Playing thirds his own studies ing based hiy teaching on the classical Russian violin school, folloy H akhar Bron has achieved international acclaim as the teacher of Siberian violinists Maxin, 1 Vor Oty Vadim Repin. His first published book is Ettiden-kunst (Art of the Etude), from which this study is taken, 2 roy commentaries on études by Dont, Paganini and Wieniawski, together with exercises designed to save time and rely used and conscious practice nag Ihe virtuoso repertoire of volnsts requires solid technique when playing thirds. At the same time this technigy the best ways to train the finger muscles of the left hand. Offers, This Dont study op.35 no. Allegro concentrates on three main aspects of teehniqui 1. A fall singing tone 2 Lightness and asility ofthe left hand 3, Good intonation A full singing tone Here we address the problem of co-ordination: one hand follows the natural reflex of synchronising its m, with the other hand. Any’tension oF inflexble position changes inthe lft hand can lead to problems i the legen right hand ‘Bato of Ty develop the independence of both hands | recommend the following exercise: nd always plays the same rhythmic figure while the left hand speeds up. The wi n the right hand. cercises that the right k jout any change We can see from these alow istocontinne playing 484 CEacher Zakhar Bron provides tips for Violin te f op.35 no.8 étude by Dont "practising the f | Lightness and agility of the left hand sper are three problems which ned solving Position changes Placement and angle of the left hand senmon mista the ahisive concentration on intonation without considering the placement and ange ofthe hand. When rin isnot correct ease and agility inl positions, and thus good intonation, becomes impossible. To develop a good ance exploring unlit he fllowingeeris: paso placer should be Hits rounded not especialy the angle ofthe Me fag) and shold remain unchanged in ll ‘hisceivealso ass in developing sensitivity othe difference between major and minor thirds ation sof muscles needed in the Ringers fora good technique when playing thirds wll este trained by the flowing exercises: all these exercises should be practised in every postion ye the problems connected with thi ygchanges portant to avoid lifting the hand when crossing the strings. One finger should aways remain in contact with the string intonation so-called ‘perfect intervals (unisons, fourths, fifths and octaves) are not variable. There are, however, different concepts of rand siths und tenths, et cetera. Ln my opinion the differences between major and minor thirds shouldbe cleatly emphasised. ¢heverythirdin itself may be sharp, one achieves in their conjunction the acoustical elect of narrow semitones, j reason I recommend the use should avoid intonation that opposes the physical and acoustical possibilities ofthe violin. For srngs whenever posible, inclu inal perfect intervals which canbe built onapen strings ‘Translated by Eeelyn Chek {© 1908 Ries & Erle, Berlin 485