
Preliminary Exercise 22:
Shifting--Replacement Finger
This should be practiced slowly at first while exact
distance and finger pressure are determined, as in Part
a, then with rhythms as in Part b, until the desired
speed is reached.
Then Part c should be repeated until
the shift is accurate.
During the shift, the second
finger is supplanted by the first finger so that a gradual
and even upward pitch motion is heard.
Ideally, during
performance, no portamento will be heard.
The third type of shift required by the Grade Five
pieces involves an open string note between the notes
of each position.
This leaves no preparation note on
7
13
which to base the correct distance for the shift.
Consistency will be obtained only by supplying an
intermediary note.
Example 31 shows this type of shift.
Example 31: O. Rieding.
Air Varie. measures 55-56
j Tj O
i
In this example, notes played in the third position
and notes played in the first position are separated by
a single open D.
The essential third position preparation
note is obtained by shifting to a first finger D on the
A string while the open D is being sounded.
The third
finger may then be placed with confidence on the B.
As
noted in Preliminary Exercise 23, the preparation note
should be sounded during practice, first as in Part a,
then as in Part b.
After a secure shift is achieved,
the preparation note is not sounded, and the passage is
played as written.
Preliminary Exercise 23:
Shifting--Open String
a.
ii
I nr
b. 3
,_
c.
!•—^
^
XT
^
NT
Additional practice in the shifts required in the
Grade Five pieces may be found in the following studies
7
138
Elementary Progressive Studies.
H. Kinsey
Study No. 22, Second Set
Study No. 23, Second Set
Study No. 24, Second Set
Study No. 2, Third Set
Study No. 3, Third Set
Study No. 4, Third Set
Study No. 6, Third Set
Sixty Studies. Op. 45.
F. Wohlfahrt
Study No. 47
Fifty Easy Melodious Studies. Op. 74.
F. Wohlfahrt
Study No. 30
Study No. 32
Study No. 33
Study No. 36
Study No. 37
Finger Facility
Finger facility is a new technique required for
the first time in Grade Five.
In general, finger facility
is required when a passage has a number of notes of very
short duration.
The passage may be scalelike or arpeg-
giated or composed of odd intervals.
Example 32 shows
a passage where finger facility is required.
7
139
Example 32: J. S. Bach.
Giguetta. measures 1-2
In this example, the fingers must remain close to
the fingerboard and must move with a quick, light motion.
If the fingers lift too high off the strings, they will
not be able to move fast enough to play the passage,
and the rhythm may be uneven.
Playing this passage with
too much finger pressure will cause the fingers to
tighten, and they will then be unable to play the passage
at all.
This passage will be successful only if the
fingers remain flexible and close to the strings.
Preliminary Exercise 24 will also help improve the
execution of this passage.
Preliminary Exercise 24:
I a. 2.
Finger Facility
i
^
^
^
C^^rtTh
Notice that the fingers are kept in place on their
respective notes as much as possible, as shown in Part
a.
This reduces by at least half the total amount of
T
^mmmmi^n
140
finger motion necessary to play the passage.
In Parts
b and c, grace notes are use to help speed up the individual finger motion.
This also allows the student to
concentrate on one finger at a time.
Then Part d is
repeated, the tempo gradually increasing and the number
of notes in the slur increasing until a fast even execution of the passage is achieved.
Since this type of
finger facility is required throughout the Giguetta and
in some parts of the Air Varie. it is advisable to include
practice of this technique in two studies:
Elementary Progressive Studies. Third Set.
H. Kinsey
Study No. 12
Elementary and Progressive Studies. Op. 20.
H. Kayser
Study No. 16
Harmonics
The final new left hand skill required in Grade
Five is the playing of harmonics, shown in Example 33.
Example 33: O. Rieding.
Air Varie, measure 41
har
The harmonic requires light finger pressure yet
firm bow pressure.
If the finger pressure is normal, a
"solid" note will sound.
If the pressure is less than
7
141
normal, but not light enough for a harmonic, a sound of
indeterminate pitch will be heard.
If the bow pressure
is not firm enough, the harmonic will not sound clearly,
if at all.
Preliminary Exercise 25 will assist the stu-
dent in achieving a clear harmonic.
Preliminary Exercise 25:
V^rtw.
a. 3
Uk
i^
Harmonic
b. 3
J <) -IP J j J <j :
Normal bow speed, place and pressure must be maintained throughout this exercise, while finger pressure
is gradually lessened until the harmonic sounds, as shown
in Part a.
In Part b, the finger pressure is immediately
lessened, then an open D is sounded, then the finger
repeats the harmonic.
There are virtually no published
studies to provide additional practice in harmonics.
However, the teacher can provide special short exercises
in the event extra practice is needed.
For the left hand the Grade Five pieces present
opportunities for the student to develop further skills
in finger preparation and shifting, and to acquire new
skills in finger facility and playing harmonics.
Right Hand Skills
In Grade Five, the right hand must effect (1) more
difficult slurred legato string crossings; (2) more subtle
142
dynamic changes with harder string crossings; (3) new
types of accents; (4) more difficult bow distribution
and varied bowings including uneven bow speeds and bowing
patterns; and (5) chords.
Legato String Crossings on Slurs
Two types of legato string crossings on slurs occur
in the selected Grade Five repertoire that are more difficult than those occurring in beginning or Grade Four
material.
The first of these is shown in Example 34.
Example 34:
mf
R. Jaque.
Daussila. measures 9-11
cresc.
In this example, the bow must travel from the G
string in measure 9 to the A string in measure 10, on
one down-bow stroke, while creating a crescendo.
If
the bow placement is not changed during the stroke, a
crescendo will be impossible to attain.
If the arm does
not move smoothly from the G string level to the A string
level, the string crossing will be uneven resulting in
tonal surges and uneven note durations.
must increase during the stroke.
The bow speed
The right arm should
describe an arc that starts on the G string and gradually
and evenly goes to the A string.
Preliminary Exercise
26 will help the student play the passage correctly.
7
143
Preliminary Exercise 26:
Legato Crossing with Crescendo
In Part a, the open strings of the appropriate notes
are played with separate bows.
This will help the student
to conceptualize that one note occurs on the G string,
three notes occur on the D string, and the remaining
two notes occur on the A string.
string crossings are separated.
In Part b, the two
Note that the bow must
start clearly on the G string, but almost at the D string
level.
This first crossing is repeated slurred until
it can be executed smoothly.
Then the second crossing,
from D string to A string is practiced in the same way.
However, it should be noted that the bow starts almost
on the G string level and smoothly and evenly makes its
arc until it plays the A clearly.
In Part c of the exer-
cise, the entire slur is played on the appropriate open
strings, at first without the crescendo, and then with
the crescendo.
Finally, the passage is played as written.
The second type of legato string crossing, for broken
chords, is shown in Example 35.
144
Example 35: O. Rieding.
measures 69-70, 107
Air Varie.
f^SZiM
In this example, the bow must cross three or four
strings on a slur very quickly.
The most common problem
that occurs is uneven note lengths, which is caused by
not giving each note an equal amount of bow.
Using too
large an arm motion or using too much wrist in the arm
motion may cause variation in dynamics as well as
unevenness.
To execute this string crossing motion
successfully, the entire arm, moving from the shoulder,
must simulate an arc, and the wrist must be passive.
The
arc begins and ends at the appropriate level for the
beginning and ending string, and must be executed so that
the notes sound evenly.
The best procedure, as outlined
in Preliminary Exercise 27, is to practice on open
strings, starting with two strings, as in Part a,
proceeding to three strings as in Part b, and then four
strings, as in Part c.
It is important to remember that
a full arm motion must be used throughout if an even
pe rformance of the notes is to be achieved.
/
145
Preliminary Exercise 27:
Legato String Crossing--Broken Chords
a.
n
a. n
o
V b.
n
V
D. 11
o o o
V
t:.j-|
y^
|s^^
n jJ u' ji' 'i_h}f "m
Once the motion can be performed successfully on open
strings, the written notes are added.
Study No. 10 by
Kayser in his Elementary and Progressive Studies, Op.
20 is an excellent study for additional practice of this
skill.
Accents
There is one new type of accent required in the
selected Grade Five pieces--an accent in the middle of
a bow stroke.
This is shown in Example 36.
Example 36: O. Rieding.
Air Varie, measure 33
^
An accent is produced by an abrupt increase in both
pressure and speed at the point of the accent.
In pre-
vious grades, accents are produced at the beginning of
a stroke, which allows time to put pressure on the bow
prior to drawing it.
In Example 36 the accent occurs
in the middle of a slur.
Usually when this type of figure
7
146
is first encountered, there is no accent on the accented
note, or the first note in the slur is accented.
Pre-
liminary Exercise 28 suggests a practice technique to
achieve this type of accent, beginning with separate
accented open string notes, shown in Part a.
Preliminary Exercise 28:
a.n^ V
b.
b.
V
Accents
c. n V
When the separate accents are correct, accents are
placed on the open A, using a slurred portato up-bow,
as in Part b.
The string crossing from D string to A
string is then introduced into the slur, as in Part c.
Finally, the example is played as written.
The use of
vibrato will enhance the effect of the accent.
Example 37 shows a series of accents in rapid succession .
Example 37: J. Bach.
Giguetta, measure 17
If the accents are missing, a common error, or if
just some of the accents are played, Preliminary Exercise
29 should be practiced until all the separate bow strokes
are accented.
7
147
Preliminary Exercise 29:
Successive Accents
n
b.
>
>
^
r ? r > :H-. r r r p r r •11
"^XSAC
The student should be reminded how (bow pressure,
bite, sudden release, bow speed) and where (middle of
bow) to produce the accent.
This should help ensure
that every accented note in the series receives an accent.
Special attention must be given to the up-bows as they
are weaker strokes physically than down-bows.
Two studies
by Kayser, Numbers 4 and 12 in his Elementary and Progressive Studies, Op. 20, and one by Wohlfahrt, Study
No. 34 in Fifty Easy Melodious Studies. Op. 74 provide
some additional practice for accents.
Contact Point and Speed
Two types of more subtle dynamic changes occur in
the Grade Five repertoire.
These require more exact
bow placement between the bridge and frog, and a slight
change in contact point and pressure for just about every
note if the crescendi and decrescendi are to be effective.
No change in contact point will result in little or no
change in dynamic level.
Too much change in contact
point too soon will result in a very uneven dynamic
change.
If the effect of changing the contact point is
not accompanied by a change in bow speed and pressure
148
less dynamic change will occur than desired.
The first
of these more subtle types of dynamic change is shown
in Example 38.
Example 38: J. S. Bach.
Giguetta. measures 20-24
In this example, a dynamic change from forte to piano
must be made in the space of four measures of music.
The bow must start near the bridge and move slightly
towards the fingerboard starting from the first note in
measure 21 to the first note in measure 24.
At the same
time there must be a gradual lessening of bow pressure
over the four measures.
The best way to ensure that
the bow does in fact make this movement is to play on
open strings as shown in Preliminary Exercise 30.
Preliminary Exercise 30:
a. Vo
Contact Point and Speed
149
In Part a, the entire passage is played on an open
E string, with the student's concentration directed toward
the movement of and pressure on the bow.
It should be
placed properly for each note, with a slight lessening
of the length of each stroke and a slight lessening of
pressure to help in achieving the decrescendo.
When
satisfactory results have been achieved, the appropriate
open strings are played, as shown in Part b, so that
adjustments can be made for the tonal change effect caused
by crossing strings.
Once the decrescendo is satisfacto-
rily performed, the passage can be played as written.
The second type of bow placement technique is shown
in Example 39.
Example 39: 0. Rieding.
Air Varie, measures 61-62
i m ^^m
ik 5
n
^
In this example, good bow distribution and the abil
ity to change the contact point and bow pressure are
essential.
If any of these three are missing or poorly
executed, the crescendo and decrescendo will be missing
or ineffective.
This figure should be started in the
middle of the bow with short strokes.
The length of
the stroke (and thus the speed) and bow pressure are
gradually increased, and the contact point moved toward
7
150
the bridge to effect the crescendo.
Likewise, the length
of the stroke and the bow pressure are gradually
decreased, and the contact point moved toward the fingerboard to effect the decrescendo.
This should be practiced
slowly as shown in Preliminary Exercise 31.
Part a, on
one open string should be practiced first, then Part b
with appropriate string crossings.
When the bow technique
is secure, the example should be played as written.
Study No. 11 in Kayser's Elementary and Progressive
Studies. Op. 20, and Study No. 35 in Wohlfahrt's Fifty
Easy Melodious Studies. Op. 74 provide practice.
Preliminary Exercise 31:
Contact Point--Dynamic Changes
a. n
Ut
ii
S S 0
Ti m\ I
S S S
0 ^ s
s
Bow Distribution
Careful bow distribution is required in a number
of spots if the correct rhythm is to be easily played.
Two such spots are shown in Example 40.
151
Example 40A: J. S. Bach.
Giguetta. measures 3-4
In measures 3 and 4, the same amount of bow must
be used for both the quarter notes and the eighth notes
to avoid running out of bow.
Careful attention to the
bow speed used on these notes will help to ensure that
the bow gets back to its proper place for the next set
of sixteenth notes.
Usually the quarter note is too
short and the eighth note too long.
Placing the eighth
note finger down on the fifth eighth note beat of both
measures will help give the quarter note its proper value,
as shown in Preliminary Exercise 32.
Preliminary Exercise 32:
Bow Distribution--Changing Speed
Example 40B: J. S. Bach
Giguetta, measure 8.
tip
M.
As for the figure in measure 8, simple correct bow
distribution and placement is needed.
The dotted eighth
152
note is played in the middle of the bow going to the
upper third.
Usually too little bow is given to the
dotted eighth note, and too much to the sixteenth note.
Only an extremely tiny motion is needed to play the sixteenth note, executed by the bow fingers without any
appreciable arm motion.
On the eighth note the bow goes
to the tip, and on the quarter note it returns to the
lower third.
This placement is shown in the example.
These and other potential distribution problems
can be avoided by attention to the bow.
Additional prac-
tice is provided by the following studies:
Elementary Progressive Studies
H. Kinsey
Study No. 10, Second Set
Study No. 11, Second Set
Study No. 8, Third Set
Study No. 15, Third Set
Chords
The final new skill required of the right arm and
hand in Grade Five is the playing of chords, an example
of which is shown in Example 41.
Example 41: O. Rieding,
Air Varie', measure 112.
3
^
153
Usually, when a student first encounters such a
chord, he increases the pressure on the bow and slows
the bow down.
sound.
The result is an unpleasant "crunching"
Another problem is when so much bow is used on
the lower notes of the chord that none is left for the
upper notes.
The right arm motion required is similar
to that for slurred string crossings, except that the
arc required of the right arm is smaller in scope and
the bow speed is faster.
As shown in Part a of Prelim-
inary Exercise 33, one must first play the lower two
notes of the chord as a double stop with a good sound.
Then the arc is practiced using open strings, gauging
exactly when the upper two notes should sound.
Preliminary Exercise 33:
a.nI ^,^
* :
is
f
b.
b. n
n
Chords
1I
c.
c. n
n
w
The rhythms used in Parts b and c will help in
achieving correct bow distribution.
The string crossing
should occur in the lower half of the bow.
Finally,
the chord is played as in Part c of the Preliminary exercise, but with the written notes.
The Grade Five repertoire requires the use of many
bowing skills:
legato string crossings on slurs; changing
the contact point; good bow distribution; accents; and
chords.
/
154
Combination Skills
There is one combination skill required in the
selected Grade Five repertoire, in the Air Vari^.
A
combination skill requires individual left hand and bow
arm skills to be coordinated so that they are precisely
performed, almost as one skill.
This normally happens
in a passage that requires fast motion by both participants in the skill, as shown in Example 42.
Example 42: O. Rieding.
Air Varie. measure 44
The left hand and bow arm must be extremely well
coordinated.
A lack of coordination, resulting in an
extremely inarticulate performance, can be caused by
using too much bow, and by not lifting or placing the
fingers accurately.
the bow stroke.
Note that the fingers move during
A practice routine is shown in Prelimi-
nary Exercise 34.
Preliminary Exercise 34:
a.
V
n
Combination Skill
o
-1 ^
,f*tr innCn-n.>\Qitjr\\
L,|'*^j'ifTHrh"rf> i f j t ^ a
155
V
' 1 ' r If
1-
' I r
n
V
4»—
^
m
^-\
t^—Ik
:?=^
This must be practiced slowly at first, broken into
pairs of notes, with a rest between each pair, as shown
in Part a.
The rests in Parts a and b serve to emphasize
that each pair of notes starts with a new bow, but the
same note.
Dotted rhythms should be used to achieve
quick finger action, as shown in Part b.
Once the finger
action is quick enough, the duplets should be grouped
together as shown in Part c, and then duplets added as
in Part d until the entire passage can be played.
Very
short bow strokes are used in performance.
Interpretive Skills
In these selected pieces, three different styles
are represented, each with its own interpretive skills.
In the Giguetta, Baroque style in both bowing and dynamics
must be used.
Care must be taken that the bow remains
on the string at all times, with a slight separation
between eighth notes.
This is also a good piece in which
to review the form of AABA which should not be new to
the student.
The Air Varie. on the other hand, presents
a new form--theme and variation.
This is an
7
156
opportunity to discuss the various types of variation
forms and how themes are changed.
A more lyric and legato
style of playing is also required in the Air Varie than
in the Giguetta.
The student should be able to make these
differences apparent in the performance of these pieces.
The 20th Century is represented by Daussila.
The student
thus encounters a textural style and harmonic vocabulary
that is new.
Some time may have to be spent discussing
this century and in becoming familiar with the new sound
of this composition.
This would also be a good piece
in which to discuss motives, as Daussila (doe-see-la)
is based on the tonic, leading tone, and sub-mediant
degrees of the scale--hence the name which uses the solfeggio syllables for those three notes.
Grade Five is
thus a grade that broadens the base on which a student
makes performance decisions about his repertoire.
Trouble Spots
There are a number of trouble spots presented in
the selected Grade Five pieces.
Air Vari^. shown in Example 43.
Example 43: 0. Rieding.
AirVari£» measure 82
The first is in the
7
157
At this spot, the second finger plays G sharp and
then G natural with only one intervening note.
The second
finger is almost certain to repeat the G sharp on the
last beat unless it is properly prepared for the G natural ahead of time.
Thus, a type of finger preparation
is used, shown in Preliminary Exercise 35.
Preliminary Exercise 35:
Finger Preparation—Placement
Z±
l,ftt r n , - ^ ' " r ^ ^i - ^
After the second open A is played, all three fingers
should be placed on the E string in the correct pattern
for the succeeding notes.
After the G sharp is played,
the second finger must be lifted, pulled back, and placed
next to the first finger for the G natural.
This may
be practiced by using Study No. 6 in Elementary and Progressive Studies, Second Set, by Kinsey.
Daussila presents two trouble spots.
The first,
which recurs throughout, is shown in Example 44.
Example 44: R. Jaque.
Daussila, measures 1-2
M€mplice mf
The eighth rest creates a problem because students
are not used to entering on the second beat in a fast
158
moving piece.
This problem is best solved by getting
the student to feel an accent physically with a slight
motion on the rest.
The use of the piano accompaniment
early in the learning of the piece also assists with
this problem.
The second trouble spot is shown in Example 45.
Example 45:
R. Jaque.
Daussila. measures 1-4
. n
i
V
n
V
0^
f^f^fT^^^l
semplice mf
In measures 3 and 4, the sixteenth notes are to be
played with a down bow and the accented quarter notes
with up bows.
There can be an absence of an accent as
well as rhythmic inaccuracy at this spot.
The sixteenth
note in measure 3 must be played near the tip of the
bow.
The accent is produced by pressure at the beginning
of the up-bow along with the use of a fast stroke to
approximately the middle of the bow.
In measure 4, the
sixteenth note must again receive just a very little
amount of bow, and the quarter note starts with pressure
and a fast, long up-bow stroke to the frog.
With a little
practice this spot will be executed well and will no
longer be a trouble spot.
The Giguetta presents one trouble spot, shown in
Example 46
7
159
Example 46: J. S. Bach.
Giguetta. measures 9-10
Here the rest is usually inaccurate in duration,
resulting in an inaccurate entry on the final eighth
beat of measure 10.
soon.
Usually this note is played too
Two measures must be taken to correct this problem:
the dotted quarter note must be played for its full value;
and, the second finger must be placed on the G precisely
on the second dotted quarter beat of the measure.
Usu-
ally, these two measures, taken together, will solve
the problem and ensure an accurate rhythmic performance
of this figure.
Summary
The skills required in Grade Five are essential
for the musical growth of a student.
Indeed, the left
hand skills of finger preparation, shifting and vibrato
acquired in Grade Four taken together with the further
development of bow distribution, accents, changing the
contact point and legato string crossings for the right
arm in Grade Five make possible much more subtle perfor
mances of repertoire.
If the important interpretive
aspects of the Grade Five repertoire are discussed, the
result should be musical performances.
160
Grade Six Skills
There are a number of new skills required of the
student, as well as the continued development of some
previously acquired skills in Grade Six, the third level
in intermediate study.
The acquisition of these skills
will enable the student to perform the selected Grade
Six repertoire musically and stylistically.
As well,
the acquisition of knowledge about some new forms is
certain to take place.
Left Hand Skills
The selected Grade Six pieces require the following
left hand skills:
(1) finger preparation for smooth
string crossings; (2) finger facility; (3) shifting;
and (4) double stopping.
Most of these skills are not
new, but are further developed in Grade Six.
Finger Preparation
In comparison with Grade Five, the finger preparation required in the Grade Six pieces is more rapid.
It must be done with changes in position, and is sometimes required successively many times within a phrase.
Example 47 shows a passage from a Grade Six piece.
Example 47:
F. Fiocco.
•
x
La Legere. measures 50-54
/
161
If the finger preparation technique is not used in
this example, the fingers may be positioned too late
for accurate rhythm, resulting in uneven notes or
unwanted noises.
melodic line.
There will also be many breaks in the
In measures 50 and 51, double stopping
with one finger must be used if the string crossings
are to be made without unwanted open string sounds.
In
measure 53 double stopping with two fingers must be used.
The shift in measure 52 and the exact double stops that
must be executed are noted in Preliminary Exercise 36,
which shows a practice routine that will help the student
perform this passage evenly and without unwanted sounds.
Preliminary Exercise 36:
Varied Double Stops
Finger Preparation
nr
K^'1
i=
I— ;^^^
y-z—^>
1 2
ji>[ [ p
m
h. 1 -z
3
^T^
3
1 4 0 3
1
1
,7——•
••—I
m
^
double stop, the finger(s) are positioned, and the double
stop is sounded.
Where a double stop is not required,
the notes are played with a slur.
In Part b, the rest
162
is omitted, and the double stops are played consecutively
as they appear in the piece.
In Part c, the passage is
played slurring two notes at a time, with appropriate
string crossings and with the finger preparation as
required.
When Part c can be executed adequately, the
passage can be attempted as written.
The following studies can be given for additional
practice of this technique:
Twenty-Four Studies. Op. 37.
J. Dont
Study No. 2
Study No. 3
Study No. 7
Elementary and Progressive Studies. Op. 20.
H. Kayser
Study No. 10
Study No. 16
Fifty Easy Melodious Studies. Op. 74.
F. Wohlfahrt
Study No. 38
Finger Facility
The second left hand technique that is developed
in Grade Six is finger facility.
More rapid movement
of the fingers is required, rapid sequences of triplets
involving string crossings appear in the repertoire,
chromatic changes of finger position are necessary (for
example, a finger playing first in its low position and
/
163
then in its high position), and finally, shifting into
a new position during a passage requiring finger facility
is sometimes necessary.
Thus, considerable development
in finger facility is expected during Grade Six.
Example
48 shows a passage where all of the facets of the technique mentioned above are required.
Example 48: F. Fiocco.
La Legere. measures 62-63
In this example, the fingers must move rapidly and
lightly and be positioned exactly in place for correct
intonation.
Too much tension in the fingers may result
in a slowing of the tempo, unevenness in the rhythm of
the notes, inaccurate intonation, or inability to execute
the sequence.
These potential problems may be avoided
by the use of the practice procedure outlined in Preliminary Exercise 37 on page 164.
In all parts of this exercise, the fingers must
remain flexible, remain close to the strings, and move
lightly.
The avoidance of stiffness in the fingers is
an important part of the finger flexibility technique.
In Part a, all fingers remain in place as much as possible.
This finger preparation reduces the quantity of
motion required in the passage.
Note that this is
•LC.
mj I imiM
164
Preliminary Exercise 37:
practiced slowly.
Finger Facility--Triplet:
Then, in Parts b and c, different
rhythms are inserted into the passage so that each note
is, in turn, played extremely rapidly.
The shifting
motion is included in this type of practice, as are the
chromatically altered notes (the B flat and B natural,
and the C natural and C sharp).
At all times, intonation
must be carefully listened to and out of tune notes corrected.
In Part d, the rhythmic practice is extended to
longer note successions.
This procedure should help
the student to attain rapid finger flexibility and to
perform the passage cleanly and precisely in tempo.
The following studies also provide practice in
various types of finger flexibility:
Twenty-Four Studies, Op. 37.
Study No. 1
Study No. 5
J. Dont
m a ' •/,;jfl.i
165
Study No. 8
Study No. 12
Elementary and Progressive Studies. Op. 20.
F. Kayser
Study No. 19
Study No. 22
Elementary Progressive Studies. Third Set.
H. Kinsey
Study No. 6
Study No. 12
Fifty Easy Melodious Studies. Op. 74.
F. Wohlfahrt
Study No. 39
Shifting
There are two new shifting skills required in the
selected Grade Six repertoire:
playing in second posi-
tion and executing a shift after a backward extension.
The previous types of shifts acquired in Grades Four
and Five are also required in Grade Six; however they
should not present any problems.
Example 49 shows a
shift after a backward extension required in La Legere.
Example 49: F. Fiocco.
La Legere, measures 1-2
/
166
In this example, the note of the backward extension,
the C sharp in measure 1 will likely be out of tune if
the whole arm moves when the first finger plays the C
sharp.
Since this is such a small interval, only the
first finger should be slid back from the D to the C
sharp.
Only when the C sharp is sounding does the rest
of the shifting unit move back into second position.
The shift takes place as the second finger moves back
close to the first finger to play the D in measure 2.
This type of shift can be practiced slowly so that the
precise distance of finger movement and the precise moment
of shifting unit motion can be ascertained.
The entire
procedure can then be gradually executed more rapidly
until the desired tempo is reached.
The following studies provide additional practice
for position work at the Grade Six level:
Elementary and Progressive Studies. Op. 20.
H. Kayser
Study No. 17
Elementary Progressive Studies. Third Set.
H. Kinsey
Study No. 2
Study No. 4
Double Stops
The final left hand skill required in the selected
Grade Six pieces is playing double stops.
Some of these
double stops are slightly more difficult than required
167
in previous grades.
However, in Grade Six the student
encounters passages of continuous double stops instead
of isolated chords.
Many of these double stops also
occur in passages in a more rapid tempo than previously
required.
Example 50 shows a typical passage of double
stops.
Example 50: F. Seitz.
Concerto No. 2. 1st movement,
measure 83
Here, the fingers may be slow in reaching their
places, causing uneven note durations.
There also may
not be double stop finger preparation, thus causing
unwanted noises or notes due to the non-coordination of
fingers and bow.
This passage should be practiced as
outlined in Preliminary Exercise 38.
Preliminary Exercise 38:
Continuous Double Stops
a.o 1 1
,P j j p ' K n ' i r / T ' ^ M f ?p
^
/
168
In Part a, the required double stops are played as
solid quarter notes, with a rest in between.
During
the rest, the fingers are positioned for the next double
stop.
Care must be taken to place the second finger
correctly in its low position as required by the chord.
In Part b, the double stops are played as solid quarter
note chords, but omitting the rests.
Part b thus
requires quick positioning of the fingers.
The example
is then played as written at a slow tempo, with a gradual
accelerando until the desired tempo is achieved.
The
following studies may be used to practice this technique:
Elementary and Progressive Studies. Op. 20.
H. Kayser
Study No. 20
Elementary Progressive Studies. Third Set.
H. Kinsey
Study No. 13
Seventy-Five Melodious and Progressive Studies, Op. 36.
F. Mazas
Study No. 25
Study No. 27
The left hand skills required in Grade Six are a
result of the more complex technique required by the
repertoire.
In most cases, these techniques no longer
occur in isolation, but must be executed along with other
left hand or right hand skills.
7
169
Right Hand Skills
The selected Grade Six repertoire requires a number
of right hand skills:
(1) spiccato; (2) contact point
and distribution; (3) legato string crossings on slurs;
(4) portato bowing; (5) the flying staccato; and
(6) changing from a slur to spiccato.
As in the left hand
skills, a considerable improvement in coordination, and
more complexity is a hallmark of Grade Six technique in
this area.
Spiccato
Spiccato may be a new technique for the Grade Six
student, depending on the choice of repertoire in Grade
Five.
Usually, students encounter some difficulty in
getting the bow to bounce correctly.
Either, the bow
does not leave the string at all, or it bounces too high,
or the bouncing movement is uneven in execution.
three results are highly undesirable.
All
The spiccato motion
is complex, requiring a delicate balance between arm
weight and bow speed and bow stroke length.
Ideally,
the stroke is first executed in the lower half with broad
flat strokes.
The arm leads with a pendulumlike motion
and the hand and fingers follow while remaining flexible.
The natural spring of the bow stick aids in the required
bouncing motion.
Executing the stroke toward the middle
of the bow results in a higher bounce and shorter stroke,
while executing the stroke toward the frog results in a
7
170
lower bounce and longer stroke.
The right arm motion
and contact point also change in response to the dynamic
level required and the note length desired.
Example 51
shows a passage where spiccato is required.
Example 51: F. Seitz. Concerto No. 2.
3rd movement, measures 84-87
hrilfantc
In this example, in which the spiccato stroke is
required throughout, the notes may not sound evenly if
the stroke is executed incorrectly, either through its
horizontal motion or with the crossing of strings.
The
crescendo will likely not be made until the contact point
is moved toward the bridge, the placement point is moved
toward the frog and the stroke becomes longer and the
bounce somewhat lower.
Preliminary Exercise 39 on page
171 outlines a practice procedure which should result
in a good spiccato with the requisite crescendo.
The first step, shown in Part a, is to attain a good
mezzo-piano spiccato on an open string (the A string is
shown).
Start slowly in the lower third of the bow,
keeping the bow on the string but with a short stroke.
Gradually increase the speed of the stroke, while
171
Preliminary Exercise 39:
Spiccato
decreasing its length and lightening the right arm weight.
Repeat this part until the student is able to achieve a
gradual spiccato stroke, by ensuring that the fingers
and wrist remain flexible.
Then go to Part b.
In Part
b, start immediately with a spiccato, but change the
spiccato by effecting a crescendo followed by a decrescendo.
Check to make sure that the contact point moves
from the fingerboard toward the bridge for the crescendo
and from the bridge back toward the fingerboard for the
decrescendo.
Also check to make sure that the bow stroke
becomes longer and the bounce slightly lower for the
crescendo and that it becomes higher and shorter for
the decrescendo.
Then play the passage on the appropri-
ate open strings, as shown in Part c.
Be sure that the
string crossings are made accurately and rhythmically.
This should be done at one dynamic level first, then
with the crescendo.
as written.
Finally, the passage can be attempted
The studies listed below may also be used
for practicing the spiccato bow stroke:
7
172
Elementary and Progressive Studies. Op. 20.
H. Kayser
Study No. 25
Study No. 26
Elementary Progressive Studies. Third Set.
H. Kinsey
Study No. 9
Study No. 14
Study No. 15
Seventy-Five Melodious and Progressive Studies. Op. 36.
F. Mazas
Study No. 16
Contact Point and Distribution
Contact point and distribution are, of course,
required throughout all violin repertoire.
In Grade Six,
however, there is an new element of control needed:
rapid and, at times, very subtle changes in placement
and distribution.
Example 52 shows a passage whose performance
requires extremely good bow control.
Poor bow distribu-
tion will result in incorrect rhythmic durations,
especially in measures 12 and 13.
The bow must be at the
tip for the second beat of measure 13 and at the frog
for the first beat of measure 14.
Otherwise, the dotted
eighth-sixteenth rhythm will be inaccurate and the eighth
notes in measure 14 will not be played spiccato.
If
changes in contact point are not made, there will be
7
173
little or no change in dynamics as required.
These
changes must be made quite rapidly, as the tempo indication is Allegro non troppo.
Example 52: F. Seitz. Concerto No. 2.
1st movement, measures 11-14
aoLo
A full bow is required for each of the first three
strokes.
Students usually must be reminded of the
accents on the first two notes.
The last three eighth
notes in measure 12 are played martele.
The martele
stroke is a necessary stroke for the stylistic articulation of many passages in various periods.
Most students
do not use a fast enough bow stroke when first executing
the martele.
Thus there is not enough energy in the
stroke, a necessary facet of the martele style.
The
martele notes are played on the string at the tip.
This
leaves the bow in position for the dotted eighthsixteenth figure in measure 13.
A full bow must then
be used for the next two notes in order to put the bow
at the frog for the eighth notes at the beginning of
measure 14, and the accented half note that follows.
The bow should be near the bridge at the beginning of
this passage, moving about half way between the bridge
and fingerboard on the eighth notes in measure 12 and
174
moving toward the bridge again on the half note in
measure 14.
A practice technique that will help the
student attain the required bow control is shown in
Preliminary Exercise 40.
Preliminary Exercise 40:
Wn
B
«"
n
^-
s ^
-^
V
Contact Point--Distribution
V nn
W
WBB
frexx w
W8
froo
. i . i i . h j j j j i J n ,11 J^.i
^
This passage should first be practiced on an open
string using the equivalent bow stroke rhythm shown in
Part a.
Care should be taken to ensure that the appro-
priate amount of bow is used for each note in the
exercise.
Once the bow distribution is correct, the
accents and dynamics are added, as in Part b.
Then the
appropriate open string for each note is used (but not
the actual pitches) as shown in Part c.
Once this can
be performed as desired, the passage can be attempted
as written.
Careful work as outlined above will ensure
an exciting performance of this passage, which is the
opening solo entry in the concerto.
The following studies may be used for additional
practice in contact point and distribution:
7
175
Elementary and Progressive Studies. Op. 20.
H. Kayser
Study No. 25
Elementary Progressive Studies. Third Set.
H. Kinsey
Study No. 2
Study No. 14
Seventy-Five Melodious and Progressive Studies. Op. 36.
F. Mazas
Study No. 16
Legato String Crossings on Slurs
There is one further development of the technique
of executing legato string crossings on slurs.
In the
selected Grade Six pieces, a number of identical string
crossings between two adjacent strings are required on
one bow stroke.
This is shown in Example 53.
Example 53: F. Fiocco.
La Legere, measures 22-23
poco o- poco crtsc^
In this passage, five string crossings are necessary
in each stroke--three upward crossings and two downward
crossings.
In these crossings, the scope of the arc
must be identical for each crossing, and the bow must
clearly play on each string involved in each crossing.
If the crossings are not identical, there will be a tonal
.f
176
unevenness.
If the stroke misses a string, some of the
notes will not sound.
unclear musically.
In addition, the passage will be
For best results, the arc described
by the bow moves only enough to just clear each string.
A crescendo also starts at this spot, which requires
careful contact point work.
Preliminary Exercise 41
outlines a procedure that will help ensure the correct
execution of this stroke.
Preliminary Exercise 41:
Continuous Duplets
Legato String Crossings
t^ ^J *'
b. n
I-/
The crossing is first practiced using open strings
and sounding the double stops, shown in Part a.
After
the double stop is played, the bow moves very slightly,
just enough so that a single instead of double stop is
sounding.
Then Part b is practiced.
This part should
be repeated until both open strings sound evenly in duration and tone.
Menuhin's concept of a wavy motion made
by the arm will likely be quite helpful.
Practice should
commence at a slow tempo and gradually increase in speed
7
177
until the desired tempo of the passage is attained.
Part c, the dynamics are added.
In
Adjustments to contact
point, bow speed, and pressure must be made to effect
the crescendo.
Once adequate adjustments have been made
to account for the required dynamic change, the passage
should be attempted as written.
Further practice may be given to the student in
the following studies:
Elementary and Progressive Studies. Op. 20.
H. Kayser
Study No. 10
Elementary Progressive Studies. Third Set.
H. Kinsey
Study No. 10
Fifty Easy Melodious Studies. Op. 74.
F. Wohlfahrt
Study No. 27
Twenty-Four Studies. Op. 37.
J. Dont
Study No. 3
Study No. 9
The Portato
The portato is not a new stroke for the Grade Six
student.
However, two new variations are added to the
stroke: more notes are required on one stroke; and it is
required on a down-bow stroke.
As shown in Examples 54
and 55, in some passages more difficult bow changes and
string crossings surround the portato stroke.
' "
••*-
7
-.»•»-»•"
178
Example 54: F. Fiocco.
Ln. Legere. measure 55
3
Example 55: F. Seitz.
Concerto No. 2.
1st movement,
measure 28
3 retard.
'^
sempre dim.
There are similar problems in both these examples.
The notes may be given uneven durational values if the
bow is not distributed evenly.
There may be too much
separation or not enough separation between the notes.
In Example 54, the first note of the portato may not
sound if the bow has not made a good articulate string
crossing.
In Example 55, the portato must be executed
w ith a down-bow.
For some students, this is more
difficult than an up-bow portato.
While the up-bow
portato may be felt to be executed with a lower arm
motion, the down-bow portato needs to have a feeling of
the index finger starting the motion with the lower arm
continuing it.
Preliminary Exercise 42 may help the
student acquire and develop the portato stroke technique.
Preliminary Exercise 42:
Down-bow and Up-bow Portato
This stroke is practiced on an open string, shown
in Part a.
Part a is repeated starting with an up-bow.
The student should attempt to make both the up-bow and
7
179
the down-bow portato notes equal in length and tonal
quality.
The amount of separation between the notes
can be worked out with Part a.
In Part b, the string
crossings necessary for Example 54 are inserted, but
playing only open strings.
focussed on the bow.
Thus, the attention can be
Once Part b can be played satisfac
torily, the written passage can be attempted.
The Flying Staccato
The flying staccato is a new skill for Grade Six
students.
In the flying staccato, the bow is bounced
between each note.
This is always done on an up-bow,
as shown in Example 56.
Example 56: L. van Beethoven.
Minuet in G, measures 17-18
n
V
^i^W^ir^
Usually, the dotted notes are not bounced when they
are first encountered.
When they are bounced, there is
very often an inaccurate bounce, resulting in poor rhythmic accuracy, unclear string crossings, and tonal unevenness.
The arm movement remains essentially horizontal.
Begin the motion on the string (up-bow) and lift the
bow very slightly with the hand and fingers, the arm
following.
Lifting the elbow will assist.
The fingers
recover slightly, and the unit repeats the sequence of
180
motions.
The importance of the arm, hand, or fingers
changes according to the dynamic level.
Therefore,
attention to the right hand and arm will usually solve
the problems associated with this stroke.
A practice
technique is shown in Preliminary Exercise 43.
Preliminary Exercise 43:
a.
l«w<r half
V
b .n
The Flying Staccato
V
n Y
J J J J V•
•
m
•
i
^
In Part a, the stroke is practiced on an open A
string, so that attention can be focussed on the right
hand and arm.
the string.
The exercise is started with the bow on
The bow is lifted with the wrist and fingers
after the first note, and the arm then bounces the bow
for the remaining three notes.
Part a should be repeated,
up-bow always, with an attempt being made to perfect
the finger and wrist motion and co-ordinate it with the
up-bow arm motion.
Once Part a is satisfactory, the
appropriate open strings and bow rhythm should be added
as shown in Part b.
Note that the staccato portion of
the exercise always starts with the bow on the string.
Only when this part can be done evenly and with a consistent sound should the passage be played as written.'
Study No. 47 in Wohlfahrt's Fifty Easy Melodious
Studies, Op. 74 can be used for additional practice of
this skill.
1 n
181
Spiccato after a Slur
The final right arm skill, changing from a slur to
spiccato, is also new for the Grade Six student.
This
is shown in Example 57.
Example 57: F. Seitz. Concerto No. 2.
1st movement, measure 38
In this example, if the change from the slur to the
spiccato is not made properly, the spiccato notes may be
uneven, or sound poorly, if they sound at all.
This
potential problem can be avoided by keeping the bow on
the string after the second note in the slur.
It stays
on the string for the first spiccato note and is lifted
after that note is sounded.
notes are bounced.
The next five sixteenth
The eighth note B on the third beat
is bounced, then the slurs are played as written, with
the bow remaining on the string.
44 shows a preview exercise.
Preliminary Exercise 44:
From Slurring to Spiccato
nV
Preliminary Exercise
182
This should be practiced on open strings, playing
a downbow eighth note, keeping the bow on the string
for the first sixteenth note, and then playing spiccato
strokes for the remaining sixteenth notes.
eighth note is bounced.
increase the tempo.
The last
Start slowly, and gradually
Once this open string exercise sounds
as desired, add the written notes.
The increasing complexities of spiccato, more subtle
bow distribution, more difficult string crossings, down-bow portato, the flying staccato, and changing from a
slur to spiccato make Grade Six bowing technique important.
Therefore, a good deal of attention must be given
to right arm development.
Combination Skills
There are three combination skills required in the
selected Grade Six repertoire.
The first of these is
shown in Example 58.
Example 58: F. Seitz. Concerto No. 2,
1st movement, measure 42
cresc
This is similar to the combination skill in
Rieding's Air Varie that was discussed in the section on
Grade Five skills.
This particular example is more com-
plex, however, because intervals of a third are required,
- »-«".: .^-T t^ mm
183
more difficult than the interval of a second required
in the Air Varig.
In the Concerto M.. .
the first finger
must play in both its high position and then its low
position in beat three, and there are string crossings
required in the passage.
Preliminary Exercise 34 can
be adapted to this situation, taking special care with
the F natural to G sharp interval and the placement of
the first finger in the third beat, and adding the appropriate string crossings to the exercise.
The second combination skill is shown in Example 59.
Example 59: F. Seitz. Concerto No. 2.
1st movement, measures 43-44
4S^^V4hhHjM
The notes in the first beat of measure 44 are
usually poorly prepared by the left hand resulting in
unwanted notes sounding.
Also, there is usually too
little bow left to get a good sound on the open A and E
double-stop, which must be lifted.
Preliminary Exercise
45 shows a practice exercise for this type of combination
skill.
Preliminary Exercise 45:
bcwicVip ^^
^
V
Double Stopped Chords
*.
}
184
As shown in Part a, the left hand prepares by
placing the first finger on both G and D string when the
first low A is played.
The grace notes and the A-E
double stop are played as a four-note chord, split two
notes (G and D) played in the upper third of the bow
and two notes (A and E) played in the middle of the bow.
Since this is an up-bow, this string crossing is done
in the upper half of the bow.
In Parts b, c, and d the
bow arm lifts to finish the stroke.
On the first beat
of measure 44, and in the following three double stops,
the fingers must be prepared well ahead of each bow stroke
if the passage is to be clear.
The bow strokes should
be practiced on open strings, remembering to execute
the stroke in the upper half of the bow before the passage
is played as written.
The final combination skill required in the selected
Grade Six repertoire is shown in Example 60.
Example 60: L. van Beethoven.
Minuet in G. measure 1
f'ihi'af^
p con grazia
Usually, when first encountered by the student,
these accents are not sounded.
Sometimes the student
attempts to play the accents by stopping the bow before
each one, resulting in an interruption of the tempo and
185
melodic line.
At other times, the left hand and right
hand are not coordinated, resulting in accents on the
wrong notes and unwanted grace notes.
In this example,
the first accent in the measure is made normally with
the bow.
However, the second and third accents must be
made without stopping the bow.
To make the accent, there
must be abrupt pressure exerted on the bow with the index
finger and wrist, along with an increase in the speed
of the bow and simultaneous placement of the left hand
third finger.
If clear accents do not result. Prelimi-
nary Exercise 46 shows a practice exercise that should
help achieve good clear accents.
Preliminary Exercise 46:
Finger Accents
In Part a, just one accent is produced on each bow
stroke.
This should be repeated until a good accent is
produced every time.
Then, as shown in Parts b and c,
more accents are made on each stroke.
By repeating these
exercises, bow speed, pressure and contact point can be
adjusted to attain the correct tonal quality and dynamic
level while executing the desired number of accents on
each stroke.
The third finger must be placed simultane-
ously with the accents.
This can be practiced slowly
until the required coordination of left and right hands
186
is achieved.
The speed can then be gradually increased
until the desired tempo is reached.
Study No. 47 in Wolhfahrt's Fifty Easy Melodious
Studies, Op. 74 can be used for additional practice of
this skill.
Interpretive Skills
In Grade Six, the student encounters a number of
styles requiring new interpretive skills:
(1) when to
use the martele stroke for separate notes; (2) when to
use spiccato bowing in phrases; (3) the cadenza in a
concerto; (4) concerto form itself; and (5) rubato.
The correct and thoughtful use of style can make a critical difference to a musical performance.
Separation of Notes
Example 61 shows how to correctly separate notes.
Example 61: F. Seitz. Concerto No
1st movement, measures 15-18
^
^
i
2.,
V
n '.
The eighth notes at the end of measure 16 are markeu
with dots, which indicates that they are to be separated.
Many students will try to bounce the bow for these notes.
However, the bow is near the tip at this point and must
remain near the tip for the correct execution of measure
187
17.
Therefore, the eighth notes in question must be
played at the tip.
Thus, bow distribution sometimes
determines the exact technique required.
The bow must
stay on the string, but a slight separation between each
note must be executed.
This is the martele bow stroke
that the student should know, although this passage may
require a more rapid execution of the technique than
was previously necessary.
In measure 18, however, the
eighth notes are played at the frog (note the up-bow
slur in the last two beats of measure 17) and will be
bounced.
Correct Stylistic Articulation
Example 62 shows another stylistic problem, correct
articulation.
Example 62: F. Seitz. Concerto No. 2.
3rd movement, measures 8-10
I
n
V
iriTf-T pT9 y p f pTp y ^P I
^
graMtogo.
Although all of this example can be played without
bouncing the bow, it should be lifted after each upward
stroke in order to achieve the correct stylistic articulation.
Thus, the bow lifts after the G in measure 9,
and after the C in measure 10.
bounced.
The B in measure 9 is
The grace note C before the E in measure 10 is
legato slurred into the E.
The actual up-bow lift should
188
be practiced first on the open A string, in the lower
half, shown in Part a of Preliminary Exercise 47.
Preliminary Exercise 47:
Stylistic Articulation
The lift is a combined motion of the right arm and
fingers.
When the lifting motion is accurate, the first
four notes are practiced, but playing on open strings,
going from A to E on an up-bow including the lift at
the end of the stroke, and then playing the next figure
on the open A, bouncing the eighth note.
in Part b-
This is shown
Measure 10 can be practiced by playing Part
c, if necessary.
The Cadenza
An example of the cadenza, which is likely new to
the student's experience, is shown in Example 63.
Example 63: F. Seitz. Concerto No. 2,
1st movement, measure 28
C*ttltimti fid iib.
5
v>
vr.ltivc
V
^'^' T
189
Faced with this array of difficult looking figures,
most students simply skip over it upon encountering it
for the first time.
Even after it is learned, the
cadenza often sticks out, seemingly divorced from the
music that surrounds it.
If the sixteenth note passage causes left hand prob
lems, it should be divided into rhythmic groups of four
notes each and practiced with the rhythms shown in Preliminary Exercise 48.
Preliminary Exercise 48:
b.
a.
The Cadenza
c.
XTT^ nrn. nn
d.
mi.
Once the left hand fingers can move fast enough, the
four note rhythmic groups should be combined (eight notes,
then twelve notes) until all the notes can be played
with one bow as written.
As to making the cadenza a
musical part of the concerto, this can be done by demonstration.
The teacher can make a cassette tape for the
student to hear, and then emulate.
In any case, the
cadenza should always be thoroughly integrated with the
concerto through discussion of style, practice, and emulation .
p^^^^L
I
190
The Concerto
Grade Six is the first grade in which a student
encounters the concerto.
As such, it should be discussed
with the student, pointing out the three sections with
their differing time signatures, forms, and moods.
As
for all repertoire, the discussion should also include
stylistic decisions and other interpretive decisions
such as phrasing, mood, and tempo.
The importance of
vibrato as an interpretive tool should be particularly
discussed.
Then the points made in discussion should
be implemented in the performance of the concerto being
studied.
Thus, the concerto, which is an important form
for the violin, should receive a great deal of attention
in Grade Six studies.
Rubato
The final interpretive skill required in the Grade
Six pieces is rubato.
Rubato is the slowing down or
speeding up of the pulse within a measure to create a
musical or emotional effect.
Sometimes this is indicated
in the score, while at other times, rubato is inserted
at the discretion of the performer.
Clearly, a discus-
sion of rubato must include how to make the rubato
musical.
The rubato must be done with taste, and will
vary depending on the tempo, style, and mood of the composition.
The rubato cannot be too sudden, or too slow
or lose too much tempo.
The Minuet in G is a good piece
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191
in which to study rubato, since its phrases are conducive
to the use of rubato.
Grade Six is a vitally important grade for the
introduction, further development, and use of interpretive skills.
One cannot neglect this particular area
of study and still expect the student to attain musical
performances of pieces at this grade level.
Trouble Spots
With a grade that has many complex passages, it is
not surprising that there are a number of trouble spots
in the selected Grade Six pieces.
Although many poten-
tial trouble spots are successfully alleviated by attention to skill development, there remain six passages
that present special problems.
The first of these is
shown in Example 64.
Example 64: F. Seitz.
Concerto No. 2.
2nd movement, measure 22
p/j
Usually, the thirty-second notes are played too
fast, and they may be out of tune.
This problem can be
solved by subdividing the entire measure into sixteenth
note beats, and by pointing out to the student that each
beat will receive two thirty-second notes.
The passage
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192
should then be played slowly, ensuring that the dotted
eighth note receives three beats and that the thirtysecond notes are accurate rhythmically.
the intonation can also be checked.
At this time,
Once accuracy is
achieved, the passage can be gradually increased in speed
until the desired tempo is achieved, and the eighth note
beats are re-established.
The second trouble spot in the selected Grade Six
repertoire is shown in Example 65.
Example 65: F. Seitz.
Concerto No. 2 .
3rd. movement, measures 72-73
This spot very often is performed unevenly, with poor
tone, out of tune notes, and inaccurate stress.
The
sixteenth notes must be even, and played precisely in
rhythm.
The E sharp played by the first finger must be
in tune, with the second finger positioned right next
to it for the F sharp.
The bow must cross strings
smoothly in a legato style.
Preliminary Exercise 49
suggests a practice routine to solve these problems.
In Part a, the bow plays its rhythm, using full
strokes and appropriate string crossings on open strings.
It is important that a full bow stroke is used, since
the arm needs the full stroke motion to execute correctly
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193
the smooth string crossing with accurate rhythm.
This
motion also helps the left hand fingers to remain flexible and without tension.
Preliminary Exercise 49:
Rhythm--Finger Placement
^rm
In Part b, appropriate finger placements are practiced, to help achieve smooth string crossings without
unwanted noises or open string sounds.
Then, the rhythms
in Part c are added to the sixteenth note motives in
the example and are practiced to help achieve rapid and
accurate finger movement.
Special attention must be
paid to the first finger when it is positioned for the
E sharp, since it is likely to be flat.
Once accuracy
and speed have been attained, the passage should be played
as written, using full bow strokes, legato string crossings, and light, flexible finger action.
The third trouble spot is shown in Example 66.
Example 66: F. Seitz. Concerto No. 2.
1st movement, measure 79
194
It must be pointed out to students that the sharp
above the trill sign means that the ornament is to be
executed using B natural and C sharp.
Also, the trill
must not be allowed to create a rubato in the tempo.
While most students have no trouble starting the trill,
almost all students continue the trill too long.
A three
step practice exercise, shown in Preliminary Exercise
50, will help the student achieve a rhythmical trill of
the correct duration.
Preliminary Exercise 50:
The Trill
a.
M^
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First, as shown in Part a, the example is practiced
at a slow tempo without the trill to ensure that each
note is of the proper duration.
Then, in Part b, while
maintaining the slow tempo, a five-note trill is added.
Once the trill is rhythmical, the tempo is gradually
increased until the entire example can be executed
comfortably and with good articulation at the desired
performance tempo.
The fourth trouble spot is shown in Example 67.
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195
Example 67: L. van Beethoven
Minuet in G. measures 12-13
i
1 2
1
In this spot, the first finger slide from B to A
sharp may be out of tune and inaccurate rhythmically.
Then the second finger, which must play the B on both
the second and third beats, may be sharp.
The slide
should be practiced slowly, subdividing the dotted eighthsixteenth note unit into four beats and ensuring that
the slide takes place precisely on the fourth beat.
At
the same time, care must be taken that the A sharp is
in tune.
Once tonal and rhythmic accuracy have been
established, the unit is practiced increasingly faster
until the desired tempo is reached but ensuring that
the rhythm remains accurate and that the .A sharp is always
in tune.
Then, the second finger is placed immediately
next to the first finger to play the B on the second
and third beats.
Normally, the tip of the second finger
must actually touch the tip of the first finger.
Of
course, the second finger must move with rhythmic accuracy
and play a finger accent on the B.
Summary
There is a new intricacy in the Grade Six repertoire
that makes this an exciting and interesting grade for
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196
both teacher and student.
If approached with a positive
attitude, the student is interested in the new skills
being acquired and feels good about the new techniques
that are now possible for him to execute.
During Grade
Six, there should be considerable advancement in musicality as well as technical achievement.
Grade Seven Skills
Grade Seven is the final grade in the intermediate
level.
While there is continued development of left
hand, right hand, combination
and interpretive skills,
and the acquisition of new skills in these areas, much
of the Grade Seven repertoire provides opportunities to
practice and improve already acquired technique.
Such
technique will be mentioned briefly, but examples or
exercises will not be provided or discussed.
Left Hand Skills
For the left hand, the selected Grade Seven repertoire requires finger preparation, flexibility, and
shifting.
Finger Preparation
There is no new finger preparation technique
required in the selected Grade Seven repertoire, nor is
there any development of previously acquired finger
preparation skills.
However, much of the repertoire
requires one or more of the finger preparation types
197
previously discussed in this chapter.
The following
published studies provide practice for the finger
preparation technique.
Twenty-Four Studies. Op. 37.
J. Dont
Study No. 13
Study No. 14
Study No. 15
Study No. 16
Study No. 18
Thirty-Six Studies.
F. Fiorillo
Study No. 1
Study No. 5
Seventy-Five Melodious and Progressive Studies. Op. 36.
F. Mazas
Study No. 19
Study No. 21
Elementary and Progressive Studies, Op. 20.
H. Kayser
Study No. 18
Study No. 24
Study No. 26
Study No. 29
Fifty Easy Melodious Studies, Op. 74.
Study No. 40
Study No. 42
k^
F. Wohlfahrt
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198
Finger Facility
The skill of finger facility is developed in the
selected Grade Seven repertoire by the extended performance of a two-note repetition, shown in Example 68.
Example 68: J. P. Senaille.
Allegro Spiritoso. measures 49-51
Speed of execution is a problem in this passage,
as well as intonation.
However, the greatest problem
is that the fingers get mixed up.
Students must recog-
nize that this passage contains a set of intervals that
are repeated at higher and higher tonal levels--the
earmark of a sequence.
Thus, the first step is to recog-
nize the intervals in the sequence.
Then, each step of
the sequence should be played slowly, checking on intonation.
Measure 49 can then be repeated, gradually
increasing the tempo.
Once measure 49 can be performed
at the correct tempo, measure 50 should be added, and the
two measures practiced.
Measure 51 should be added
when the first two measures in the example can be played
up to tempo.
Finally, the entire passage should be
played, concentrating on the first note in each sequence.
With such a practice technique, the passage can be executed with confidence at the quick tempo required.
*^m
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199
The following studies provide practice in finger
facility at the Grade Seven level.
Twenty-Four Studies. Op. 37.
J. Dont
Study No. 11
Thirty-Six Studies.
F. Fiorillo
Study No. 1
Elementary and Progressive Studies. Op. 20.
H. Kayser
Study No. 16
Study No. 24
Study No. 25
Elementary Progressive Studies, Third Set.
H. Kinsey
Study No. 12
Seventy-Five Melodious and Progressive Studies, Op. 36.
F. Mazas
Study No. 5
Study No. 6
Study No. 19
Shifting
There are no new types of shifts required in the
selected Grade Seven pieces.
However, shifting into
and playing in fifth position is required, and there is
a greater use of contraction shifting.
There is much
greater use of second through fifth positions in Grade
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200
Seven, as the different positions are used for
interpretive reasons in the Grade Seven repertoire.
A passage requiring a shift into and the playing
in fifth position is shown in Example 69.
Example 69: J. P. Senaille.
.Allegro Spiritoso, measures 42-44
^
^
In this example, a shift from third to fifth position should be executed from the second B to the C in
measure 42.
This is a shift by the first finger, which
should remain in place upon sounding the A in measure
42.
Intonation of the fifth position notes should be
carefully checked by playing the passage slowly.
A passage which requires a contraction shift and
the playing in a higher position for interpretive reasons
is shown in Example 70.
Example 70: T. Arne.
Sonata in B flat, measures 5-7
1
1
i''''I Ljgii"^' I ' "'ull'' ' j I
Here, the contraction shift occurs in measure o.
when the second finger plays the E flat following th.
A, and the first finger plays the following D.
The
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7
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result of this fingering
is to effect a shift from second
position to third position.
The entire unit moves simul-
taneously with the sounding of the D, thereby arriving
in third position.
The notes in measure 5 will be out
of tune unless special attention is given to finger
spacing.
The third finger must be placed
immediately
next to the fourth finger when it plays the A, otherwise
the A will be flat.
Likewise, the second finger must
be placed immediately next to the third for the E flat,
and the first placed immediately next to the second for
the D or the latter two notes will also be flat.
Since this passage is marked "dolce cantabile,"
all the notes in measure 6 may be played on the D string
to effect a more even tonal and timbral texture.
This
will require a shift to fifth position on the D string
on the B natural, a shift back to second position on
the F in measure 7, and a shift up to fourth position
on the A in measure 7.
Preliminary Exercise 51 provides
a procedure that will ensure accurate
Preliminary Exercise 51:
^^^
intonation.
Shifting on One String
t^,
,
In Part a, a slow portamento is played by the first
finger between its notes in the passage, starting with
the G (measure 6 ) , sliding up to the B, and then back
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202
to the F.
The student must remember to move the whole
shifting unit, including the thumb.
Once the portamento
is secure, rhythms are added to effect a more rapid
shift, as shown in Part b.
In Part c, the notes of the
passage are played, with the first finger lifting for
the shift back to second position.
An intermediary
note (Bb fourth finger) is used in practice to ensure
that this shift is accurate.
Once Part c is executed
successfully, the passage can be played without the
intermediary note.
The following studies provide practice in shifting
at the Grade Seven level:
Elementary and Progressive Studies, Op. 20.
H. Kayser
Study No. 27
Study No. 29
Study No. 31
Elementary Progressive Studies. Third Set.
Study No. 21
Study No. 22
Study No. 23
Study No. 24
Twenty-Four Studies, Op. 37.
Study No. 3
J. Dont
H. Kinsey
itm
7
203
Seventy-Five Melodious and Progressive Studie;:^. Op. 36.
F. Mazas
Study No. 7
Study No. 19
Study No. 20
For the left hand. Grade Seven provides opportunities to develop new skills and to improve previously
acquired skills.
The development and improvement of
finger facility and the acquisition of ornament execution is of special importance.
Right Hand Skills
Development of bow distribution is required in the
selected Grade Seven repertoire.
Previously acquired
skills, such as spiccato, martele, legato string crossings, and accents, are also required but are not
developed in any special way in this grade.
The follow-
ing studies provide practice opportunities for spiccato
if such work is needed.
Elementary and Progressive Studies, Op. 20.
H. Kayser
Study No. 19
Study No. 24
Study No. 26
Elementary Progressive Studies, Third Set.
Study No. 15
H. Kinsey
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204
Seventy-Five Melodious and Progressive Studies. Op. 36.
F. Mazas
Study No. 28
Study No. 29
Further practice in legato string crossings may be
obtained with the following:
Thirty-Six Studies.
F. Fiorillo
Study No. 1
Seventy-Five Melodious and Progressive Studies. Op. 36.
F. Mazas
Study No. 8
Study No. 20
Further practice in accents may be obtained in
Study No. 20 in Seventy-Five Melodious and Progressive
Studies. Op. 36 by Mazas.
Bow Distribution
The Grade Seven repertoire requires more advanced
planning
of bow distribution.
Examples 71A, 71B, and
71C show three appearances of the same phrase, each
with different note values.
Note especially the first and last notes of each
phrase.
Failure to account for the change in note value
with varying bow speed will result in a weak sound on
the last notes in each phrase due to insufficient bow.
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205
Example 71: B. Bartok
Evening in the Village
measures
1-2
measures
21-22
wifft^prtssivo
Ixample 7 I B :
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4.
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£..ample 71C:
%
measures 42-44
The bow should get to the tip on the down-bow on
each beginning note.
proper length.
The last note must be held for the
Study No. 12 in Mazas' Seventy-Five
Melodious and Progressive Studies, Op. 36 provides further practice in this technique at the Grade Seven level.
The Grade Seven repertoire provides opportunities
for students to gain important control with contact
point and bow distribution.
The previously acquired
techniques of legato string crossing, spiccato, and
playing accents are also required and thus receive needed
continued practice
. }
206
Combination Skil1s
There are two combination skills required in the
selected Grade Seven repertoire.
The first, shown in
Example 72, develops a combination skill first encountered in Grade Five.
Example 72: J. P. Senaille.
Allegro Spiritoso. measures 22-23
cresc.
In this example, more complex fingering is required
than was the case in the previous grades.
There is
usually an inaccurate coordination of the fingers and
bow.
As shown in Part a of Preliminary Exercise 52,
this passage must be practiced slowly, breaking the
passage into pairs of notes, with a rest between each
pair.
In Part b, two pairs of notes are played in suc-
cession, without a rest, and at the correct tempo.
Pairs of notes are added, as in Parts c and d, until
the entire passage can be played.
It is important that
one think of short bursts of notes in the last three
parts of this exercise and during performance of the
passage.
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20
P r e l i m i n a r y E x e r c i s e 52:
Combination S k i l l
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The second type of combination skill, which is new
for the Grade Seven student, is shown in Example 73.
Example 73: T. Arne.
Sonata in B flat - Gavotte,
measures 10-12
In this example, the repetition of the motive is
usually not rapid enough, the notes are often out of
tune, the rhythm is inaccurate, and there is very
inarticulate bow-finger coordination.
The fingers must
remain flexible, yet remain in place as much as possible
Practice suggestions for this passage are shown in
Preliminary Exercise 53.
S3 ^v
208
Preliminary Exercise 53:
.Motive Repetition
Combination Skill
In Part a, the motive is played slowly, checking for
accurate intonation, accurate rhythm, and keeping the
first and second fingers in place when possible.
Once
the fingers remain in place, the notes are in tune, and
the rhythm is correct. Part b should be practiced.
In
Part b, rhythms are inserted on an open A to ensure
that the bow is playing the syncopated rhythm accurately.
In Part c, rhythms are inserted with the written notes
to achieve quick, accurate finger motion.
The passage
must be played slowly at first, and then faster until
the desired tempo is achieved.
When performed up to
the Allegro tempo, very short bow strokes are used.
Interpretive Skills
There are four interpretive skills presented in
the selected Grade Seven repertoire:
(1) Baroque
phrasing; (2) rubato in the middle of a phrase;
(3) 20th Century idiom; and (4) ornamentation.
Baroque Phrasing
The Baroque era is well represented in the Grade
Seven repertoire, thus allowing ample opportunity for
the student to become familiar with the Baroque style.
7
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••II
209
Example 74 shows a passaee in .u- ,.
passage in which Baroque phrasing is
essential for a stylistic performance.
Example 74: J.p. Senaiug.
Allegro Spiritoso, measures 13-16
In this example, there are two problems.
The first
is that most students do not properly articulate the
slurred pairs of eighth notes.
The first note in each
pair is slightly emphasized, while the second note in
each pair is slightly de-emphasized.
There is a very
slight cessation of sound between each pair.
The second
problem is that many students do not find the correct
focal point of the phrase.
point occurs on the B flat
In this passage, the focal
at
tur. u -•
i.ne a riat at the beginning of measure
15.
These two problems can be solved by the use of
Preliminary Exercise 54.
Preliminary Exercise 54:
Baroque Style
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210
In Part a, the pairs of notes are played slowly,
with a definite emphasis on the first note of each pair
and a rest between each pair of notes.
Then, in Part
b, the rests are omitted, and contact point and speed
are changed to effect the crescendo.
is placed on the high B flat.
A slight accent
Part b is repeated with
an accelerando on each repetition until the Vivo tempo
is reached.
Example 75 shows a passage in which a martele stroke
must be used on all quarter notes, together with the
phrasing discussed in the previous example.
Example 75: T. Arne.
Sonata in B flat - Gavotte, measures 1-4
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If this is not done, the passage will be quite
inarticulate and not reminiscent of a gavotte.
.Attention
must be given to such details if a stylistic performance
is to be achieved.
Rubato within a Phrase:
20th Century
While most instances of rubato a student has
encountered prior to Grade Seven have occurred at the end
of a phrase, some composers require rubato in the middle
of a phrase.
Such a composer is Bartok.
Example 76
shows a phrase in which rubato is required.
SBX
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211
Example 7 6 :
B. B a r t o k .
Evening in t h e V i l l a g e , m e a s u r e s
1-4
vif,e%pressivo
In this example, students should be asked to exercise their musical imagination to change the bland result
of playing this phrase in straight time, into the
creating of expressive imagery through the use of rubato.
Bow distribution makes rubato and changing stress possible.
The teacher may give a demonstration, for
example, by putting stress on the second D in measure 2
and on the E in measure 4.
However, the student should
be encouraged to experiment with the phrase to create the
mood and expression he desires.
As shown in Preliminary
Exercise 55, the figure may first be practiced on an
open A to work out bow distribution.
Thus, the focus
is on the bow, not the left hand.
Preliminary Exercise 55:
Rubato
Ornaments
The use of ornaments is developed in the selected
Grade Seven repertoire by the introduction of symbols
new to the student and by greater use of ornaments than
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212
in previous repertoire.
The following symbols, sho
wn
in Example 77, are new to the Grade Seven student.
Example 77: T. Arne.
Sonata in B flat,
measures 9, 23
f'''V~r *"
oo
Since these symbols are new. Grade Seven students
likely do not know what the symbols mean or how to execute them.
It should be explained that the first symbol,
which occurs in measure 9, means that the grace note is
to be played on the beat and get equal value to the
main note.
This is shown in Part a of Preliminary
Exercise 56.
Preliminary Exercise 56: Ornaments
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b.
f = r f J" II r ^f ^ ^
^
This type of grace note should be compared with
the type shown in Part b, which is played before the
beat, and in which the main note receives full durational
value.
23.
Part c shows the turn, which occurs in measure
In this case, the fourth beat of the measure in
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213
question is played either as D, C, B natural, C, in
equal sixteenth notes or C, D, C, B natural, C in triplet
thirty-second notes and two sixteenth notes.
Both these
ornaments may have to be played slowly a few times before
being executed in tempo.
The ornaments shown in Example 78 are not new to the
student, but they must be executed in slightly different
ways than was previously required.
Example 78: J. P. Senaille.
Allegro Spiritoso, measures 3, 17, 52
The mordent in measure 3 must be played on the beat,
instead of before the beat, because of the rapid tempo
and the need for extremely clear articulation of every
note in this measure.
As shown in Part a of Preliminary
Exercise 57, the notes may be written out and played
slowly.
Once the mordent is clearly on the beat, the
tempo should be gradually increased with a quicker and
quicker bow stroke until the desired tempo is reached.
This ornament requires exemplary finger facility when
performed up to tempo.
}
214
Preliminary Exercise 57:
Realization of Ornaments
b.
i )t' r r ^ f r
^p
The trill in measure 17 should be performed as
written in Part b.
Thus, it starts on the fourth eighth
note beat in the measure and four equal notes are played.
Once again, this ornament should be practiced slowly
for clarity, and then gradually faster and faster until
the desired tempo is achieved.
is written out in Part c.
The trill in measure 52
The trill should stop on the
dot of the dotted eighth note.
Five notes are played
on the third eighth note beat of measure 52--three
triplet sixty-fourth notes and two equal thirty-second
notes.
The fourth eighth note beat consists of a six-
teenth note B natural and a sixteenth note A.
This
figure should also be repeated slowly and accurately
and then gradually repeated faster until the desired
tempo with clear articulation is achieved.
A bow accent
at the beginning of each ornament will help ensure great
clarity.
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215
The following studies provide additional practice
of the ornaments found in the Grade Seven pieces:
Twenty-Four Studies. Op. 37.
J. Dont
Study No. 11
Study No. 15
Thirty-Six Studies.
F. Fiorillo
Study No. 2
Study No. 6
Study No. 7
Seventy-Five Melodious and Progressive Studies. Op. 36.
F. Mazas
Study No. 14
Study No. 15
Study No. 23
Study No. 24
The Sonata
This is also an appropriate grade to discuss the
sonata, which is first encountered in Grade Seven.
Therefore, a discussion should take place which includes
the development of the sonata, the nature of the ensemble
in a sonata, the usual number of movements in a sonata
and their derivation, and the style periods in which
sonatas have been written.
Such a discussion will
enhance the learning of a sonata and its complexities.
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216
The interpretive skills acquired and developed in
Grade Seven are important for the continued musical
growth of the student.
Without the experience of these
interpretive skills as a base, the student will not be
able to perform more advanced compositions musically.
Trouble Spots
There are six trouble spots presented in the
selected Grade Seven repertoire:
(1) the martel^ stroke
at a fast tempo; (2) the performance of a cadenza;
(3) pizzicato chords; (4) an entry in a new position
after a rest; (5) a quick change of bow from spiccato
to detache; and (6) the final chord of a piece.
The Martele
Example 79 shows a passage where the use of the
martele stroke is required at a fast tempo.
Example 79: J. P. Senaille.
•Allegro Spiritoso. measures 1-4
Usually, the bow does not play a good martele stroke
in the Allegro Spiritoso due to the extremely quick
tempo.
This passage should be practiced slowly, using
about half the bow between the middle and tip for each
stroke, with rests in between each note.
The stroke is
Mi- I a»aw^ri>-i
S
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217
executed very quickly.
Thus, there is almost more rest
than sound in each martele stroke.
When the stroke is
executed accurately at a slow tempo, it can be gradually accelerated until the desired tempo is achieved.
A high energy level must always be maintained.
The
following studies provide practice in the martele stroke
Twenty-Four Studies. Op. 37.
J. Dont
Study No. 12
Elementary and Progressive Studies. Op. 20.
H. Kayser
Study No. 24
Study No. 25
Study No. 26
Elementary Progressive Studies. Third Set.
H. Kinsey
Study No. 15
The Cadenza
The cadenza is found in the Sonata in B flat by
Arne.
While not technically difficult, most students
have difficulty in making the cadenza sound like it
belongs to the rest of the sonata.
Similar procedures
to those used for the cadenza in the Seitz Concerto No.
2^ in the Grade 6 repertoire will work effectively in
overcoming this problem.
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218
Pizzicato
Chords
A p i z z i c a t o c h o r d p a s s a g e i s shown i n Example 8 0 .
Example 8 0 : B. B a r t o k .
Evening i n t h e V i l l a g e ,
measure 38
2
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A shift from first to third position, which occurs
after the second beat can be a problem if the student
focusses on the upper notes of the chords.
If the stu-
dent's attention is redirected to the lower notes, this
becomes a simple shift, shown in Part a of Preliminary
Exercise 58.
Preliminary Exercise 58:
a.
tg±
n
b.
1
Pizzicato Chords
1 .
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*
2
1
^^
4 ^ ^ i •"• i
pixz. arco.
pizz.
1
i
>IZZ.
ptzz.
Once the shift is accurate, the first finger is
placed on both G and D strings in preparation for the
last chord, as shown in Part b.
In pizzicato, the best
sound is produced when the fleshy part of the right hand
finger makes contact as the string is plucked on the
fingerboard, just below the end of the f holes.
If the
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student is not getting a good pizzicato sound, Part c
should be practiced to ensure that the right hand is
making correct contact with the strings.
If the contact
is good, and the sound is still poor, then the left
hand fingers are likely not being placed securely enough
on the string.
Entry in New Position after a Rest
The fourth trouble spot is shown in Example 81.
Example 81: B. Bartok.
Evening in the Village,
measures 19-21
KTempoI.
I
Z
m
=
j
§
In this example, the entry after the measure of rest
begins in a higher position.
This entry may be out of
tune unless the shift is carefully prepared during the
measure of rest.
A practice procedure is shown in
Preliminary Exercise 59.
Preliminary Exercise 59:
Entry after a Rest--New Position
m u
fli
jsr ^
1^1^ f ^ .-11: r^g
i
3^4
- fM^
.^^ ^
J
220
The second finger shifts from third position E to
fourth position F sharp on the A string.
The third
finger is then placed on D and the fourth finger on the
high E.
Each note is sounded as the finger is placed.
This procedure should be repeated slowly until the shift
and subsequent finger placement are secure.
As shown
in Part c, during performance, the same procedure is
followed, but without the subsequent sounding of the F
sharp and D.
Quick Change of Bow Technique
The fifth trouble spot is shown in Example 82,
where two different bowing techniques are required in
succession.
Example 82: B. Bartok.
Evening in the Village,
measures 10-11
p. scMerzando
In measure 10, a short, crisp spiccato is required,
while all three notes in measure 11 must be played on
the string.
The bow must make a quick, effective tran-
sition between the two techniques.
Too large a motion
in measure 10 will likely cause the spiccato to be
rhythmically uneven, and/or result in tonal and dynamic
problems.
In measure 11, the eighth note and the dotted
^
^
}
i.-
221
quarter note must get equal amounts of bow.
Failure to
do this will leave insufficient bow for the dotted
quarter note resulting in tonal problems.
Preliminary
Exercise 60 shows a practice procedure to eliminate these
potential problems.
Preliminary Exercise 60:
n V
a.
^a.
o
b.
D. o
o
Changing Bow Technique
c. o
**
o
As shown in Part a, the spiccato should be practiced
with a small forearm and finger motion, adjusting the
amount of bow contact until the desired articulation
and dynamic level are achieved.
In Part b, the use of
a fast bow stroke on the eighth note will help to make
the accent, as well as use enough bow so that the dotted
quarter note can be played comfortably.
The passage
should be practiced slowly in the lower half of the
bow, on the open A and E strings with appropriate string
crossing points, as shown in Part c.
After refining
the bow stroke transition and the appropriate string
crossing points with slow practice, the speed can be
gradually increased until the desired tempo is reached,
using Part c.
The passage can then be played as written.
7
^ ^ ^ „
222
Final Chord
The final trouble spot in the Grade Seven repertoire
is the final chord of the Allegro Spiritoso. shown in
Example 83.
Example 83: J. P. Senaille.
Allegro Spiritoso. measures 92-93
This chord is usually out of tune, sounds poor
tonally, and is too long in duration.
The shift to
third position must be made with an intermediary note
to ensure good intonation, and the chord itself is played
as one note, with a fast bow stroke starting with a
sforzando at the frog.
Preliminary Exercise 61 shows a
procedure that should result in a short in-tune chord.
Preliminary Exercise 61:
a.
I
^
m 1
o 1
r
4
3
52-
£:
Final Chord
b.
JOL
^
J f :|i: ^
M.
c.
im
/ * -
In Part a, the intermediary note for the shift to
third position is played as a check on intonation.
The
first finger plays D in third position on the A string,
and the octave is sounded as a check.
Then the third
7
•^p
223
and fourth fingers are placed in position for their
notes.
natural.
Attention must focus on the third finger F
In Part b, the shift is made silently while
the open D is sounded, the fingers placed in position
and the chord sounded with a full bow stroke.
In Part
c, the chord is played down-bow with a fast stroke on the
appropriate open strings.
When the open strings sound
satisfactorily, the chord can be played as written.
Summary
Grade Seven, which is the grade immediately preceding the advanced level of violin instruction, requires
greater control of all technique than the previous
grades.
The Grade Seven techniques also help in the
acquisition of interpretive skills that are needed for
the stylistic performance of compositions.
The intermediate level of violin instruction is an
important bridge between the beginning level of
instruction, in which basic skills are acquired, and
the advanced level of instruction, in which interpretive
and musical attributes can be enhanced only by the competent execution of violin technique.
The intermediate
level provides the student with the requisite skills that
will be needed to perform successfully the concert repertoire of the advanced level.
With dedicated work the
student can look forward with pleasure to the fruition
of his goal of becoming a musician.
y
22;
Notes
Dont, Jakob. 24 Studies. Op. 37.
International Music Company,
Fiorillo, Federigo.
Music Company,
36 Etudes.
1956.
New York:
1955.
New York:
Kayser, H. E. 36 Studies. Op. 20.
G. Schirmer, 1923.
International
New York,
Kinsey, Herbert. Elementary Progressive Studies.
Sets 1 to 3. London: Associated Board of Royal
Schools of Music, 1963.
Mazas, J. F. 75 Melodious and Progressive Studies,
Op. 36, Book 1. New York: International Music
Company,
1936.
Wohlfahrt, Franz.
G. Schirmer,
.
1939.
60 Studies. Op. 45.
1925.
50 Studies, Op. 74.
New York:
New York:
G. Schirmer,
r
•3E'
}
CHAPTER V
SUMMARY AND RECOMMENDATIONS
Summary
In the twentieth century, numerous resources
concerning violin instruction have been produced.
Among
these are books and articles on how to teach, books and
articles discussing repertoire, films and video tapes
on instruction, and recordings.
The vast majority of
these sources are concerned with either the beginning
level of instruction or with advanced repertoire and
performing technique.
There are few print sources dealing
with the intermediate level, the level between the
acquiring of a solid foundation in violin performing
technique, and the advanced level of solo and concert
repertoire.
There are even fewer films or video tapes
and virtually no recordings.
Nevertheless, the intermediate level is important
for violin technique, for it is at this level that a
student encounters most of the standard musical forms
and acquires the technique that will enable him/her to
perform the advanced level repertoire.
It is also (during
the intermediate level that the student learns to execute
expressive and stylistic decisions about the pieces he/
she is performing.
This is an essential ability that
separates the true artist from the skilled technician.
225
P^^:
, ^
226
Intermediate level was determined by soliciting
the opinions of six expert Western Board of Music examiners for requisite intermediate technique.
Five current
graded lists of repertoire were compared to elicit technical requirements and studies corresponding to the
technique identified by the panel.
Four of the lists
provided suggestions for the systematic development of
scales and technical material.
The single exception
was the Texas UIL list, which provided only repertoire
in its listing.
Three provided lists of etude material
that corresponded with the graded solo repertoire as
well as suggestions for theory training.
The Suzuki
Violin School provided a sequenced skill learning system
for comparison, although it lacks a thorough system of
scales and etudes.
The ASTA syllabus has two intermediate
listings--Intermediate A and Intermediate B, while Grades
Four through Seven comprise intermediate level in the
WB syllabus and the RCMT syllabus.
The Western Board of Music Syllabus No. 2 was used
for selecting pieces to be analyzed.
This syllabus was
chosen because it is used extensively in western Canada
where the author teaches.
The history of the Western
Board of Music was reviewed in brief, its operations
were summarized and its importance in promoting musical
growth throughout western Canada was noted in Chapter I.
The Western Board of Music's syllabi offer a well
^H~
;
227
thought-out system for guiding the musical growth of
students in an all-encompassing fashion.
The pieces to be analyzed were selected by examining
Western Board of Music violin candidates' entry sheets
for intermediate level examinations for the last decade.
The three most frequently performed pieces from each of
Grades Four through Seven were chosen for analysis.
The pieces were sent to the panel of experts, who
were asked to review the pieces and indicate the skills
required for successful performance.
The members of
the panel were also asked to indicate trouble spots in
the pieces, and to reflect on performance problems during
the examinations.
This information, which was collected
by the author through personal and telephone interviews,
is summarized in Chapter III.
Of the approximately eighty books and articles read
by the author, fewer than twenty were devoted to intermediate level technique required in the selected pieces.
Aside from spiccato, martel^, flying staccato, vibrato,
portato, and shifting, none of the required skills are
dealt with adequately in the literature.
Most of the
advanced books assume that the player can already execute
these techniques; the beginning level books do not even
touch these skills.
There is adequate repertoire avail-
able but a dearth of pedagogical material.
y
228
Using suggestions gleaned from the review of the
pedagogical literature, the author examined the selected
pieces and offered solutions to potential problems as
well as practice suggestions for the required skills.
For most skills, the author used the suggestions in the
pedagogical literature as the basis for exercises that
he devised dealing with the specific piece.
The author
also reviewed the published etude literature and indicated
at the end of the discussion of each technique in each
grade appropriate studies that deal with the required
skill.
Where the current literature contained no sug-
gestions regarding a skill, the author wrote short
preliminary exercises that could preview the required
skill or overcome the difficulties in the trouble spots.
Thus, the study has provided violin teachers with
a list of techniques along with pedagogical suggestions
for instruction appropriate for intermediate students,
which was the purpose of the study.
Recommendations
1. An in-depth study of the history of The Western
Board of Music should be undertaken.
Although the Western
Board has proven its importance in the musical life of
western Canada and continues to provide leadership in
musical growth, little serious research has taken place
regarding its past development.
Documentation is avail-
able and many of the founders can still be interviewed.
r
J
229
2. The current practice of periodically updating
syllabi should be continued.
The constant additions and
deletions to the availability of repertoire and pedagogical sources limit the useful life of a syllabus to about
five to six years.
3. New contemporary repertoire at the intermediate
level should be composed.
Much of the new repertoire is
written for either the beginning student or for the
advanced professional.
Contemporary repertoire at the
intermediate level is needed, and current publicity
efforts such as reading clinics and reviews in periodicals
should continue.
4. New etudes featuring contemporary idioms should
be composed for the intermediate level.
These etudes
would not supplant the current standard etude material
but could be used to supplement a realm of musical study
that essentially has stopped with the Romantic era.
5.
An in-depth study should be undertaken to iden-
tify the specific skills inherent in the study of the
standard etudes, with a view to publishing a guide.
6. Additional pieces from the currently available
intermediate repertoire should be analyzed for required
skills.
Suggestions for solutions to performance
problems should be published in an effort to remedy the
insufficient material available for the teacher of the
intermediate student.
r
;
230
7. Most of the intermediate level violin repertoire
should be recorded by excellent musicians and made available to the public.
There is a lack of recordings
available to the intermediate student.
These are gener-
ally available for the beginning student and almost always
available for the advanced player.
This lack, which
causes a serious problem for many intermediate students,
should not be there, especially when listening and emulation is so important in violin teaching.
8. Video cassette recordings of the teaching of
intermediate skills should be made available to violin
teachers.
So much of our learning is visual, yet the
teacher and the student at the intermediate level are
denied this important learning device by its absence.
Such devices are available to the beginning student and
teacher, and television and the live concert afford the
advanced player the same opportunity.
The same may be
said for visual recording of intermediate level pieces
themselves.
These recommendations, if adopted and subjected to
research and action, would assist intermediate teaching
by increasing teachers' access to and use of well developed materials based on sound principles.
}
^^S-.
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—
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•}
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The Instru-
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Raab, E. "Acquiring Facility in Violin Playing,"
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Schmidt, R.
"The Legacy of Ivan Galamian: Some Comments
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48-49.
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Strad 89 (February 1979): 939-940.
Siegers, W. F. "Contemporary Violin Fingering,"
Missouri Journal of Research in Music Education
3 (1972):TOS^
Smith, G. J.
"A Selected List of Pedagogical Materials,"
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February 1980): 48-51, 54-55, 58-62.
• "Try Something New," The Instrumentalist 30
(May 1976):
60-62.
Smith, P. "String Solo and Study Materials," The Instrumentalist 34 (December 1979): 70.
Temianka, H.
"Relaxation," Strad 91 (August 1980):
252.
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1982): 565-567.
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Applebaum, Samuel. The Art and Science of String
Performance. Sherman Oaks, CA: Alfred Publishing
Company, Inc., 1986.
Applebaum, Samuel, and Applebaum, Sada. With The Artists.
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Boyden, David. The History of Violin Playing from the
Origins to 1761 . London: Oxford University Press,
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Bronstein, Raphael. The Science of Violin Playing.
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Flesch, Carl.
Edition.
The Art of Violin Playing. 2nd Revised
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Bosworth and
Hodgson, Percival. Motion Study and Violin Bowing.
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Leland, Valborg. The Dounis Principles of Violin Playing.
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Menuhin, Yehudi. Six Lessons with Yehudi Menuhin.
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Summit
Menuhin, Yehudi, and Primrose, William. Violin and Viola.
London: Macdonald and Jane's, 1976.
Neumann, Frederick. Violin Left Hand Technique. Urbana,
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Belmont, CA: Wadsworth Publishing Company, 1979.
Polnauer, Frederick, and Morton, Marks. Senso-Motor Study
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IL: American String Teachers Association, 1964.
}
235
Rolland, Paul with Maria Mutschler. The Teaching of
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• Brandon University, Brandon, MB.
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.
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237
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BMI, 1964.
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}
238
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. Air Varie, Op. 23 No. 3.
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Bosworth
Bosworth
>^
Rode, Pierre. 24 Etudes and Caprices.
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1939.
12 Caprices.
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. School of Technic. Op. 8.
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.
1939.
50 Studies, Op. 74.
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Prescribed Music. For School Years Beginning 1987 through
1990. The University Interscholastic League.
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American
The Western
Royal
7
P^W-
APPENDIX A
WESTERN BOARD OF MUSIC
EXAMINATION ENTRY FORM
ThiaSMtkm
for Ofnce U M Only
WESTERN BOARD OF MUSIC
Date arr.
APPLICATION FOR EXAMINATION
(a) Use SEPARATE FORMS FOR PRACTICAL and
THEORY subjects.
SUte which PRACTICAL (Piano, Singing. Violin,
etc.)
(b) In Associate grade, state whether examination is
Teacher's or Performer's.
. a.m.
No.
Central Office Mailing Address:
Western Board of Music
c/o University of Alberta
Edmonton, AlberU T6G 2E6
Deadline for Winter Exams and Irregular Lists — NOVEMBER 25th.
Deadline for Summer Exams and Irregular Lists — MARCH 10th.
LATE APPLICATIONS WILL NOT BE ACCEPTED
Candidate's Name
(Please Print)
Address
Postal Code
Phone No.
Date of Birth
Subject
Grade
Local Centre Preferred
Teacher's Name
Teacher's Address and Ph. No.
Postal Code
THIS SECTION FOR OFFICE USE O^^LY
Date of this
Application
FEE ENCLOSED
239
. p.m.
;
APPENDIX B
WESTERN BOARD OF MUSIC
198 7 ALBERTA AWARDS
The Western Bo*rd of Music la very grateful for the generosity of the
donors. The majority have kindly expressed their Intention of renewing their
awards yearly.
Scholarships and Bursaries can be gained In all instruments. Some are
reserved for particular districts but otherwise a candidate from any part of
Alberta is eligible. Apart from certain specified awards, the highest six grades
and especially the highest three will be given attention in relation to scholarships for advanced study. Consideration will be given to the student's cocplete
Western Board examination record, e.g., a good student considered In any year
cannot necessarily expect an award but he or she may apply again after taking a
aiore advanced examination.
Applications (forms available upon request) for awards should be made by
May 15th and in any case before the practical examinations take place and without
waiting for an invitation to apply. Late applications (even at the Invitation
of examiners) may suffer.
Medals are donated by the Western Board of Music. Prizes are of money,
books, records or in other suitable fonns. They are given as rewards for good
work of specific kinds.
GENERAL CONDITIONS
Apart from special conditions attached to various awards, scholarships and
bursaries will generally be awarde'd on a combination of factors as follows:
(a)
(b)
(c)
(d)
The advice of the examiners as to the greatest musical promise;
Evidence of musical ability in more than one direction, Including
theory;
The intention and availability of the candidate to carry out a veilbalanced program of studies whether in the same locality or at ar.
Institution of higher learning;
Except where otherwise provided, the awards for candidates are for
those normally resident in Alberta. Scholarships and Bursary funds
are granted for the purpose of:
(I) continued study in the prairie provinces
(II) approved study in well-known centres elsewhere.
GOLD MEDAL - Interprovincial
The Western Board of Music offers annually a Gold Medal to the candidate
who receives the highest standing (a mark of 85 or over Is required) In
completing the final examination of the Licentiate in Music (L.Mus.). The mark
achieved in the practical examination will be given first consideration.
240
}
SILVER MEDALS - Interprovincial
Piano. Violin. Voice - highest mark - 85 or over - medal per grade
(Grs. VII i up)
Winds and Percussion - highest mark - 85 or over - medal per grade
per instrument - (Grs. VII & up)
Other Instruments - highest mark - 85 or over - medal per grade
(Grs. VII & up)
BRONZE MEDALS - Provincial
Piano, Violin, Voice - highest mark - 85 or over - medal per erade
(Grs. I - VI)
Winds and Percussion - highest mark - 85 or over - Grs. I, III, V - one
medal per instrument - per grade
Other Instruments - highest mark - 85 or over - Grs. I, II, III - one medal
Grs. IV, V, VI - one medal
THEORY - SILVER MEDALS - Interprovincial
Grs. VI and VII - highest mark - 85.or over - medal per grade - per subject.
BRONZE MEDALS - Provincial
No medals given in Grs. I and II.
•
Grs. Ill, IV and V - highest mark - 85 or over - medal per grade - per subject
In the event of a tie, the deciding factor will be the standard of work
and the mark in the complementary subject, e.g., if a tie in the theory
grade, candidates will be judged upon their practical work and vice verr.a.
SCHOLARSHIPS
THE GOVERNMENT OF THE PROVINCE OF ALBERTA OFFERS THROUGH THE ALBERTA CULTURE
DEPARTMENT - $1,400.00.
The awards will be given to students having achieved the highest marks in
the following theoretical subjects:
Intermediate Aural Musicianship
Senior Aural Musicianship
Form I
Form II
Musical History I
Musical History II
Hamony I
Hamony II
Rudiments IV
-
$200
$200
$100
$200
$100
$200
$100
$200
$100
}
SCHOLARSHIPS (cont'd)
THE GOVERNMENT OF THE PROVINCE OF ALBERTA OFFERS THROUGH THE ALBERTA CULTURE
DEPARTMENT - $1,200.00
~
—
Six Music Scholarships of $200 each to students taking practical examinations
from the Western Board of Music. First consideration will be given to
students in advanced grades who show outstanding musical talent and who
would be assisted in taking a more extensive program of studies.
R. ANGUS ALBERTA LIMITED MUSIC SCHOLARSHIPS - $1,900.00
Three scholarships, one of $1,000. one of $500 and one of $400 to be awarded
to outstanding Licentiate and Associate candidates in any of the provinces of
Western Canada.
R. ANGUS ALBERTA LIMITED MUSIC SCHOLARSHIPS - $500.00
Two scholarships of $100 each to be awarded to deserving students residing
in Che Calgary area - or the Lethbridge area - or the Medicine Hat area.
Two additional scholarships of $100 each are to go to deserving students
residing in the Red Deer area and the Peace River area. One additional
scholarship of $100 will be granted anywhere in the province.
THE EILEEN HIGGIN MUSIC SCHOLARSHIPS AS PRESENTED BY THE CALGARY THEATRE SINGERS
These scholarships (derived from two-thirds of the funds generated from the
investment of the principle of $5,000), are for Calgary vocal students from
16 - 25 years of age who have been resident in Calgary - or an area within 100
kilometers of Calgary - for at least three years. First preference shall be
given to students in Grades VI, Vll and VIII, who have achieved a mark of 80
or over.
*
THE DR. W.E. JANZEN MEMORIAL SCHOLARSHIP
The late Dr. Janzen, an alumnus of the University of Alberta, was a dentist
in Wetaskiwin for forty years. He played the trumpet and led various bands
including the U. of A.'s R.O.T.C. and Varsity Bands during the nineteen
twenties. His family have seem fit to give the Western Board of Music $1,000
in Dr. Janzen's name and the terms of the award are as follows:
A scholarship to be awarded to a promising Alberta student (Grs. V - XI)
taking a brass-instrument examination from the Western Board of Music. The
amount of the award will be determined by the accrued interest derived from the
principal sum.
THE EDMONTON ACTIVETTES MUSIC SCHOLARSHIP
A scholarship of $200 to be awarded to a student of musical promise (from
Edmonton or district) with preference to a Grade IX or Grade X candidate.
}
THE EDMONTON ACTIVETTES MUSIC SCHOLARSHIP
An award of $200 to provide TWO scholarships - one VOCAL and one for STRINGS:
^'^
Ed^ntiror'S-**! •^°? 'J be awarded to a student of singing (from
Edmonton or district) who shows real musical talent and who would
be assisted in taking a more extensive program of studies.
(ii)
A scholarship of $100 to be awarded to a student of a stringed
instrument (from Edmonton or district) who shows talent and would
be assisted m taking a more extensive program of studies.
THE EDMONTON ACTIVETTES MUSIC SCHOLARSHIP
A scholarship of $100 to be awarded to a student of musical promise who
resides in Edmonton or district. This scholarship will be confined to the
grade levels VII - XII.
THE YAMAHA PIANOS COYNE LIMITED MUSIC SCHOLARSHIPS
Three scholarships totalling $400 (one for $200; two for $100 each) to be
awarded annually to promising piano students in intermediate or senior grades residing in Edmonton or district.
THE LOUISE DEAN SCHOLARSHIP
A scholarship of $300 presented
who is awarded the highest mark
Calgary, with a minimum mark of
student. In case of a tie, the
by Beta Sigma Phi (Calgary) for the candidate
in Grade X or XI piano, violin or singing in
80. Preference will be given to a Grade X
scholarship will be divided.
•
THE RICHARD S. EATON MEMORIAL SCHOLARSHIP
A scholarship of $300 divided equally between Alberta, Manitoba and
Saskatchewan, to be awarded annually to a talented student of not lower
than Grade IX level, with the appropriate theoryACCESS NETWORK CKUA-AM FM MUSIC SCHOLARSHIP
A scholarship of $100 to be awarded for outstanding musical talent and promise
in instrumental or vocal examinations. Preference will be given to a candidate
in the middle or higher grades and who resides in the Province of Alberta.
The recipient will very likely be invited to show his or her talents in a
special broadcast from ACCESS Network.
ACCESS NETWORK, TELEVISION
A scholarship of $100 to be awarded for outstanding musical talent and promise
in instrumental or vocal examinations. Preference will be given to a candidate
in the middle or higher grades and who resides in the Province of Alberta.
The recipient will very likely be invited to show his or her talents in a
special broadcast from ACCESS Network.
EATON'S
(EDMONTON) MUSIC SCHOLARSHIP
A scholarship of $200 to be awarded for the most musical promise in the higher
piano grades. Candidates for the L.Mus. (Alberta) and the A.Mus. (Alberta)
will naturally receive consideration but the quality of exceptional talent
in other advanced graces will be considered in order to assist the most
suitable student. Preference will be given to a student proceeding to or
attending an institution of higher learning where the student will include
musical studies.
THE EDMONTON JOURNAL VOCAL SCHOLARSHIP
A scholarship of $200 to be awarded to a promising student of vocal music, of
the age of 18 years or over, residing in the Province of Alberta, north of a
line drawn east and west immediately south of the city of Red Deer, to assist
such student to continue his of her studies in the city of Edmonton under the
supervision of the Department of Music of the University of Alberta. Should
there be no candidate of sufficient merit, in the opinion of the Board, then
the amount will be held over to increase the amount of any awards subsequently
made available by the donor.
THE RADIO STATION CHQT MUSIC SCHOLARSHIP
A scholarship of $200 to be awarded for outstanding musical talent and promise
in instrumental or vocal examinations. Preference will be given to a candidate
in Grade VII or higher and in Edmonton, or district. This scholarship may, at
the discretion of Western Board, be divided into two awards of $100 each.
The recipient(s) will very likely be invited to show his or her talents in a
special broadcast from CHQT.
THE SILK-0-LINA LIMITED MUSIC SCHOLARSHIPS
Four scholarships of $50.00 each to be awarded to students from Grades III
to VI residing in Calgary, Edmonton, Medicine Hat and Regina.
THE ANNA J. GREGSON MEMORIAL AWARDS IN MUSIC - $150.00
These awards are funded by The Duke of Cornwall Chapter of the I.O.D.E.
of Castor. They shall be given to Western Board examination candidates
who are taught by Castor Music Teachers. Criteria for the awards shall
be the students with the highest marks ( and no less than 65Z) in each of
the following grades:
Piano
Grades I
- IV
Grades V
- VI
Grades VII - VIII
Grade IX
- $5.00 each
- $10.00 each
- $15.00 each
- $20.00
Theory
Grades I
- IV
- $15.00 each
In case of ties, awards shall be presented to each student, thus increasing
the total amount allotted for the awards.
THE ALBERTA POWER LIMITED MUSIC SCHOLARSHIP
tith'p«ference'f!i°a
R S L ? ' " candidate,
' ' . ' - . " *'""^"'
^^'^^one'^ proceeding
" - " • '° be
awarded
with preference for a RURAL
preferably
to or
attending an institution of higher learning.
THE BAY - WHITEHORSE. YUKON. MUSIC SCHOLARSHIP - $100.00
This scholarship is to be awarded to a promising student achieving a mark
iLll
VJ^Al
• ^ " ^ " ^ ^ J y ^ ° / « intermediate or high grade. Should the
Board see fit. it may split the award. The Board may also choose not to
make an award should it decide that the insufficient number of candidates
m a centre does not warrant it.
THE CANADIAN WESTERN NATURAL GAS COMPANY MUSIC SCHOLARSHIP
A scholarship of $100 for middle or advanced grades in music, to be awarded
with preference for a candidate in Calgary or Lethbridge and districts,
preferably a student proceeding to or attending an institution of higher
learning.
THE FLORE SHAW MUSIC SCHOLARSHIP - North Side of Peace River
A scholarship of $100 to be awarded annually to a student resident on the
North side of the Peace River - and including Peace River town - who has
passed successfully the practical grade in Piano and at least Grade III in
Rudiments. The mark in the practical examination should not be lower than 75.
This scholarship applies to Grades VII, VIII, IX and X.
THE FORT EDMONTON I.O.D.E MUSIC SCHOLARSHIP
A scholarship of $100 to be awarded to a promising wind or brass student
of Edmonton or district.
THE FRANK RICHARDSON MEMORIAL SCHOLARSHIP (Peace River)
A scholarship of $100 to be awarded to a promising piano student studying in
Peace River or district.
THE NORTHWESTERN UTILITIES MUSIC SCHOLARSHIP
A scholarship of $100 for middle or advanced grades in music - to be awarded
with preference for candidates in Edmonton or a point within 100 miles,
preferably a student proceeding to or attending The University of Alberta or
another institution of higher learning.
THE RADIO STATION CFRN SUNWAPTA BROADCASTING MUSIC SCHOLARSHIP
A scholarship of $100 to be awarded for outstanding musical talent and promise
in instrumental or vocal examinations. Preference will be given to a candidate
in Grade VII or higher and in Edmonton or district. The recipient will very
likely be invited to show his or her talents in a special broadcast from CFRN.
}
THE RADIO STATION CJCA MUSTC SaiOlJ\RSIIIP
A scholarship of $100 to be awarded for outstanding musical talent and promi«
se
•" r ^^ or instrumental examinations. Preference will be given to a candiLte
HVM^K.^Lv ^!
K
U-" " ~ " ' ^ ° " or district. The recipient will verv
likely be invited to show his or her talents in a special broadcast from Cjbv.
THE ALBERTA REGISTERED MUSIC TEACHERS' ASSOCIATION (EDMONTON) MUSIC SCIIOIJVRSMII'
A scholarship of $100 offered in memory of Dr. J. LeSaunier for the highest
mark in a Western Board practical examination in Grade IV piano or strings candidate to be a resident of Edmonton or district.
**
THE DIADON ENTERPRISES MUSIC SCHOLARSHIP
A scholarship of $100 to be awarded to a promising Western Board of Music
Electronic Organ candidate who resides in Edmonton or district.
TRANSALTA UTILITIES CORPORATION MUSIC SCHOLARSHIP
A scholarship of $100 for middle or advanced grades in music, to be awarded
with preference for a candidate in RURAL Alberta, preferably one proceeding
to or attending an institution of higher learning.
THE WESTERN KEYBOARDS EDMONTON MUSIC SCHOLARSHIP
A scholarship of $100 to be awarded to a promising Edmonton or district
Western Board of Music Electronic Organ candidate taking either a Grade V
or a Grade VI examination.
THE WOODWARD STORES (EDMONTON) LIMITED MUSIC SCHOLARSHIP
A scholaeship of $100 to be used by the University of Alberta, as may be
determined by the Department of Music to assist some worthy student in the
Western Board of Music examinations OR in the Bachelor of Music program in
the Department of Music.
THE ALBERTA REGISTERED MUSIC TEACHERS' ASSOCIATION (CALGARY) MUSIC SCHOLARSHIP
A scholarship of $75 to be awarded for the highest mark in a Western Board
practical examination in Grade IV - candidate to be a resident of Calgary or
district.
CLASSIC KEYBOARD DISTRIBUTOR MUSIC AWARDS
(i)
An annual award of $25 and a plaque to the student achieving the highest
mark in electronic or pipe organ, examined in Red Deer.
(ii) An annual award of $25 and a plaque to the student achieving the
highest mark in piano, examined in Red Deer.
THE HAFSO MUSIC CENTRE SCHOLARSHIP
A scholarship of $50 to be awarded to a promising Western Board of Music
Electronic Organ candidate who resides in Edmonton or district.
)
THE OLIVER MUSIC CO. LTD. SCHOLARSHIP
A scholarship of $50 to be awarded to a promising Western Board of Music
Electronic Organ candidate who resides in Edmonton or district.
THE MARGOT ESDALE-BARBARA MACDONALD TRUST FUND MUSIC SCHOLARSHIP
A scholarship of $25 to be awarded to a promising Western Board of Music
student who resides in any of the provinces of Western Canada. If the need
arises, preference will be given to a student of voice, but otherwise,
any outstanding examination candidate will be eligible.
THE GOVERNMENT OF THE PROVINCE OF ALBERTA OFFERS THROUGH THE ALBERTA CULTURE
DEPARTMENT - $1,200
""
TWELVE MUSIC BURSARIES of $100 each to students examined by the Western Board
of Music. First consideration will be given to promising students in advanced
grades »rtio would be assisted in taking a more extensive program of studies.
THE CALGARY HERALD MUSIC BURSARY
An award of $200 to be used for one or more candidates and - at the
Scholarship Committee's discretion ^ for students' tuition fees, travelling
or living expenses.
THE LETHBRIDGE HERALD MUSIC BURSARY
An annual award of $150 to provide one or more bursaries at.the discretion of
the Western Board of Music. Available to students resident in centres on,
or south of a line drawn through Medicine Hat and Nanton.
THE I.O.D.E. ALPHAEUS PATTERSON (Grande Prairie) MUSIC BURSARY
A bursary of $100 to be awarded to a candidate of musical promise in Grade V,
VI or VII of the practical examinations. Preference will be given to those
%rorking for Grade VIII as part of the Grade XII (High School) diploma.
Available to students of the Grande Prairie Inspectorate.
THE WETASKIWIN ELKS MUSIC BURSARY No. 1
A bursary of $50 to be awarded to a student achieving the highest mark in
Wetaskiwin or district. This bursary applies to Grade IX. Candidates must
be examined in Wetaskiwin.
THE WETASKIWIN ELKS MUSIC BURSARY No. 2
A bursary of $50 to be awarded to a student achieving the highest mark in
Wetaskiwin or district. This bursary applies to Grade VIII. Candidates
must be examined in Wetaskiwin.
^
THE WETASKIWIN MUSICAL CLUB BURSARY No. 1
A bursary of $50 to be awarded to a student achieving the highest mark in
Wetaskiwin or district. This bursary applies to Grade VII. Candidates
must be examined in Wetaskiwin.
THE WETASKIWIN MUSICAL CLUB BURSARY No. 2
A bursary of $25 to be awarded to a student achieving the highest mark in
Wetaskiwin or district. This bursary applies to Grades V and VI. Candidates
must be examined in Wetaskiwin.
THE WETASKIWIN MUSICAL CLUB BURSARY No. 3
A bursary of $25 to be awarded to a student achieving the highest mark in
Wetaskiwin or district. This bursary applies to Grades III and IV.
Candidates must be examined in Wetaskiwin.
THE FLORE SHAW MUSIC BURSARY - North side of the Peace River
A bursary of $50 to be awarded annually to a student resident on the North
side of the Peace River and who has passed successfully both the practical
grade in piano and the corresponding theory grade, in the same year with a
mark not less than 75 in the practical examination and honours standing in
theory. This bursary applies to.Grades IV, V and VI.
THE LETHBRIDGE QUOTA CLUB PIANO BURSARY
A bursary of $50 in memory of Mrs. Annie Cull to be awarded to the student
showing the most musical promise i.n Piano, Grades I - V inclusive. This
award to be made to a student from Lethbridge or district taking examinations
at the Lethbridge centre.
THE NATIONAL COUNCIL OF JEWISH WOMEN (EDMONTON) MUSIC BURSARY
An award of $50 to be awarded to a Violin or Piano candidate (preferably
violin) for musical promise in Grades VI, VII or VIII. The candidates
considered first are those working towards the completion of Grade VIII as
part of the High School Grade XII program.
THE FAIRVIEW WOMEN'S INSTITUTE PIANO BURSARY
A bursary of $25 to be awarded annually to the student in the Fairview district
(i.e. postal districts, Fairview, Friedenstal, Gage, Vanrena, Whitelow) having
the highest mark over 75. This bursary applies to any grade in piano - theory
not required.
THE FLORENCE G. JOHNSTON MUSIC BURSARY
A bursary of $25 for a promising candidate from Peace River town.
is offered by the Peace River Women's Institute.
This award
WESTERN BOARD OF MUSIC BURSARIES IN THE FORM OF REMISSION OF EXAMINATION FEES
FOR PIANO-CLASS STUDENTS
"
LAAniNATION FEES
For full marks in the Ear-Test and high narks in Sight-Reading along with
general musical ability. The fact that the student is a piano class pupil
must be brought to the attention of the Western Board and should be mentioned
on the application form at the time of registering for the examination.
(i)
One bursary in Grade I to cover an examination fee (within two
years ensuing) for one further piano grade.
(ii)
One bursary in Grade II to cover an examination fee (within two
years ensuing) for one further piano grade.
WATERLOO MUSIC COMPANY LIMITED MUSIC PRIZES
Four prizes of $25 to be awarded to Alberta students in junior grades achieving
high marks.
**
THE MEDICINE HAT NEWS MUSIC PRIZE
A prize of $100 to be awarded to a promising voice or piano student in Medicine
Hat or district.
THE CALGARY PHILHARMONIC SOCIETY PRIZE
Two season tickets to the Calgary Philharmonic Main Series concerts on Sunday
or Monday evenings to be awarded t9 a promising student residing in Calgary
or district.
THE EDMONTON SYMPHONY SOCIETY PRIZE
Two season tickets to the Edmonton Symphony Orchestra concerts to be awarded
to a promising student residing in Edmonton or district.
THE LETHBRIDGE SYMPHONY ASSOCIATION PRIZE
Two season tickets to the Lethbridge Symphony Orchestra concerts to be awarded
to a promising student residing in Lethbridge or district.
THE I.O.D.E. WILLOWLODGE (BEAVERLODGE) MUSIC PRIZES
Prizes totalling $75 are offered to candidates attending school in Beaverlodge
and who achieve a mark of 75 or more in the practical examination (Grades I to
VI) and 90 or more in theory- Prizes are as follows:
Piano
$15.00
$10.00
$10.00
$ 5.00
$ 5,00
$ 3.00
$ 5.00
for
for
for
for
for
for
for
the
the
the
the
the
the
the
highest
highest
highest
highest
highest
highest
highest
mark
mark
mark
mark
mark
mark
mark
of
in
in
in
in
in
in
78 or
Grade
Grade
Grade
Grade
Grade
Grade
more in Grades VII and up
VI
V
IV
III
II
I
)
Z." 0
^'ory
V
$
$
$
5.00
5.00
5.00
5.00
for
for
for
for
the
the
the
the
highest
highest
highest
highest
mark
mark
mark
mark
in
in
in
in
Grade
Grade
Grade
Grade
IV
III
II
I
J. H. YAMADA APPRAISALS LTD. MUSIC PRIZES
Prizes totalling $75.00 are offered to theoretical candidates of Whitehorse
or district, as follows:
Grs. I and II
- highest mark, 702 or over
Grs. Ill and IV - highest mark, 70Z or over
Grs. V - VII
- highest mark, 702 or over
-
$25.00
$25.00
$25.00
BERWYN WOMEN'S INSTITUTE PRIZES
Two prizes to be awarded to students with a Berwyn postal address:
(i)
A prize of $20 to a piano candidate in Grades I to IV, inclusive,
for the most artistic performance, providing a mark of 70 or more
is achieved;
(ii)
A prize of $30 to a piano candidate in Grade V or up, for the most
artistic performance, providing a mark of 70 or more is achieved.
THE CANADIAN LEGION (Grimshaw Branch #253) LADIES AUXILIARY PRIZES
Two prizes open to students residing in Grimshaw or Grimshaw area, including
Warrensville, Clear Hills and Dixonville, providing a mark of 75 or more is
achieved:
(i)
A prize of $20 to a piano student for the most artistic performance
in Grades I to IV inclusive;
(ii)
A prize of $30 to a piano student for the most artistic performance
in Grades V and up.
THE ELKS OF McLENNAN THEORY PRIZES
Four prizes totalling $25 for students of the Western Board of Music examined
in McLennan. To be divided as follows:
(i)
A prize of $10 to be awarded to a candidate receiving the highest
mark (75 or more) in theory - Grades IV or V;
(ii) Three prizes of $5 each to candidates receiving the highest mark
in theory (75 or more) - Grades I, II and III.
THE ROYAL CANADIAN LEGION (McLennan) MUSIC PRIZES
Two prizes of $10 each are offered to area students achieving a mark of 70
or more.
}
251
CLENDON CHORAL GROUP PRIZE
A prize of $15 to be awarded to a candidate of the Western Board of Music
attending Glcndon School who shows musical promise.
GLENDON WOMEN 'S INSTITUTE PRIZE
A pri«e of $5 to be awarded to a candidate of the Western Board of Music
residing in Glendon or taking lessons in Glendon who shows musical promise.
PIANO DIPLOMA ASSOCIATION OF CALGARY BOOK PRIZE
Offered to candidates of the Western Board of Music taking the Associate
practical examination in Calgary under the following conditions:
(i)
Prize is limited to candidates of Calgary or district;
(ii)
Prize to be based on the following in order of priority:
(a) The highest mark in Grade XI Solo-Performer Teacher
combined examination;
(b) The highest mark in the Grade XI Solo-Performer examination;
(c) The highest mark in performing section of the Teacher's
examination.
(iii) Consideration to be given only to candidates who achieve 80 or more;
(iv)
This prize applies to both February and June practical examinations.
(If there is no first-class honour mark in the piano diploma examination, the
prize will be awarded to the student receiving the highest first-class honour
mark in the next highest grade.) *
THE I.O.D.E. FORT OSTELL CHAPTER (PONOKA) BOOK PRIZE
A book award is offered to a piano student of the Western Board of Music
residing in Ponoka or district. This award to be given to the candidate
achieving the highest mark (75 or over) in Grade VII. In the case of a
tie, the award will go to the candidate with the higher mark in the
complementary theory.
*
**
recent addition
increased in value
r
}
APPENDIX G
SELECTED PIECES
BROTHER JAMES' AIR
Arranged for Violin and Piano
Andante con moto
violin
3
^
Piano
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Copyright, 1937. by the Oxford U n i v e f i i t y Pre*., London.
' " * " * " ^ " " •"•""
N O T E : B R O T H E R J A M E S is the fimilur n . m . by which nuny remembef the late J . m n L « . h Micbtth Bain^inJ thii Air » pcrhipt t h .
motl beautiful of many that came to him ipontancouily. Eatra copi« of the violin pan, fo» maued playini, may be oOiaineA
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273
Rondo.
Oskar Rieding,Op. 22. N9 3.
Allegretto moderato.
Violino.
Allegretto moderato.
Piano.
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