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University of Cincinnati UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ VIOLIN ETUDES: A PEDAGOGICAL GUIDE A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2006 by Semi Yang [email protected] B.M., Queensland Conservatorium of Music, Griffith University, Australia, 1995 M.M., Queensland Conservatorium of Music, Griffith University, Australia, 1999 Advisor: Dr. Won-bin Yim Reader: Prof. Kurt Sassmannshaus Reader: Dr. Robert Zierolf ABSTRACT Studying etudes is one of the most essential parts of learning a specific instrument. A violinist without a strong technical background meets many obstacles performing standard violin literature. This document provides detailed guidelines on how to practice selected etudes effectively from a pedagogical perspective, rather than a historical or analytical view. The criteria for selecting the individual etudes are for the goal of accomplishing certain technical aspects and how widely they are used in teaching; this is based partly on my experience and background. The body of the document is in three parts. The first consists of definitions, historical background, and introduces different of kinds of etudes. The second part describes etudes for strengthening technical aspects of violin playing with etudes by Rodolphe Kreutzer, Pierre Rode, and Jakob Dont. The third part explores concert etudes by Wieniawski and Paganini. I have introduced the general background of each etude book, the composer, the time of the composition, and some characteristics, then selected etudes are described in depth with their specific technical aspects including practice methods. Table of Contents I. Introduction . 1 II. What is an etude? . 2 A. Definition B. Historical background C. Types: exercise, proper etude, concert etude III. Etudes for strengthening techniques A. Kreutzer’s 42 Studies . 7 1. No.2: bow control: bowing variation including detaché 2. No.4: slur staccato, can begin on down-bow as well as up-bow 3. No.5: triplets, evenness, first position 4. No.7: string crossing; martelé, collé, detaché 5. No.13: string crossing; wrist motion 6. No.9: independence of left-hand fingers 7. No.11: shifting 8. No.12: arpeggio 9. No.8: Virtuoso Variation by Yampolsky 10. No.15: trill 11. No.24: double-stop octaves 12. No.34: other double-stops B. Rode’s 24 Caprices . 25 1. No.1: slow introduction and martelé at the tip 2. No.5: bow distribution, combination of martelé and detaché 3. No.12: legato, smooth bow change i C. Dont’s 24 Etudes and Caprices . 31 1. No.1: triple-stop chord playing 2. No.6: trill, left-hand pizzicato 3. No.8: thirds legato 4. No.19: ricochet IV. Concert Etudes A. Wieniawski’s Ecole Moderne, Op.10 . 37 1. No.1: La sautillé: sautillé and ricochet 2. No.5: Alla Saltarella: right-hand finger motion B. Paganini’s 24 Caprices . 46 1. No.2: melodic line hidden under the constant string crossing 2. No.3: double trills 3. No.11: singing melodic line 4. No.17: fingered octaves, chromaticism 5. No.20: double stop with open D string (bow pressure), trill and slur staccato 6. No.24: theme and variations V. Conclusion . 61 VI. Bibliography . 62 ii List of Musical Examples Example page 1. Kreutzer, 42 Studies, No. 2, mm. 1-2 . 8 - 9 2. Kreutzer, 42 Studies, No. 3, mm. 1-2, 4-5 . 10 3. Kreutzer, 42 Studies, No. 5, mm. 1-3 . 11 4. Kreutzer, 42 Studies, No. 7, mm. 1-2 . 12 5. Kreutzer, 42 Studies, No. 13, mm. 1-2 . 15 6. Kreutzer, 42 Studies, No. 9, mm. 1-3 . 16 7. Kreutzer, 42 Studies, No. 11, mm. 1-2 . 17 8. Kreutzer, 42 Studies, No. 12, mm. 1-3 . 18 9. Kreutzer, 42 Studies, No. 8, mm. 1-2, 9-10, 54-56 . 20 10. Yampolsky’s Virtuoso Variation, mm. 1-2, 9-10, 54-56 . 20 11. Kreutzer, 42 Studies, No. 15, mm. 1-2 . 21 12. Kreutzer, 42 Studies, No. 24, mm. 1-2 . 22 13. Kreutzer, 42 Studies, No. 24, mm. 3-4 . 22 - 23 14. Kreutzer, 42 Studies, No. 34, mm. 1-2, 7-8 . 23 15. Rode, 24 Caprices, No. 1, mm. 1-7 . 26 16. Rode, 24 Caprices, No. 1, mm. 16-18 . 27 17. Rode, 24 Caprices, No. 5, mm. 1-3 . 27 18. Rode, 24 Caprices, No. 5, mm. 35-36 . 28 19. Rode, 24 Caprices, No.5, m. 29 . 28 20. Rode, 24 Caprices, No.5, m. 70 . 28 iii 21. Rode, 24 Caprices, No. 12, mm. 1-4 . 29 22. Rode, 24 Caprices, No. 12, m. 20 . 29 23. Rode, 24 Caprices, No. 12, m. 23 . 30 24. Rode, 24 Caprices, No. 12, mm. 47-50 . 30 25. Dont, 24 Etudes and Caprices, No. 1, mm. 1-4 . 31 26. Dont, 24 Etudes and Caprices, No. 6, mm. 1-2 . 33 27. Dont, 24 Etudes and Caprices, No. 8, mm. 1-3 . 33 28. Dont, 24 Etudes and Caprices, No. 9, mm. 1-2 . 36 29. Wieniawski, Ecole Moderne, Op. 10, No.1, mm. 1-2 . 39 30. Wieniawski, Ecole Moderne, Op. 10, No. 1, mm. 8-9 . 41 31. Wieniawski, Ecole Moderne, Op. 10, No. 1, mm. 13-15 . 41 32. Wieniawski, Ecole Moderne, Op. 10, No. 1, mm. 16-19 . 42 33. Wieniawski, Ecole Moderne, Op.10, No. 5, mm. 1-3 . 42- 44 34. Wieniawski, Ecole Moderne, Op. 10, No. 5, mm. 35-38 . 43 35. Wieniawski, Ecole Moderne, Op. 10, No. 5, mm. 72-73 . 44 36. Wieniawski, Ecole Moderne, Op. 10, No. 5, mm. 16-19 . 44 37. Wieniawski, Ecole Moderne, Op. 10, No. 5, mm. 16-19 . 45 38. Wieniawski, Ecole Moderne, Op. 10, No. 5, mm. 62-65 . 45 39. Wieniawski, Ecole Moderne, Op. 10, No. 5, mm. 52-55 . 45 40. Paganini, Caprice, Op. 1, No. 2. mm. 1-3 . 48 41. Paganini, Caprice, Op. 1, No. 2. mm. 35-37 . 48 42. Paganini, Caprice, Op. 1, No. 2. mm. 51-53 . 48 43. Paganini, Caprice, Op. 1, No. 3. mm. 1-8 . 49 44. Paganini, Caprice, Op. 1, No. 11. mm. 1-8 . 50 iv 45. Paganini, Caprice, Op. 1, No. 11. mm. 29-32 . 50 46. Paganini, Caprice, Op. 1, No. 17. mm. 1-5 . 50 47. Paganini, Caprice, Op. 1, No. 17. mm. 5-8 . 51 48. Paganini, Caprice, Op. 1, No. 17. mm. 18-21 . 52 49. Paganini, Caprice, Op. 1, No. 17. mm. 25-26 . 52 50. Paganini, Caprice, Op. 1, No. 20. mm. 1-4 . 53 51. Paganini, Caprice, Op. 1, No. 20. mm. 17, 21 . 53 52. Paganini, Caprice, Op. 1, No. 20. mm. 25-27 . 53 53. Paganini, Caprice, Op. 1, No. 20. mm. 37-39 . 54 54. Paganini, Caprice, Op. 1, No. 20. mm. 50-53 . 54 55. Paganini, Caprice, Op. 1, No. 24. Theme, mm. 1-5 . 55 56. Paganini, Caprice, Op. 1, No. 24. Variation 1, mm. 1-4 . 55 57. Paganini, Caprice, Op. 1, No. 24. Variation 2, mm. 1-4 . 55 58. Paganini, Caprice, Op. 1, No. 24. Variation 3, mm. 1-5 . 56 59. Paganini, Caprice, Op. 1, No. 24. Variation 4, mm. 1-4 . 56 60. Paganini, Caprice, Op. 1, No. 24. Variation 5, mm. 1-4 . 57 61. Paganini, Caprice, Op. 1, No. 24. Variation 6, mm. 1-3, 5-7 . 57 62. Paganini, Caprice, Op. 1, No. 24. Variation 7, mm. 1-4 . 57 63. Paganini, Caprice, Op. 1, No. 24. Variation 8, mm. 1-4 . 58 64. Paganini, Caprice, Op. 1, No. 24. Variation 9, mm. 1-4 . 58 65. Paganini, Caprice, Op. 1, No. 24. Variation 10, mm. 1-4 . 59 66. Paganini, Caprice, Op. 1, No. 24. Variation 10, m. 12 . 59 67. Paganini, Caprice, Op. 1, No. 24. Variation 11, mm. 1-3 . 59 68. Paganini, Caprice, Op. 1, No. 24. Finale, mm. 1-4 . 60 v 69. Paganini, Caprice, Op. 1, No. 24. Finale, mm. 13-15 . 60 vi I. Introduction Studying etudes is one of the most essential parts of learning a specific instrument. A violinist without a strong technical background meets many obstacles performing standard violin literature. This document provides detailed guidelines on how to practice selected etudes effectively from a pedagogical perspective, rather than a historical or analytical view. The criteria for selecting the individual etudes are for the goal of accomplishing certain technical aspects and how widely they are used in teaching; this is based partly on my experience and background. Although there are books that explain technical aspects in depth in these books, etudes are used only as examples rather than how to practice certain etudes. If one is not aware of the technical terms, it is difficult to decide which etude to study. In this document my approach is how to practice step by step, as if teaching. The body of the document is in three parts. The first consists of definitions, historical background, and introduces different of kinds of etudes. The second part describes etudes for strengthening technical aspects of violin playing with etudes by Rodolphe Kreutzer, Pierre Rode, and Jakob Dont. The third part explores concert etudes by Henryk Wieniawski and Nicolo Paganini. For these concert etudes, musical aspects are described as well as practice methods. I will introduce the general background of each etude book, the composer, the time of the composition, and some characteristics, then selected etudes will be described in depth with their specific technical aspects including practice methods.
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